Great Estates Modern Art & Design

Lot: 1 - Edouard Manet, French (1832-1883), The Boy with Soap Bubbles (around 1867), etching, 8"H x 6 ¾"W (sight), 19"H x 15"W” (frame)

Edouard Manet French, (1832-1883) The Boy with Soap Bubbles (around 1867) etching Strong, inky impression on cream laid paper. Some toning.

Lot: 2 - William Henry Jackson, American (1843-1942), Beaver Creek, Clear Creek Canyon, Colorado, albumin sepia toned photographic print, 16 1/2" H x 12" W (photo with margins); 20" H x 16" W (mat)

William Henry Jackson American, (1843-1942) Beaver Creek, Clear Creek Canyon, Colorado albumin sepia toned photographic print Slight foxing on the mounting cardboard (none on the print itself).

Lot: 3 - John B. Mather, Australia (1848-1916), So. Australia, watercolor on paper, 8 1/2"H x 11 5/8"W, 12 3/8"H x 15 1/2"W (frame)

John B. Mather Australia, (1848-1916) So. Australia watercolor on paper Titled lower right.

Lot: 4 - Daniel Kotz, New York, New Jersey, Indiana (1848 - 1933), landscape, 1885, watercolor on paper, 8 3/4"H x 11 1/2"W (sight), 15 3/4"H x 18 1/2"W (frame)

Daniel Kotz New York, New Jersey, Indiana, (1848 - 1933) landscape, 1885 watercolor on paper Unsigned. Dated lower left. Biography from the Archives of askART: Daniel Kotz, painter, etcher, and engraver, was born in a log cabin in South Bend, Indiana, near Notre Dame, on March 21, 1848. He spent much of his youth working on the family farm, where he enjoyed nature and the countryside

Lot: 5 - James Gale Tyler, Connecticut, New York (1855 - 1931), lighthouse, Nocturnal Maritime Seascape, oil on canvas, 24 1/4"H x 18"W

James Gale Tyler Connecticut, New York, (1855 - 1931) lighthouse, Nocturnal Maritime Seascape oil on canvas Signed lower left. Biography from Pierce Galleries: James Gale Tyler was a marine painter and illustrator who was born in Oswego, New York in 1855. He maintained studios in New York City from 1882 through 1899 and in Greenwich, Connecticut from the mid-1870s until his death in Pelham, New York in 1931, and in Providence (mid-1880s). Although he studied in 1870 with Archibald C. Smith in New York City, he basically was self-taught. He was a member of the Brooklyn Art Club; the Salmagundi Club (1893); Artists Fund Society and the Greenwich Society of Artists. He exhibited extensively at the National Academy, the Providence Art Club, the Boston Art Club and the Brooklyn Art Association and the PAFA. His work is in permanent collections at the Corcoran Gallery, Washington, DC; Tokyo Museum; Wadsworth Athenaeum, Hartford, CT; Omaha Museum of Art, NB; Mariner's Museum, N.Y. Historical Society and elsewhere. Tyler painted every America's Cup race since 1900 and his illustrations of ships sailing off Newport were reproduced in Literary Digest, Harper's and Century magazines. Late in life (1930) he painted the Shamrock and Enterprise off Newport and exhibited them at the Union League Club. His marine paintings were so popular during his lifetime that even his night views of boats coming home in the dark sold-out.

Lot: 6 - John Albert Seaford, Indiana, Massachusetts, North Carolina (1858 - 1936), Earlham Hall, lithograph, 15 1/2"H x 20 1/2"W, 17 1/2"H x 22 1/2"W (frame)

John Albert Seaford Indiana, Massachusetts, North Carolina, (1858 - 1936) Earlham Hall lithograph Signed in the print lower left. Biography from Richmond Art Museum: A profound interest in architectural detail, old buildings and the countryside led John Albert Seaford to record historical views in and around Richmond, Indiana and in seaport towns such as Boston, Massachusetts. Seaford split his time between Richmond and Boston, the two cities he loved and claimed were the most attractive places to live. It was in Boston where he spent most of his time as an illustrator, illustrating books for Radcliff College, Dartmouth, Harvard and the city of Boston. He worked as an illustrator for the "Boston Herald" where his works would appear often on the front page of the newspaper. Seaford spent his winters in Richmond where his work could be found on display at Price Confectionary or in the Starr Piano Store. An early member of the Art Association of Richmond, he exhibited his paintings yearly in the Annual Exhibit by Indiana Artists. Although well known in Richmond, Seaford has all but been forgotten in Boston despite his numerous illustrated publications on Boston and Old Seaport Towns in New England. A recent exhibition in 1997, found no information regarding John Albert Seaford in the Boston Museum of Fine Art archives. However, he has left both towns with an historic legacy of our architecture and natural beauty. He recorded many brilliant buildings and homes which no longer stand, justified by progress and growth. A strong draftsman and eye for color and shading, made his works highly desirable by local residents. Among his favorites places to paint were old sections of Richmond and Centerville, Indiana as well as Glenn Miller Park. Most of his works remain in private homes with a few represented in the permanent collection of the Richmond Art Museum, Boston Public Library, Morrison-Reeves and the University of Michigan.

Lot: 7 - Arthur Bowen Davies, New York, California / Italy (1862-1928), Hand of the Morning, 1924 , stone lithograph, 9 7/8"H x 12"W (image), 15 1/4"H x 18 1/2"W (board)

Arthur Bowen Davies New York, California / Italy, (1862-1928) Hand of the Morning, 1924 stone lithograph Pencil signed lower right. Biography from the Archives of askART: Born in Utica, NY in 1863 of Welsh descent. When Arthur was 16, the Davies family moved to Chicago. He studied at the AIC and later furthered his art studies in Mexico while working as a civil engineer. His first exhibition was in 1888 at the American Art Ass'n. While in northern California in 1905, he painted in the Sierra. He was one of "The Eight," a group of painters who became a symbol of revolt in American art after an exhibition in NYC in 1908. Davies was instrumental in creating the Armory Show of 1913 there after which time he adopted a Cubist style. His final years were spent in Florence, Italy; he died there in 1928. Famous for his landscapes with figures, his early paintings were romantic and emotional while his later works were more self-conscious. Member: NA. Exh: Newhouse Gallery (LA), 1929. In: MM; Oakland Museum; AIC. Edan Hughes, "Artists in California, 1786-1940" Artists of the American West (Samuels); Art in California (R. L. Bernier, 1916); Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs (Bénézit, E); From Frontier to Fire; Art News, 12-22-1928 (obituary). Provenance: Born in Utica, N.Y., Arthur Bowen Davies studied at the Chicago Academy of Design (1879-1882). Attended, briefly, the Art Institute of Chicago. Moved to New York City to study at the Art Students League. Arthur Bowen Davies became a leading figure helping to plan the 1913 Armory Show in New York that dramatically changed directions in American art. Davies was a member of The Eight-- those artists associated with the Ashcan school. But unlike the bold and heavily wrought oil paintings of Robert Henry, William Glackens and George Luks, Davies was best known for painting ethereal pastoral figural compositions in a classical vocabulary. Major museums across the U.S. own and display examples of his work.

Lot: 8 - Arthur Bowen Davies, New York, California / Italy (1862 - 1928), Standing Nude, oil on canvas, 10 1/2"H x 7 1/2"W (sight), 16"H x 13"W (frame)

Arthur Bowen Davies New York, California / Italy, (1862 - 1928) Standing Nude oil on canvas Unsigned. Biography from the Archives of askART: Born in Utica, New York, Arthur Davies gained a reputation for ethereal figure paintings, ones that expressed lightness and mysticism. He was also a principal organizer of the 1913 Armory Show that revolutionized American art by introducing modernism to the viewing public. He attended the Chicago Academy of Design and from 1879 to 1882, traveled in the West, to Colorado and Mexico City where he worked as a drafting civil engineer. He briefly attended the Chicago Art Institute, and in 1885 moved to New York City where he studied at the Art Students League and Gotham Art Students League. He supported himself as a billboard painter, engineering draftsman, and magazine illustrator. In 1893, he made the first of many trips to Europe, visiting Holland, Paris, and London. He particularly studied the Dutch realist painters, the Maris brothers. He settled in Congers, New York and from there traveled extensively throughout the United States. He developed a style that combined the visionary with Symbolism with elements of Tonalism, Art Nouveau, and Cubism and became increasingly interested in expressing a feeling of lightness in figural compositions. He also did printmaking, having begun in the 1880s and producing some two-hundred graphic works between 1916 and his death in 1928. Source: Matthew Baigell, Dictionary of American Artists

Lot: 9 - Charles Grafly, Pennsylvania, Massachusetts (1862 - 1929), female nude figure study portfolio, 10 graphite on paper sketches, 18 5/8"H x 14 3/4"W (largest sheet)

Charles Grafly Pennsylvania, Massachusetts, (1862 - 1929) female nude figure study portfolio 10 graphite on paper sketches Pencil signed. Biography from the Archives of askART: A native of Philadelphia, Charles Grafly has been called the "foremost American sculptor of male portrait busts." (Reynolds, 146). It has also been written that "Most important of all, . . .he sought to find the true person within, which was even more elusive." (Reynolds, 178). Grafly also did life-size figures including ones for the Philadelphia "Smith Monument", a tribute to Civil War soldiers. However, early in his career, he focused on idealistic and allegorical subjects. In the Paris Exposition of 1900, he won a Gold Medal for the Vulture of War, and for the Pan American Exposition of 1901, he did the Fountain of Men, an allegorical depiction representing the five senses. For the Custom's House in New York, he did a series of personification figures of France and England, but upon completion of that project in 1905, he switched to his signature portraiture. Grafly was known for his analysis of the personalities of his subjects, and he strove to convey their true presence so that nothing interfered with the viewer's interaction with the portrait. It is said that he sketched every day, and he recounted to his daughter that when he and Robert Henri went to France together, they started the day by using each other as sketch subjects. He spent most of his life in Philadelphia excepting regular summer vacations to Gloucester, Massachusetts. He began his career by apprenticing in Struther's stone monumentshop where he carved many bits of sculpture for Philadelphia City Hall. In 1884, he enrolled in the Pennsylvania Academy, and studied anatomy with Thomas Eakins and Thomas Anshutz. In 1888, Grafly went to Paris to the Julian Academy and the Ecole des Beaux Arts. For many years, he taught at the Pennsylvania Academy and at Drexel Institute. He was a founder of the National Sculpture Society and became noted for his portrait busts. Source: Donald Martin Reynolds, Masters of American Sculpture Steven Law, Sculptors of Cape Ann, American Art Review, October 1997

Lot: 10 - Clifford Carleton, Michigan, New York (1867-1946), woman with spinning wheel, grisaille watercolor on paper, 16"H x 19 1/2"W (sight), 22 1/2"H x 26 1/4"W (frame)

Clifford Carleton Michigan, New York, (1867-1946) woman with spinning wheel grisaille watercolor on paper

Lot: 11 - Kathe schmidt Kollwitz, German (1867 - 1945), crouching woman with child in her lap, 1916, lithograph, 16"H x 20"W (sight), 21"H x 25"W (frame)

Kathe schmidt Kollwitz German, (1867 - 1945) crouching woman with child in her lap, 1916 lithograph Signed and dated in the print lower right. Biography from the Archives of askART: The following text was written and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California: Kaethe Kollwitz was born in Koenigsberg, East Prussia in 1867. The family name was Schmidt, and they were cultivated, middle class people who considered a talent to be a duty. Her art education began in 1881; she began studying with Rudolph Mauer, a local engraver. At seventeen, she enrolled in the School for Women Artists in Berlin. Her early studies, which reveal a developing social consciousess, depicted workers engaged in manual labor. In 1885, she became engaged to a medical student, Karl Kollwitz, who was also a member of the Social Democratic Party. Over the next fifty years, her husband's practice exposed her to an even wider range of suffering and tragedy. Kollwitz first studied etching in 1889-90 in Munich, the artistic center of 19th century Germany. She was greatly influenced at the time by Max Klinger's imaginative etchings. She was impervious to contemporaries such as Cezanne, Picasso, Matisee, and Emil Nolde. She pursued an art aimed at voicing the suffering of the people. She remained, throughout her distinguished career as a graphic artist, outside a political party. She was well-known by the time she was thirty. Her final years were not happy, however, for her life was completely disrupted by the fascism sweeping Germany in the late 1930s. After the Gestapo threatened her with arrest, she wore a vial of poison around her neck. She was forbidden to teach and her works, placed on a list of degenerate art, were banned from exhibition. Her son Peter died in Flanders during World War I; she was struck to the bone and used the occasion for one of her most moving protests against war. During World War II she was evacuated to Moritzburg, near Dresden. In 1943 a bomb fell on her home in Berlin, destroying early paintings, prints and plates. In April 1945, only a few days before the Armistice, Kollwitz died. She was seventy-eight. Today the street on which Kollwitz lived in Berlin has been renamed in her honor and a park graces the spot where her house once stood.

Lot: 12 - Pop (George Overbury) Hart, American (1868-1933), landscape with figure and donkey, oil on canvas, 19" H x 29 1/8" W (Sight), 34 5/8" H x 24 3/4" W (Frame)

Pop (George Overbury) Hart American, (1868-1933) landscape with figure and donkey oil on canvas Unsigned. Some loss to paint. Biography from Blake Benton Fine Art: George Overbury "Pop" Hart, Painter, etcher, born in Cairo, IL, May 10, 1868. Hart grew up in a household in which several of his older siblings were artists. This association created in Hart an early love for art. Early in

Lot: 13 - Henry George Keller, Ohio, California, Nova Scotia (1869 - 1949), Gladiolus floral still life, 1930s, watercolor on paper, 28 1/2"H x 20 1/2"W (sight), 38 1/2"H x 30 3/4"W x 1"D (frame)

Henry George Keller Ohio, California, Nova Scotia, (1869 - 1949) Gladiolus floral still life, 1930s watercolor on paper Signed lower right. Biography from the Archives of askART: Keller, a leading painter in Cleveland, was born at sea, off Nova Scotia on April 3, 1869. His earliest training was in Karlsruhe, Germany under Hermann Baisch (1846-1894), then at the Cleveland School of Art,

Lot: 14 - Yamada Baske, Japanese (1869 - 1934), landscape with cherry blossoms, watercolor on paper, 16 1/2"H x 24"W (sight), 24 1/2"H x 33"W (frame)

Yamada Baske Japanese, (1869 - 1934) landscape with cherry blossoms watercolor on paper Signed lower right. Biography from the Archives of askART: The painter now best known as Yamada Baske was born "Fukawa Jin Basuke" in Tokyo in 1869 and first studied art at the Furoko School, Tokyo. After coming to America in 1885 he continued his studies at the Art Students' League in New York; at the Pennsylvania Academy of the Fine Arts; and from 1897 to 1899 at the Philadelphia School of Industrial Art (the March 1907 Philadelphia Museum bulletin described him as having been a "brilliant student"). Among his teachers were William Merritt Chase; Herman F. Deigendesch (1858-1921); Farber; and Mr. Stratton. Later he organized the "Basuke Sketching Class" of Yokohama, and also taught for a time at the Tokyo Fine Art School (now known as Tokyo Geijutsu Daigaku) where his exhibited work won prizes and honorable mentions. Basuke exhibited at the Beard Art Galleries in Minneapolis, Minnesota, attracting the attention of the Minneapolis School of Fine Arts, for whom he began teaching watercolor classes in 1907. His hallmark misty landscapes became (and remain) his most popular subjects. Baske died in 1934. In 2000 a major exhibition of his work was held at the Morikami Museum, Delray Beach, Florida. He is listed in Who Was Who in American Art, and first appeared in Who's Who in American Art in 1915. (Sources: Minneapolis Society of Fine Arts Bulletin, Jan. 1907; The Philadelphia Museum bulletin, Volumes 1-5 January—March. 1907; AskArt.com; iOffer.com; various internet pages accessed September 5, 2010). Notes on variations to Baske's name: It was during Basuke's turn-of-the-century period of increased exposure and popularity that he began spelling his name phonetically "Baske", as he tired of explaining its pronunciation. The January 1907 Minneapolis Society of Fine Arts Bulletin spelled his name as both Baske and Basuke. All modern references to "Yamada Baske" provide the biographical data that is correct for Fukawa Jin Basuke, e.g. his Minneapolis MN Exhibits and Teaching. Basuke eventually signed his misty watercolors both as "F. Baske," "F. Basuke," "Y. Baske" and "Yamada Baske." Matters were further confused when the popular press spelled his family name both ways and misspelled his middle name as "Jine" rather than Jin. Confusion reigns to this day: The 2008 Edition of Davenport's Art Reference and Price Guide lists him as "Fukawa Baske," a European, and as also gives a listing for "Yamanda Baske." Searches under both names show the same subject matter and style, and the same handwriting. Interestingly, in 2009-2010, auctions results under both names have reached parity (his watercolors as F. Basuke and Yamanda Baske bring similar prices at the time of this writing). Information provided by René Ruffner, C.A.G.A.-certified fine art appraiser.

Lot: 15 - Georges Rouault, French (1871 - 1958), Clown Assis, woodcut, 12 3/8"H x 8 1/2"W (sight), 15 7/8"H x 11 7/8"W (mat)

Georges Rouault French, (1871 - 1958) Clown Assis woodcut Signed and dated 1932 in the plate. Biography from the Archives of askART: Georges Rouault was born on May 27, 1871 in Paris in a cellar to which his mother had been carried after the house had been struck by a stray shell during an insurrection. His father was a cabinet-maker in a piano factory. His paternal grandfather was a lover of art, an admirer of Manet and Daumier, who hoped the child would become a painter. When Rouault was a teenager he was apprenticed to a stained glass maker. This early contact with stained glass influenced immensely his later career as painter and printmaker. At the same time he attended evening classes at the Ecole des Arts Decoratifs, and studied painting at the Louvre. He entered the Ecole des Beaux Arts under Elie Delaunay, who died soon after. He became the favorite pupil and a close friend of Gustave Moreau. Moreau died in 1898 and the same year Rouault's parents left France to be with their daughter in Algeria whose husband had just died. Rouault was named Director of the new Musee Gustave Moreau. He turned to painting landscapes; he had a period of bad health which he spent in Evian. Rouault always saw himself as an artisan, an anonymous laborer making devotional images. He used black outline to reinforce the brilliancy of color and expressive gesture in the manner of mosaics or medieval miniatures. He drew freely from various sources in order to give conventual overtones to his modern statement of human dilemma. His preoccupation over the years with the plight of prostitutes, tragicomic clowns and biblical martyrs, who as outcasts from society, suffer the burden of insoluble ethical demands, reflects the existential dread of despair he, as an artist, suffered himself. In 1908, Rouault married Martha Le Sidoner. They had four children. Rouault exhibited with the Fauves, though he was never closely associated with that movement. His work from then until the end of his life was concerned with printmaking, designing costumes and scenery, illustrating books, etc. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Sources include: Lionello Venturi in Rouault catalogue, 1940 Master Paintings from the Phillips Collection World Artists1950-80 by Claude Marks

Lot: 16 - Joseph Lichtenauer Jr., New York, Connecticut (1876 - 1966), unloading the cart, mixed media on board, 15"H x 19"W

Joseph Lichtenauer Jr. New York, Connecticut, (1876 - 1966) unloading the cart mixed media on board Signed lower right. Biography from the Archives of askART: Joseph Mortimer Lichtenauer, Jr. (1876-1966) In the archives of the 1932 Los Angeles Olympic Games, Joseph Mortimer Lichtenauer, Jr. is listed as a 5'9" tall, 56 years old member of the US Team - competing in the event of Sports Themed Art with his painting The Archer. By the time of this event the artist was a well established painter-sculptor-muralist not only in America but in Europe as well. Born in New York, he began his studies at the highly regarded Art Students League. Eventually he moved on to the Academie Julian, in Paris, France (the first art school to admit female art students) and later studied, worked and traveled extensively in Italy. Around 1903 he became a regular exhibitor (receiving a medal in 1905) at the Paris Salon which brought him the attention of art collectors and dealers. After returning to the States he lived in New York, Los Angeles and Westport, CT. Member/ exhibitor: American Federation of Arts National Society of Mural Painters Architectural League of New York Salmagundi Club Artists' Fellowship American Artists Professional League National Academy of Design Collections: Smithsonian Inst. Metropolitan Museum of Art American Academy & Institute of Arts and Letters Brooklyn Museum Some murals: Washington Irving High School Adelphi Theatre Harris Theatre Shubert Theatre Wallach Theatre, all in New York City Information provided by Lui Antal Deak from online open source research

Lot: 17 - Maurice de Vlaminck, New York / France (1876 - 1958), landscape with church, etching and drypoint, 6 1/2"H x 4"W (plate), 9 5/8"H x 12 3/8"W (sheet)

Maurice de Vlaminck New York / France, (1876 - 1958) landscape with church etching and drypoint Signed lower left. Biography from the Archives of askART: Maurice Vlaminck and Andre Derain were good friends and neighbors in France; they made a spectacular pair. Both were huge and both wore conspicuous clothes. One of Vlaminck's favorite items of costume was a painted wooden necktie. They lived and worked in a seaside suburb called Chatou and invited Matisse to visit them there. Thus began one of the most fruitful associations in modern French art: Fauvism. Despite their friendship there were wide differences in their personalities as well as many similarities. Vlaminck claimed to despise intellectual pursuits; Derain read enormous numbers of books. Vlaminck called Derain "a hot-house plant"; Derain's father forbade his son to bring Vlaminck to their house. Vlaminck was about twenty-five at the time; he was already married and had two children. He took life a great deal more lightly than the others; he had no money. He was a red-headed colossus, well known as a boxer and a wrestler. He supported himself and his family partly as a violinist, sometimes posing as a gypsy, and by writing pulp novels that skirted the boundaries of pornography. He was a blatant self-promoter who painted in furious bursts, often spreading the oil paint on directly from the tubes. By the age of thirty, he had attained heights he never regained in a long lifetime of painting. After a brief skirmish with Cubism, Vlaminck began striking out against the current trend. He retired to Normandy and started painting the dozens of landscapes, golden wheat fields and chilly, wind-swept winter scenes that earned him the title "poet of stormy skies". Submitted August 2004 by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Sources include: The World of Matisse by John Russell, Time-Life Library of Art Time Magazine, May 24, 1968

Lot: 18 - Abraham Walkowitz, New York / Russian Federation (1878-1965), abstract, pastel and charcoal on paper, 12"H x 8 3/4"W (sight), 19 5/8"H x 15 7/8"W (frame)

Abraham Walkowitz New York / Russian Federation, (1878-1965) abstract pastel and charcoal on paper Unsigned. Zabriskie Gallery, NY label verso. Biography from the Archives of askART: An early modernist painter known for abstract figurative works, especially in watercolor, Abraham Walkowitz was born in Siberia where his father, a lay rabbi and cantor, died while ministering in China to Jewish soldiers who had been conscripted into the Russian army.

Lot: 19 - Abraham Walkowitz, New York / Russian Federation (1878-1965), nude, charcoal on paper, 13" x 8" (sight), 21" x 15 3/4" (frame)

Abraham Walkowitz New York / Russian Federation, (1878-1965) nude charcoal on paper Signed lower left. Biography from the Archives of askART: An early modernist painter known for abstract figurative works, especially in watercolor, Abraham Walkowitz was born in Siberia where his father, a lay rabbi and cantor, died while ministering in China to Jewish soldiers who had been conscripted

Lot: 20 - Abraham Walkowitz, New York / Russian Federation (1878-1965), abstract, 1915, watercolor and pencil on paper, 17 3/4"H x 11 3/4"W (sight), 23 1/2"H x 17 1/2"W (frame)

Abraham Walkowitz New York / Russian Federation, (1878-1965) abstract, 1915 watercolor and pencil on paper Signed and dated lower right. Exhibited: Martin Diamond Fine Arts, NY Biography from the Archives of askART: An early modernist painter known for abstract figurative works, especially in watercolor, Abraham Walkowitz was born in Siberia where his father, a lay rabbi and cantor,

Lot: 21 - Abraham Walkowitz, New York / Russian Federation (1878-1965), figural drawings, 1919, graphite on paper, 12"H x 6"W (sight), 18"H x 19 1/2"W (frame)

Abraham Walkowitz New York / Russian Federation, (1878-1965) figural drawings, 1919 graphite on paper Signed and dated lower middle. Biography from the Archives of askART: An early modernist painter known for abstract figurative works, especially in watercolor, Abraham Walkowitz was born in Siberia where his father, a lay rabbi and cantor, died while ministering in China to Jewish

Lot: 22 - Abraham Walkowitz, New York / Russian Federation (1878-1965), portrait triptych, 1900, ink on paper, 6 3/8"H x 4 7/8"W (one), 14 3/4"H x 25 3/4"W (frame)

Abraham Walkowitz New York / Russian Federation, (1878-1965) portrait triptych, 1900 ink on paper Each signed and dated lower right. Biography from the Archives of askART: An early modernist painter known for abstract figurative works, especially in watercolor, Abraham Walkowitz was born in Siberia where his father, a lay rabbi and cantor, died while ministering in China to Jewish

Lot: 23 - Abraham Walkowitz, New York / Russian Federation (1878-1965), Bungalows, 1927 , lithograph, 5 1/4"H x 9 5/8"W

Abraham Walkowitz New York / Russian Federation, (1878-1965) Bungalows, 1927 lithograph Signed and dated lower right. Biography from the Archives of askART: An early modernist painter known for abstract figurative works, especially in watercolor, Abraham Walkowitz was born in Siberia where his father, a lay rabbi and cantor, died while ministering in China to Jewish soldiers who had

Lot: 24 - George Gustav Adomeit, Ohio / Germany (1879-1967), Zoar, Ohio, ca. early 1900s, oil on canvas, 22"H x 17"W

George Gustav Adomeit Ohio / Germany, (1879-1967) Zoar, Ohio, ca. early 1900s oil on canvas Unsigned. Vixseboxse Art Galleries, OH label verso. Biography from the Archives of askART: Born in Germany, George Adomeit came to the United States with his family in 1883, settling in Cleveland, Ohio where he supported himself as a commercial artist and printmaker. He trained in commercial printing, studied at the Cleveland School of Art, and had a successful printing company known as the Caxton Press. He emerged in the 1920s as one of the region's leading painters of American Scene genre, especially known for industrial subjects. Many of his pictures are in the Cleveland Museum.

Lot: 25 - Jean Rene Gauguin, French/Danish (1881-1961), Havtyren (Ocean bull), 1930s, faience, 26"H x 25"W x 9"D

Jean Rene Gauguin French/Danish, (1881-1961) Havtyren (Ocean bull), 1930s faience Signed underneath. Bing and Grondahl Marked with the three Royal Towers of Copenhagen.

Lot: 26 - Pablo Picasso, Spanish (1881-1973), figural gesture drawings, Lithographs, 6 ½ x 6 ½; in two frames (9 x 11 x 1”)

Pablo Picasso Spanish, (1881-1973) figural gesture drawings Lithographs Two original lithographs on the sleeve of an exhibition program (1963). Both lithographs, representing painters and their models, are signed and dated by Picasso (in the stone). They are accompanied by the cover of the program: "Picasso, Peintures 1962-1963". Printed by Mourlot Frères, in France.

Lot: 27 - Chester Beach, New York, California / Italy (1881-1956), Rosemary- 4 Months, bronze, 8 1/4"H x 13"W x 10"D

Chester Beach New York, California / Italy, (1881-1956) Rosemary- 4 Months bronze Titled lower right. Biography from the Archives of askART: Chester Beach, born in 1881 in San Francisco, was an academic sculptor of the figure in both bronze and marble, and he also designed coins. Characteristic works include The Glint of the Sea, a bronze of a nude young woman with arms raised; and the bronzes The Fountain of Waters, Sun Drawing the Waters, and Earth Receiving the Waters, in an outdoor setting at the Cleveland Museum of Art, Ohio. Beach worked on Earth and Sun in Rome, Italy in 1929. Beach exhibited his twenty-six inch high, The Unveiling of Dawn, at the historic 1913 Armory Show on Lexington Avenue in New York City. A Rodinesque sculpture of a male nude embracing the amorphous form of dawn hazily emerging from the marble, it is now in the collection of the Metropolitan Museum of Art, New York City. Beach studied in California at the California School of Mechanical Arts and the Mark Hopkins Institute of Art and in Paris at the Ecole des Beaux Arts and the Academy Julian. He was a teacher of sculpture at the Richmond Hill Settlement House from 1910 to 1922, and in 1934, a drawing teacher at the Beaux-Arts Institute of Design. A pamphlet on the artist's work, "Sculpture by Chester Beach," featuring a biography and twelve images of his sculpture, was published in 1937 by Brookgreen Gardens, Pawleys Island, South Carolina. Chester Beach was elected to the National Academy of Design as an Associate in 1908 and an Academician in 1924. He died in 1956. Sources: Peter Hastings Falk, Editor, Who Was Who in American Art http://xroads.virginia.edu/MUSEUM/Armory/galleryB/beach.654.html http://www.sculpturecenter.org/co2002.html http://www.artbooks-ltd.com/artbooks.cgi/K16733.html

Lot: 28 - Chester Beach, New York, California / Italy (1881-1956), Three Days, NY, 1912 (Rosemary), bronze, 7"H x 7"W x 8"D

Chester Beach New York, California / Italy, (1881-1956) Three Days, NY, 1912 (Rosemary) bronze Titled, dated, and signed verso. Biography from the Archives of askART: Chester Beach, born in 1881 in San Francisco, was an academic sculptor of the figure in both bronze and marble, and he also designed coins. Characteristic works include The Glint of the Sea, a bronze of a nude young woman with arms raised; and the bronzes The Fountain of Waters, Sun Drawing the Waters, and Earth Receiving the Waters, in an outdoor setting at the Cleveland Museum of Art, Ohio. Beach worked on Earth and Sun in Rome, Italy in 1929. Beach exhibited his twenty-six inch high, The Unveiling of Dawn, at the historic 1913 Armory Show on Lexington Avenue in New York City. A Rodinesque sculpture of a male nude embracing the amorphous form of dawn hazily emerging from the marble, it is now in the collection of the Metropolitan Museum of Art, New York City. Beach studied in California at the California School of Mechanical Arts and the Mark Hopkins Institute of Art and in Paris at the Ecole des Beaux Arts and the Academy Julian. He was a teacher of sculpture at the Richmond Hill Settlement House from 1910 to 1922, and in 1934, a drawing teacher at the Beaux-Arts Institute of Design. A pamphlet on the artist's work, "Sculpture by Chester Beach," featuring a biography and twelve images of his sculpture, was published in 1937 by Brookgreen Gardens, Pawleys Island, South Carolina. Chester Beach was elected to the National Academy of Design as an Associate in 1908 and an Academician in 1924. He died in 1956. Sources: Peter Hastings Falk, Editor, Who Was Who in American Art http://xroads.virginia.edu/MUSEUM/Armory/galleryB/beach.654.html http://www.sculpturecenter.org/co2002.html http://www.artbooks-ltd.com/artbooks.cgi/K16733.html

Lot: 29 - Chester Beach, New York, California / Italy (1881-1956), 4 Months (Rosemary), bronze, 8 1/4"H x 10"W x 7"D

Chester Beach New York, California / Italy, (1881-1956) 4 Months (Rosemary) bronze Titled and dated to top of head. Biography from the Archives of askART: Chester Beach, born in 1881 in San Francisco, was an academic sculptor of the figure in both bronze and marble, and he also designed coins. Characteristic works include The Glint of the Sea, a bronze of a nude young woman with arms raised; and the bronzes The Fountain of Waters, Sun Drawing the Waters, and Earth Receiving the Waters, in an outdoor setting at the Cleveland Museum of Art, Ohio. Beach worked on Earth and Sun in Rome, Italy in 1929. Beach exhibited his twenty-six inch high, The Unveiling of Dawn, at the historic 1913 Armory Show on Lexington Avenue in New York City. A Rodinesque sculpture of a male nude embracing the amorphous form of dawn hazily emerging from the marble, it is now in the collection of the Metropolitan Museum of Art, New York City. Beach studied in California at the California School of Mechanical Arts and the Mark Hopkins Institute of Art and in Paris at the Ecole des Beaux Arts and the Academy Julian. He was a teacher of sculpture at the Richmond Hill Settlement House from 1910 to 1922, and in 1934, a drawing teacher at the Beaux-Arts Institute of Design. A pamphlet on the artist's work, "Sculpture by Chester Beach," featuring a biography and twelve images of his sculpture, was published in 1937 by Brookgreen Gardens, Pawleys Island, South Carolina. Chester Beach was elected to the National Academy of Design as an Associate in 1908 and an Academician in 1924. He died in 1956. Sources: Peter Hastings Falk, Editor, Who Was Who in American Art http://xroads.virginia.edu/MUSEUM/Armory/galleryB/beach.654.html http://www.sculpturecenter.org/co2002.html http://www.artbooks-ltd.com/artbooks.cgi/K16733.html

Lot: 30 - Celestino Celestini, Italian (1882-1961), Ronciglione (Tuscan Hillside), etching, Plate size: 15 ¼" H x 14 ¼" W; frame: 26" x 26"

Celestino Celestini Italian, (1882-1961) Ronciglione (Tuscan Hillside) etching Signed and titled in pencil. Strong, ink-rich impression. Lightweight frame with plexiglass.

Lot: 31 - Bertram Hartman, New York, Kansas (1882-1960), pastoral landscape , watercolor on paper, 15 1/2"H x 22 3/4"W

Bertram Hartman New York, Kansas, (1882-1960) pastoral landscape watercolor on paper Signed lower left. Biography from the Archives of askART: Bertram Hartman was an American painter who was born in Junction City, Kansas on April 18, 1882. He studied at the Art Institute of Chicago, and at theRoyal Academy in Munich and Paris. He was a member of the Chicago Society of Artists, National Society of Mural Painters, American Society of Painters, Sculptors and Gravers; and American Water Color Society. Hartman exhibited at the Panama-Pacific Exposition in 1915, Carnegie Institute in 1933, Art Insitute of Chicago from 1926 to 1934, Pennsylvania Academy of the Fine Arts, The Corcoran Gallery of Art, Whitney Museum of American Art, Brooklyn Museum, Grand Central Palace and in South America in 1940. His artwork is held in the collections of the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum and Randolph-Macon College for Women. As part of the Federal Art Project of the Works Progress (later Projects) Administration (W.P.A.) Hartman completed a mural for the United States Post Office in Dayton, Tennessee. Hartman died in New York City on July 9, 1960. REFERENCES: Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. [1974] 3 vols. Chicago: Swallow Press. 1985. Falk, Peter Hastings. Who Was Who in American Art. Connecticut: Sound View Press. 1985. Fielding, Mantle. Dictionary of American Painters, Sculptors and Engravers. Ed. by Glenn1985. B. Optiz. New York: Apollo Book. 1986.

Lot: 32 - Bertram Hartman, New York, Kansas 1882-1960, Rooftops in Stonington, ME, watercolor and graphite on paper, 22 1/4"H x 15"W

Bertram Hartman New York, Kansas, 1882-1960 Rooftops in Stonington, ME watercolor and graphite on paper Signed and titled verso. Four point star pattern with female nudes verso. Biography from the Archives of askART: Bertram Hartman was an American painter who was born in Junction City, Kansas on April 18, 1882. He studied at the Art Institute of Chicago, and at theRoyal Academy in Munich and Paris. He was a member of the Chicago Society of Artists, National Society of Mural Painters, American Society of Painters, Sculptors and Gravers; and American Water Color Society. Hartman exhibited at the Panama-Pacific Exposition in 1915, Carnegie Institute in 1933, Art Insitute of Chicago from 1926 to 1934, Pennsylvania Academy of the Fine Arts, The Corcoran Gallery of Art, Whitney Museum of American Art, Brooklyn Museum, Grand Central Palace and in South America in 1940. His artwork is held in the collections of the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum and Randolph-Macon College for Women. As part of the Federal Art Project of the Works Progress (later Projects) Administration (W.P.A.) Hartman completed a mural for the United States Post Office in Dayton, Tennessee. Hartman died in New York City on July 9, 1960. REFERENCES: Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. [1974] 3 vols. Chicago: Swallow Press. 1985. Falk, Peter Hastings. Who Was Who in American Art. Connecticut: Sound View Press. 1985. Fielding, Mantle. Dictionary of American Painters, Sculptors and Engravers. Ed. by Glenn1985. B. Optiz. New York: Apollo Book. 1986.

Lot: 33 - Bertram Hartman, New York, Kansas (1882-1960), Houses in Stonington, ME , watercolor on paper, 22 1/2"H x 14 7/8"W

Bertram Hartman New York, Kansas, (1882-1960) Houses in Stonington, ME watercolor on paper Signed lower right, titled verso. Biography from the Archives of askART: Bertram Hartman was an American painter who was born in Junction City, Kansas on April 18, 1882. He studied at the Art Institute of Chicago, and at theRoyal Academy in Munich and Paris. He was a member of the Chicago Society of Artists, National Society of Mural Painters, American Society of Painters, Sculptors and Gravers; and American Water Color Society. Hartman exhibited at the Panama-Pacific Exposition in 1915, Carnegie Institute in 1933, Art Insitute of Chicago from 1926 to 1934, Pennsylvania Academy of the Fine Arts, The Corcoran Gallery of Art, Whitney Museum of American Art, Brooklyn Museum, Grand Central Palace and in South America in 1940. His artwork is held in the collections of the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum and Randolph-Macon College for Women. As part of the Federal Art Project of the Works Progress (later Projects) Administration (W.P.A.) Hartman completed a mural for the United States Post Office in Dayton, Tennessee. Hartman died in New York City on July 9, 1960. REFERENCES: Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. [1974] 3 vols. Chicago: Swallow Press. 1985. Falk, Peter Hastings. Who Was Who in American Art. Connecticut: Sound View Press. 1985. Fielding, Mantle. Dictionary of American Painters, Sculptors and Engravers. Ed. by Glenn1985. B. Optiz. New York: Apollo Book. 1986.

Lot: 34 - Bertram Hartman, New York, Kansas (1882-1960), Marine Still Life-Herring and Skate, 1927, watercolor on paper, 15 1/8"H x 22 1/2"W

Bertram Hartman New York, Kansas, (1882-1960) Marine Still Life-Herring and Skate, 1927 watercolor on paper Signed and dated lower right, titled verso. Biography from the Archives of askART: Bertram Hartman was an American painter who was born in Junction City, Kansas on April 18, 1882. He studied at the Art Institute of Chicago, and at theRoyal Academy in Munich and Paris. He was a member of the Chicago Society of Artists, National Society of Mural Painters, American Society of Painters, Sculptors and Gravers; and American Water Color Society. Hartman exhibited at the Panama-Pacific Exposition in 1915, Carnegie Institute in 1933, Art Insitute of Chicago from 1926 to 1934, Pennsylvania Academy of the Fine Arts, The Corcoran Gallery of Art, Whitney Museum of American Art, Brooklyn Museum, Grand Central Palace and in South America in 1940. His artwork is held in the collections of the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum and Randolph-Macon College for Women. As part of the Federal Art Project of the Works Progress (later Projects) Administration (W.P.A.) Hartman completed a mural for the United States Post Office in Dayton, Tennessee. Hartman died in New York City on July 9, 1960. REFERENCES: Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. [1974] 3 vols. Chicago: Swallow Press. 1985. Falk, Peter Hastings. Who Was Who in American Art. Connecticut: Sound View Press. 1985. Fielding, Mantle. Dictionary of American Painters, Sculptors and Engravers. Ed. by Glenn1985. B. Optiz. New York: Apollo Book. 1986.

Lot: 35 - Bertram Hartman, New York, Kansas (1882-1960), Farm Scene,1943, graphite and watercolor on paper, 11"H x 15"W

Bertram Hartman New York, Kansas, (1882-1960) Farm Scene,1943 graphite and watercolor on paper Signed lower right, dated lower left. Signed and titled verso. Biography from the Archives of askART: Bertram Hartman was an American painter who was born in Junction City, Kansas on April 18, 1882. He studied at the Art Institute of Chicago, and at theRoyal Academy in Munich and Paris. He was a member of the Chicago Society of Artists, National Society of Mural Painters, American Society of Painters, Sculptors and Gravers; and American Water Color Society. Hartman exhibited at the Panama-Pacific Exposition in 1915, Carnegie Institute in 1933, Art Insitute of Chicago from 1926 to 1934, Pennsylvania Academy of the Fine Arts, The Corcoran Gallery of Art, Whitney Museum of American Art, Brooklyn Museum, Grand Central Palace and in South America in 1940. His artwork is held in the collections of the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum and Randolph-Macon College for Women. As part of the Federal Art Project of the Works Progress (later Projects) Administration (W.P.A.) Hartman completed a mural for the United States Post Office in Dayton, Tennessee. Hartman died in New York City on July 9, 1960. REFERENCES: Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. [1974] 3 vols. Chicago: Swallow Press. 1985. Falk, Peter Hastings. Who Was Who in American Art. Connecticut: Sound View Press. 1985. Fielding, Mantle. Dictionary of American Painters, Sculptors and Engravers. Ed. by Glenn1985. B. Optiz. New York: Apollo Book. 1986.

Lot: 36 - Bertram Hartman, New York, Kansas (1882-1960), Falls of the Housatonic New Milford CT, 1941, watercolor on paper, 15 5/8"H x 22 5/8"W

Bertram Hartman New York, Kansas, (1882-1960) Falls of the Housatonic New Milford CT, 1941 watercolor on paper Signed and dated lower left, titled verso. Biography from the Archives of askART: Bertram Hartman was an American painter who was born in Junction City, Kansas on April 18, 1882. He studied at the Art Institute of Chicago, and at theRoyal Academy in Munich and Paris. He was a member of the Chicago Society of Artists, National Society of Mural Painters, American Society of Painters, Sculptors and Gravers; and American Water Color Society. Hartman exhibited at the Panama-Pacific Exposition in 1915, Carnegie Institute in 1933, Art Insitute of Chicago from 1926 to 1934, Pennsylvania Academy of the Fine Arts, The Corcoran Gallery of Art, Whitney Museum of American Art, Brooklyn Museum, Grand Central Palace and in South America in 1940. His artwork is held in the collections of the Metropolitan Museum of Art, Whitney Museum of American Art, Brooklyn Museum and Randolph-Macon College for Women. As part of the Federal Art Project of the Works Progress (later Projects) Administration (W.P.A.) Hartman completed a mural for the United States Post Office in Dayton, Tennessee. Hartman died in New York City on July 9, 1960. REFERENCES: Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. [1974] 3 vols. Chicago: Swallow Press. 1985. Falk, Peter Hastings. Who Was Who in American Art. Connecticut: Sound View Press. 1985. Fielding, Mantle. Dictionary of American Painters, Sculptors and Engravers. Ed. by Glenn1985. B. Optiz. New York: Apollo Book. 1986.

Lot: 37 - Walter Pach, New York / France (1883-1958), female portrait, 1928, oil on canvas, 22"H x 18 1/4"W

Walter Pach New York / France, (1883-1958) female portrait, 1928 oil on canvas Signed and dated upper left. Hole in canvas. Biography from the Archives of askART: The following is from Laurette E. McCarthy, Ph.D. who wrote her dissertation on Walter Pach and is the leading expert on his life and work. Walter Pach (July 11, 1883-November 27, 1958), artist, critic, historian, dealer,

Lot: 38 - Attributed to Charles Henry Demuth, Pennsylvania, New York / Europe (1883 - 1935), My Egypt, 1932, watercolor on paper

Attributed to Charles Henry Demuth Pennsylvania, New York / Europe, (1883 - 1935) My Egypt, 1932 watercolor on paper pencil signature lower is perhaps not signed by the artist.

Lot: 39 - Karl Schmidt-Rottluff, German (1884-1976), Kleine Prophetin, 1919, woodcut on watermarked paper, 8 1/4" H x 6" W

Karl Schmidt-Rottluff German, (1884-1976) Kleine Prophetin, 1919 woodcut on watermarked paper inscribed verso in pencil. Provenance: From a private collector, Indianapolis. The first and only volume of Das graphische Jahrbuch (The print yearbook), published by Karl Lang Verlag, presented an idiosyncratic selection of postwar German printmakers chosen by its editor, Hans Theodor Joel, who believed in the revolutionary potential of art to transform society. Rather than offering a comprehensive overview—and although it included short essays on major Expressionists ranging from Max Beckmann, Wilhelm Lehmbruck, and Oskar Kokoschka—Das graphische Jahrbuch primarily highlighted younger artists who were not well known, including now mostly forgotten figures such as Otto Gleichmann, Walter Gramatté, and Richard Seewald. Contributors included critics and art historians such as Julius Meier-Graefe, Rosa Schapire, Gustav Schiefler, and Paul Westheim. The book featured three original prints: one woodcut by Karl Schmidt-Rottluff and another by Gottfried Graf and a lithograph by Walter Ruttmann. The rest of the images were reproductions, which helped make the book affordable. After the collapse of the communist government in Munich in 1919, Karl Lang Verlag had moved its operations to Darmstadt, where Joel edited this collection as well as other periodicals and portfolios of Expressionist prints, and in addition published original prints through his own Verlag für Neue Graphik. Publication excerpt from Heather Hess, German Expressionist Digital Archive Project, German Expressionism: Works from the Collection. 2011.

Lot: 40 - Philip Gregory Needell, British (1886-1974), landscape, pastel, 11 ¾ W x 9 ¼ H

Philip Gregory Needell British, (1886-1974) landscape pastel Verdant plain and hills on a summer day; pastel on laid paper; signed (lower left corner). In passepartout.

Lot: 41 - Oscar Gieberich, New York, Florida (1886 - 1954), still life, oil on canvas, 29 1/2" x 35 3/4"W

Oscar Gieberich New York, Florida, (1886 - 1954) still life oil on canvas Signed lower right. Biography from James D Julia, Inc: While Gieberich studied at the Art Students League in New York, he most often associated with the Provincetown art colony. Initially he came to Provincetown to study with Charles W. Hawthorne, once there however his involvement in the community grew. He played a major role in the organization of the Provincetown Art Association—he was a member of its first committee, which also included artists Edwin Dickinson, Gerrit Beneker and Oliver Chaffee, and was also a member of the Beachcombers.

Lot: 42 - Sandor Vago, Ohio / Hungary (1887-1946), Hungarian Woman, (the artist's wife), ca. 1930s, oil on canvas, 40"H x 35"W

Sandor Vago Ohio / Hungary, (1887-1946) Hungarian Woman, (the artist's wife), ca. 1930s oil on canvas Signed lower right. Exhibited: The Many Faces of Cleveland: A Century of Portraiture, Cleveland Artist's Foundation, Cleveland, OH 2002 Biography from the Archives of askART: A portrait painter, Sandor Vago was born in Hungary and studied at art academies in Budapest and Munich. In the early 1910s he exhibited in Budapest, Vienna, and Venice. Little is known about his art of this period because most of it was destroyed during World War I. In 1921 he immigrated to Cleveland. Soon after his arrival, he joined the Cleveland Society of Artists, opened a studio, and launched a lucrative career as a portrait painter, receiving commissions from individuals as well as private and public institutions, including Western Reserve Academy and the Catholic Diocese of Cleveland. He exhibited in the annual May Shows at the Cleveland Museum of Art (1922--47). His paintings were featured in solo exhibitions at Korner & Wood Galleries (1925), Gunther's Gallery (1927), Gage Galley (1929), Webb C. Ball Art Galleries (1932, 1934, 1939), and the Cleveland Society of Artists (1940). In 1927 He spent a year traveling in France, Italy, and Hungary, where he painted portraits and genre scenes. From 1929 to 1935 Vago taught at the Cleveland School of Art. Source: Written and submitted July 2004 by Benjamin Moss

Lot: 43 - John Edward Costigan, Rhode Island, New York (1888 - 1972), Figures With Cow, 1936, etching, 9 3/4"H x 14 1/2"W

John Edward Costigan Rhode Island, New York, (1888 - 1972) Figures With Cow, 1936 etching Signed lower right, titled lower left. Biography from the Archives of askART: Part of the following biography was contributed by Dan Costigan, son of the artist. A native of Providence, Rhode Island, John Costigan was a skilled landscape and figure painter who disdained portraits because "the subjects want flattering pictures." He was orphaned and raised in New York by his aunt and uncle, the parents of songwriter, George M. Cohan. Mainly self-taught, Costigan studied briefly at the Art Students League and worked as a lithographer of theater posters. From that job he learned the printing processes that he later used in his many etchings. He began making his name in the fine arts in 1920, and throughout the decade, reaped numerous important prizes for his oils, watercolors and prints. He served in the infantry in World War I and supported himself during the Depression with magazine illustration. For about a year during World War II, to remain financially solvent, he worked the night shift as a machine operator in a defense plant while continuing to paint and etch by day. In the late 1960s, he enjoyed a revival of interest in his fine arts talents when more than 50 pieces were borrowed from museums and private collections to be toured nationally in a Smithsonian-sponsored Costigan retrospective.

Lot: 44 - Julius Thiengen Bloch, Pennsylvania / Germany (1888-1966), A School Boy, oil on canvas, 18"H x 15"W

Julius Thiengen Bloch Pennsylvania / Germany, (1888-1966) A School Boy oil on canvas Signed upper left, titled verso. Small hole in canvas. Biography from Philadelphia Museum of Art, Library and Archives: Julius Bloch (1888-1966) had a natural empathy for working people, whom he captured in moving portraits. He approached the subject of a stevedore, a prisoner, a factory worker, or a dispossessed farmer with the dignity and formality usually reserved for commissioned portraits. The financial hardships of Bloch's own family--German Jews who emigrated to Philadelphia in 1893--made him attentive to the emotional burdens of the Depression, its crushing effect on the morale of the average person. Bloch lived with his family on Uber Street in North Philadelphia for most of his life. He trained at the Pennsylvania Museum and School and later at the Pennsylvania Academy of the Fine Arts, where he was greatly influenced by the legacy of Thomas Eakins. Though the onset of the Depression seemed to Bloch and his contemporaries to signal the death of American culture, the 1930s would prove to be a stimulating, generative period in American art. By the end of the decade, Julius Bloch would be transformed from an unknown Philadelphia painter to a social realist with a national reputation. Bloch's compassionate identification with the suffering of innocent people naturally drew him to the Black community, which was faced with racial discrimination as well as economic privations. Powerful images of lynching in his work of the 1930s were followed by sympathetic portraits of Black community leaders and artists such as Horace Pippin. Approximately forty paintings, drawings, and prints survey the range of the artist's career from 1912 to the early 1950s. Works owned by this Museum are supplemented by loans from other institutions and private collections, most notably that of Benjamin D. Bernstein, whose friendship for Bloch and his family has ensured the preservation of his work and archives. A special issue of the Museum Bulletin written by Patricia Likos accompanies the exhibition, which is supported in part by a grant from The Pew Memorial Trust.

Lot: 45 - Lucy L'engle, New York, Massachusetts (1889 - 1978), Truvio, 1952, watercolor on colored paper, 16"H x 20"W (sight), 22"H x 26"W (mat)

Lucy L'engle New York, Massachusetts, (1889 - 1978) Truvio, 1952 watercolor on colored paper Signed and dated lower right. Biography from the Archives of askART: A painter in Cubist style who studied in Paris with Albert Gleizes, Lucy L'Engle was born in New York City to affluent parents. Her father, Charles Stelle, was a successful real estate professional, and her mother, Lucy Barnes Brown, was, in 1893, the first women's champion of the American Professional Golf Association. Lucy L'Engle studied at the Art Students League with George Bridgman, and then went to Paris where she met artist William L'Engle. They married in 1914, had a daughter the following year, and in 1916 settled in New York City. Shortly after, they visited Provincetown, Massachusetts, and Lucy enrolled in the Cape Cod School of Art with Charles Hawthorne. A second daughter was born in 1917, and the family continued to visit Provincetown in the summers with Lucy and William becoming active in the Provincetown Art Association and Lucy first exhibiting there in 1918. Socializing with many of the participants in the "town's intellectual and social milieu, they achieved a degree of notoriety for their parties." (76) Among Lucy's good friends were modernist artists Blanche Lazzell, Ellen Ravenscroft, Agnes Weinrich and Marguerite Zorach. In 1918, the L'Engles traveled to France, and returned to buy a house in Truro, near Provincetown, which they decided had become too crowded. In 1925, Lucy L'Engle joined the New York Society of Women Artists, and 1n 1927, she and her husband served on the Provincetown Art Association jury for the First Modernist Exhibition. Like many modern artists of her era, she was influenced by Vassily Kandinsky, the Russian painter who founded the German expressionist movement, Blue Rider, in 1912. St. Augustine, Florida was their destination in 1940, and they decided to spend their future summers there. Two factors likely played a part: the delicate health of William and his friendship with artist, Tod Lindenmuth, who had just bought property there. In 1942, the L'Engles joined the Arts Club, and from that time became very active in the group, "doing much to promote avant-garde art." (77) After her husband's death in 1957, Lucy L'Engle devoted much energy to preserving his memory. She exhibited his work in Truro at their home where the studio was named L'Engle Studio Gallery. She also continued to exhibit her work there and in New York where she had a residence until 1972. She died in Truro in 1978. Source: Robert Torchia, Lost Colony: The Artists of St. Augustine, 1930-1950

Lot: 46 - Abraham Mark Datz, New York / Russian Federation (1889-1969), Age Of Symbols, 1943, oil on canvas, 27" x 29"

Abraham Mark Datz New York / Russian Federation, (1889-1969) Age Of Symbols, 1943 oil on canvas Signed lower right. Signed, dated, titled, and numbered 257 verso. Biography from Swann Galleries: Born in Chernova, Russia and immigrating the United States in 1903 Abraham Mark Datz is primarily known for his paintings, and etchings. He studied at the National Academy of Design, Cooper Union Art School, and Beaux-Arts Institute of Design. Syracuse University maintains the Datz archive, and his works are rarely sold at auction. His art remains in the collections of The Whitney Museum of American Art, Rochester Memorial Art Gallery, Oshkosh Museum of Art, Los Angeles Museum of Art, and The New York Public Library.

Lot: 47 - Abraham Mark Datz, New York / Russian Federation (1889-1969), The Black Swann, 1948, oil on board, 22 1/2"H x 28"W

Abraham Mark Datz New York / Russian Federation, (1889-1969) The Black Swann, 1948 oil on board Signed lower right, titled and dated verso. Biography from Swann Galleries: Born in Chernova, Russia and immigrating the United States in 1903 Abraham Mark Datz is primarily known for his paintings, and etchings. He studied at the National Academy of Design, Cooper Union Art School, and Beaux-Arts Institute of Design. Syracuse University maintains the Datz archive, and his works are rarely sold at auction. His art remains in the collections of The Whitney Museum of American Art, Rochester Memorial Art Gallery, Oshkosh Museum of Art, Los Angeles Museum of Art, and The New York Public Library.

Lot: 48 - Maurice Becker, New York / Mexico / Russia (1889 - 1975), Fair Grounds, 1931, watercolor on paper, 11 1/4"H x 15 1/2"W

Maurice Becker New York / Mexico / Russia, (1889 - 1975) Fair Grounds, 1931 watercolor on paper Signed and dated lower right, titled lower left. Maurice Becker, painter, political cartoonist and social reformer, was born in 1889 either in Gorky or Niznij Novgorod, in Russia. His family came to the United States in 1892, to New York City. After high school, Becker worked in a clothing factory. He studied with Ash Can School artist Robert Henri in 1908, and exhibited in the famous 1913 Armory Show in New York City when he was only twenty-four years of age. At the Armory show, Becker showed a drawing of a dog's head, sketched in charcoal on a sheet of newspaper. But he became known for black and white drawings expressing his intense feelings about what he saw as injustices in America, and with the advent of World War I, his strong anti-war position. These drawings appeared in left-wing publications like The Daily Worker, The Masses, Liberator, and New Solidarity. Becker knew artist John Sloan, who was editor of The Masses, so Sloan published drawings such as Becker's Ammunition in the June 1914 issue depicting human beings being shot from cannons. His drawing of a wounded soldier in bed being told by a nurse, "Don't be discouraged. The doctor says you'll be back on the firing line in a week," appeared in The Masses in December 1914. A pacifist belonging to the American Union Against Militarism, Becker was sentenced to twenty-five years at hard labor when the United States entered the War and Becker was drafted and refused to fight. He was released in 1919 when Woodrow Wilson declared an amnesty for conscientious objectors. Becker was a supporter of Women's Suffrage with drawings such as They Ain't Our Equals Yet! depicting gross characters of American capitalism. His Americanizing the Alien, from the January 1920 issue of New Solidarity has Uncle Sam transferring a new brain to a man with the top of his skull hinged back. Becker lived for a number of years in Mexico where he continued to produce political cartoons while emphasizing his painting. Florence, a small oil painted in 1932, is a loosely brushed, intense characterization of a young woman wearing a hat. Maurice Becker died in Scranton, Pennsylvania in 1975. There are extensive bibliographical listings and books of drawings by Maurice Becker online and in the library of Michigan State University, East Lansing at http://www.lib.msu.edu/comics/rri/brri/beck.htm. Art and Politics by Richard Fitzgerald, published in 1973 by Greenwood Press, evaluates the work of Maurice Becker and four other politically oriented artists like K.R. Chamberlain, Robert Minor, John Sloan and Art Young.

Lot: 49 - Maurice Becker, New York / Mexico / Russia (1889 - 1975), Seagulls, 1944, watercolor on paper, 15"H x 20"W

Maurice Becker New York / Mexico / Russia, (1889 - 1975) Seagulls, 1944 watercolor on paper Signed and dated lower left. Maurice Becker, painter, political cartoonist and social reformer, was born in 1889 either in Gorky or Niznij Novgorod, in Russia. His family came to the United States in 1892, to New York City. After high school, Becker worked in a clothing factory. He studied with Ash Can School artist Robert Henri in 1908, and exhibited in the famous 1913 Armory Show in New York City when he was only twenty-four years of age. At the Armory show, Becker showed a drawing of a dog's head, sketched in charcoal on a sheet of newspaper. But he became known for black and white drawings expressing his intense feelings about what he saw as injustices in America, and with the advent of World War I, his strong anti-war position. These drawings appeared in left-wing publications like The Daily Worker, The Masses, Liberator, and New Solidarity. Becker knew artist John Sloan, who was editor of The Masses, so Sloan published drawings such as Becker's Ammunition in the June 1914 issue depicting human beings being shot from cannons. His drawing of a wounded soldier in bed being told by a nurse, "Don't be discouraged. The doctor says you'll be back on the firing line in a week," appeared in The Masses in December 1914. A pacifist belonging to the American Union Against Militarism, Becker was sentenced to twenty-five years at hard labor when the United States entered the War and Becker was drafted and refused to fight. He was released in 1919 when Woodrow Wilson declared an amnesty for conscientious objectors. Becker was a supporter of Women's Suffrage with drawings such as They Ain't Our Equals Yet! depicting gross characters of American capitalism. His Americanizing the Alien, from the January 1920 issue of New Solidarity has Uncle Sam transferring a new brain to a man with the top of his skull hinged back. Becker lived for a number of years in Mexico where he continued to produce political cartoons while emphasizing his painting. Florence, a small oil painted in 1932, is a loosely brushed, intense characterization of a young woman wearing a hat. Maurice Becker died in Scranton, Pennsylvania in 1975. There are extensive bibliographical listings and books of drawings by Maurice Becker online and in the library of Michigan State University, East Lansing at http://www.lib.msu.edu/comics/rri/brri/beck.htm. Art and Politics by Richard Fitzgerald, published in 1973 by Greenwood Press, evaluates the work of Maurice Becker and four other politically oriented artists like K.R. Chamberlain, Robert Minor, John Sloan and Art Young.

Lot: 50 - Maurice Becker, New York / Mexico / Russia (1889 - 1975), Seward Park, 1912, graphite on paper, 6 3/4"H x 6"W

Maurice Becker New York / Mexico / Russia, (1889 - 1975) Seward Park, 1912 graphite on paper Signed, titled and dated lower right. Maurice Becker, painter, political cartoonist and social reformer, was born in 1889 either in Gorky or Niznij Novgorod, in Russia. His family came to the United States in 1892, to New York City. After high school, Becker worked in a clothing factory. He studied with Ash Can School artist Robert Henri in 1908, and exhibited in the famous 1913 Armory Show in New York City when he was only twenty-four years of age. At the Armory show, Becker showed a drawing of a dog's head, sketched in charcoal on a sheet of newspaper. But he became known for black and white drawings expressing his intense feelings about what he saw as injustices in America, and with the advent of World War I, his strong anti-war position. These drawings appeared in left-wing publications like The Daily Worker, The Masses, Liberator, and New Solidarity. Becker knew artist John Sloan, who was editor of The Masses, so Sloan published drawings such as Becker's Ammunition in the June 1914 issue depicting human beings being shot from cannons. His drawing of a wounded soldier in bed being told by a nurse, "Don't be discouraged. The doctor says you'll be back on the firing line in a week," appeared in The Masses in December 1914. A pacifist belonging to the American Union Against Militarism, Becker was sentenced to twenty-five years at hard labor when the United States entered the War and Becker was drafted and refused to fight. He was released in 1919 when Woodrow Wilson declared an amnesty for conscientious objectors. Becker was a supporter of Women's Suffrage with drawings such as They Ain't Our Equals Yet! depicting gross characters of American capitalism. His Americanizing the Alien, from the January 1920 issue of New Solidarity has Uncle Sam transferring a new brain to a man with the top of his skull hinged back. Becker lived for a number of years in Mexico where he continued to produce political cartoons while emphasizing his painting. Florence, a small oil painted in 1932, is a loosely brushed, intense characterization of a young woman wearing a hat. Maurice Becker died in Scranton, Pennsylvania in 1975. There are extensive bibliographical listings and books of drawings by Maurice Becker online and in the library of Michigan State University, East Lansing at http://www.lib.msu.edu/comics/rri/brri/beck.htm. Art and Politics by Richard Fitzgerald, published in 1973 by Greenwood Press, evaluates the work of Maurice Becker and four other politically oriented artists like K.R. Chamberlain, Robert Minor, John Sloan and Art Young.

Lot: 51 - Elizabeth Miller Lobingier, American (1889-1973), Triangular Abstractions, oil on canvas, 24 1/2"H x 29 1/2"W (image) 30"H x 34 3/4"W (frame)

Elizabeth Miller Lobingier American, (1889-1973) Triangular Abstractions oil on canvas signed lower right From AskArt: Born in Washington D.C. , she studied at the Art Institute of Chicago with Walter Sargent and Hugh Breckenriadge, at the University of New Mexico and the University of Chicago. In Gloucester, Massachusetts, she took classes from A.T. Hibbard and Carl Nordstrom, and she lived in the Cape Ann area of Boston's North Shore. With Walter Sargent, she co-authored a book, "How Children Learn to Draw." From 1935 to 1953, she taught at the Winchester, Massachusetts Studio Guild, and beginning 1952, worked in the Education department of the Boston Museum of Fine Arts. She also painted in Georgia where her work won prizes. From 1935 to 1946, she exhibited extensively in the Boston area.

Lot: 52 - Maurice Becker, New York / Mexico (1889-1975), Paul Robeson circa 1955, watercolor on paper postcard, 3 1/4"H x 5 1/2"W

Maurice Becker New York / Mexico, (1889-1975) Paul Robeson circa 1955 watercolor on paper postcard Signed and titled lower left. Maurice Becker, painter, political cartoonist and social reformer, was born in 1889 either in Gorky or Niznij Novgorod, in Russia. His family came to the United States in 1892, to New York City. After high school, Becker worked in a clothing factory. He studied with Ash Can School artist Robert Henri in 1908, and exhibited in the famous 1913 Armory Show in New York City when he was only twenty-four years of age. At the Armory show, Becker showed a drawing of a dog's head, sketched in charcoal on a sheet of newspaper. But he became known for black and white drawings expressing his intense feelings about what he saw as injustices in America, and with the advent of World War I, his strong anti-war position. These drawings appeared in left-wing publications like The Daily Worker, The Masses, Liberator, and New Solidarity. Becker knew artist John Sloan, who was editor of The Masses, so Sloan published drawings such as Becker's Ammunition in the June 1914 issue depicting human beings being shot from cannons. His drawing of a wounded soldier in bed being told by a nurse, "Don't be discouraged. The doctor says you'll be back on the firing line in a week," appeared in The Masses in December 1914. A pacifist belonging to the American Union Against Militarism, Becker was sentenced to twenty-five years at hard labor when the United States entered the War and Becker was drafted and refused to fight. He was released in 1919 when Woodrow Wilson declared an amnesty for conscientious objectors. Becker was a supporter of Women's Suffrage with drawings such as They Ain't Our Equals Yet! depicting gross characters of American capitalism. His Americanizing the Alien, from the January 1920 issue of New Solidarity has Uncle Sam transferring a new brain to a man with the top of his skull hinged back. Becker lived for a number of years in Mexico where he continued to produce political cartoons while emphasizing his painting. Florence, a small oil painted in 1932, is a loosely brushed, intense characterization of a young woman wearing a hat. Maurice Becker died in Scranton, Pennsylvania in 1975. There are extensive bibliographical listings and books of drawings by Maurice Becker online and in the library of Michigan State University, East Lansing at http://www.lib.msu.edu/comics/rri/brri/beck.htm. Art and Politics by Richard Fitzgerald, published in 1973 by Greenwood Press, evaluates the work of Maurice Becker and four other politically oriented artists like K.R. Chamberlain, Robert Minor, John Sloan and Art Young.

Lot: 53 - Leon Underwood, British (1890 - 1975), Fight Below Deck, wood engraving, 10 1/2"H x 16"W (sheet)

Leon Underwood British, (1890 - 1975) Fight Below Deck wood engraving Pencil signed lower right. Biography from the Archives of askART: George Claude Leon Underwood (25 December 1890 – 9 October 1975), known primarily as Leon Underwood, was a British artist, although primarily known as a sculptor, printmaker and painter, he was also an influential teacher and promoter of African

Lot: 54 - Paul Travis, Ohio (1891 - 1975), Rendezvous Over India, 1956, Watercolor on paper, 19 1/2"H x 25 1/4" (sight), 28 1/2"H 34 1/4"W x 2"D (frame)

Paul Travis Ohio, (1891 - 1975) Rendezvous Over India, 1956 Watercolor on paper Unsigned. Labeled verso. Exhibited: Cleveland Museum of Art, 38th Annual May Show, 1956. Awarded first prize watercolor. Biography from the archives of askART: Born in West Point, Ohio near the border of Pennsylvania, Paul Travis became a painter, lithographer, etcher, and teacher, living in Cleveland and Cleveland Heights, Ohio. His name is closely associated with the watercolor tradition of Northeast Ohio. He graduated from the Cleveland School of Art where he was a student of Henry Keller, tonalist painter. He served in the Army in World War I, and remained in Europe for several years where he taught art at American universities in Europe. In 1920, he returned to Ohio to teach at the Cleveland School, renamed in 1940 the Cleveland Institute of Art. He also taught at Western Reserve University beginning 1956. In 1927, he traveled extensively in Africa and used that subject matter for many years in his painting. Memberships included the American Society for Aesthetics; Cleveland Society for Aesthetics, which in 1946 he served as President; Cleveland Museum of Modern Art; and the Archaeological Institute America. Exhibition venues were: Cleveland Museum of Art, 1920-1958; Pennsylvania Academy of the Fine Arts; Brooklyn Museum; Museum of Modern Art; Art Institute of Chicago; Golden Gate Exposition, 1939; Carnegie Institute; Corcoran Gallery Biennials; Pasadena Art Institute, 1946; Butler Art Institute, 1936-1958; Ohio Watercolor Society, and Cleveland Art Association. Source: Peter Hastings Falk, Editor, Who Was Who in American Art

Lot: 55 - Gerrit Hondius, Massachusetts, New York (1891-1970), circus clown, oil on board, 21"H x 9"W (sight), 24"H x 12"W (frame)

Gerrit Hondius Massachusetts, New York, (1891-1970) circus clown oil on board signed upper right. From the Archives of askArt: A modernist artist who lived in both Provincetown, Massachusetts, and New York City, Gerrit Hondius studied at the Art Students League with Max Weber and Andrew Dasburg. He also studied at the Royal Academy in The Hague. An example of his work, a 12 x 8-inch oil on paper of a Clown, is intense in characterization, feeling and creative use of fauvist, expressionist color. Hondius was influenced by French Expressionist painter and printmaker Georges Rouault. He was a WPA artist, whose mural of New York City became well known, and his primary subjects were ballerinas, landscapes, still lifes, and masked figures. Hondius had over fifty one-man exhibitions in Europe and the United States, as well as showing at New York City venues including the Whitney Museum of American Art, 1924-26, 1932 and 1934; the 1939 World's Fair; Museum of Modern Art; Rockefeller Center; and Graham Gallery, in the 1950s. His work was exhibited posthumously in New York City WPA Art in 1977 at the Parson's School of Design, New York City. Hondius' work may be seen in the collections of the San Francisco Museum of Art, California; Whitney Museum of American Art; Newark Museum of Art, New Jersey; Reading Museum of Art, Pennsylvania; Norfolk Museum of Art, Virginia; and Provincial Museum, Kampden, Holland. His papers, sketchbooks, photographs, letters and clippings are in the Archives of American Art, Smithsonian Institution, Washington, D.C. Gerrit Hondius died in 1970. An exhibition of Hondius' works was held in 2002 at the Temescal Café, in Oakland, California. Source: Peter Falk, "Who Was Who in American Art" http://www.outercapeartauctions.net/past%20auctions/21603.htm

Lot: 56 - Gerrit Hondius, Massachusetts, New York (1891-1970), mother and daughter, oil on canvas, 20"H x 17"W, 20 3/4"H x 16 3/4"W (frame)

Gerrit Hondius Massachusetts, New York, (1891-1970) mother and daughter oil on canvas Signed lower right. From the Archives of askArt: A modernist artist who lived in both Provincetown, Massachusetts, and New York City, Gerrit Hondius studied at the Art Students League with Max Weber and Andrew Dasburg. He also studied at the Royal Academy in The Hague. An example of his work, a 12 x 8-inch oil on paper of a Clown, is intense in characterization, feeling and creative use of fauvist, expressionist color. Hondius was influenced by French Expressionist painter and printmaker Georges Rouault. He was a WPA artist, whose mural of New York City became well known, and his primary subjects were ballerinas, landscapes, still lifes, and masked figures. Hondius had over fifty one-man exhibitions in Europe and the United States, as well as showing at New York City venues including the Whitney Museum of American Art, 1924-26, 1932 and 1934; the 1939 World's Fair; Museum of Modern Art; Rockefeller Center; and Graham Gallery, in the 1950s. His work was exhibited posthumously in New York City WPA Art in 1977 at the Parson's School of Design, New York City. Hondius' work may be seen in the collections of the San Francisco Museum of Art, California; Whitney Museum of American Art; Newark Museum of Art, New Jersey; Reading Museum of Art, Pennsylvania; Norfolk Museum of Art, Virginia; and Provincial Museum, Kampden, Holland. His papers, sketchbooks, photographs, letters and clippings are in the Archives of American Art, Smithsonian Institution, Washington, D.C. Gerrit Hondius died in 1970. An exhibition of Hondius' works was held in 2002 at the Temescal Café, in Oakland, California. Source: Peter Falk, "Who Was Who in American Art" http://www.outercapeartauctions.net/past%20auctions/21603.htm

Lot: 57 - Joseph Vavak, Illinois, Missouri / Austria (1891 - 1969), Woman, lithograph, 17"H x 11"W (sheet)

Joseph Vavak Illinois, Missouri / Austria, (1891 - 1969) Woman lithograph Titled lower left, signed lower right. Biography from Kelley Gallery - Pasadena: Joseph Vavak (1891-1969), born in Vienna, Austria 1891, immigrated to America in 1904, and settled in Chicago. He began formal art studies at the Art Institute of Chicago in 1906 at age fifteen. In 1914 he hitchhiked to New York where he continued studies while working as a musician playing piano and violin. During WWI he enlisted in the United States Navy and was stationed at Great Lakes in North Chicago, Illinois, where he played violin with the Symphony Orchestra. During the 1920s he lived in Chicago, continuing to paint while supporting himself as a musician, primarily playing piano at the Dill Pickle Club, Chicago's resident 'Bohemian' nightclub and 'free-thinkers hangout' that was frequented by popular American authors, activists and speakers. In 1929 he moved to Paris to pursue art and music studies, but returned to the U.S. later that year after his savings were wiped out by the Great Crash. He became a member of the Chicago Artists Union, and by 1934 was employed by the Public Works of Art Project and later the WPA Federal Art Project. Writing to the Western Illinois State Teachers' College in 1935, Vavak stated "Although these are lean years for many a poor man's stomach they are at the same time rich harvest years for the creative urge... ...By interpreting a period which will become a poignant page in the history of America, and so in that of the whole world, I hope to make some small contribution." In keeping with these sentiments, Vavak captured for posterity a dramatic moment in 20th century U.S. history by depicting a group of women workers and wives of workers who were part of a massive sit-down strike against General Motors, memorializing the event in his 1937 painting "Women of Flint". During the 1950s and '60s, while continuing to paint, Vavak taught piano in the Chicago suburb of Rouselle. From about 1960-1963 he adopted a non-objective painting approach, but once again returned to his earlier representational style. Vavak's approach to art favored John Dewey's philosophy of artistic experimentation, an aesthetic which informed the WPA projects. Throughout his career Vavak destroyed many of his paintings, preferring the act of creation over the end product. In the 1930s and 1940s his works were included in major exhibitions at the Art Institute of Chicago, Albright Art Gallery in Buffalo, NY, The Whitney Museum of American Art, the Museum of Modern Art in New York, and the New York World's Fair, 1939. Awards: Gold medal, 1935, Chicago Society of Artists. Works held: Smithsonian American Art Museum, Fort Lauderdale Museum of the Arts. Known for: WPA-era figurative works produced in oil and lithograph

Lot: 58 - Rolf Stoll, German (1892 - 1978), Andalusia, watercolor on paper, 28 1/2"H x 32 1/2"W x 1"D (frame), 19"H x 23"W (sight)

Rolf Stoll German, (1892 - 1978) Andalusia watercolor on paper Unsigned. Biography from Spanierman Gallery (retired): Rolf Stoll, a painter of figure subjects, landscapes and floral still lifes, was an important member of the Cleveland art scene during the second quarter of the century. He was also an influential teacher, as well as one of Ohio's foremost portrait painters. Rolf

Lot: 59 - George J. Zachary Constant, New York / Greece (1892-1978), female nude, watercolor on paper, 11 1/4"H x 7 3/4"W

George J. Zachary Constant New York / Greece, (1892-1978) female nude watercolor on paper Signed lower left. Biography from the Archives of askART: George Constant (1892-1978) was a pioneering modernist painter and printmaker. A member of the Federation of Modern Painters and Sculptors, Constant also worked in the WPA and other Federal Art Projects and began exhibiting regularly from the late 1920s in the important annuals and invitationals held at major institutions across the country which comprised a dominant feature of the American art scene from the 1920s through 1960s. The Whitney Museum of American Art, Pennsylvania Academy of Fine Arts and Victoria and Albert Museum were some of the places which showed his work. He was born in Greece, and after emigrating to the United States in 1910, he studied at Washington University in St. Louis, the Art Institute of Chicago, Illinois, and with Charles Hawthorne and George Bellows, probably at the Art Students League, in New York City. From 1919 to 1921, he taught at the Dayton Art Institute, and then moved to New York City where he was based the remainder of his life. Source: http://www.ronnycohenfineart.com/page13.html Peter Falk, "Who Was Who in American Art"

Lot: 60 - George J. Zachary Constant, New York / Greece (1892-1978), sailboats with Yale sail, etching, 10 3/8"H x 12 5/8"W (sight), 14 3/8"H x 19 1/4"W (mat)

George J. Zachary Constant New York / Greece, (1892-1978) sailboats with Yale sail etching Signed lower right and in the plate, numbered 1/20 lower left. Biography from the Archives of askART: George Constant (1892-1978) was a pioneering modernist painter and printmaker. A member of the Federation of Modern Painters and Sculptors, Constant also worked in the WPA and other Federal Art Projects and began exhibiting regularly from the late 1920s in the important annuals and invitationals held at major institutions across the country which comprised a dominant feature of the American art scene from the 1920s through 1960s. The Whitney Museum of American Art, Pennsylvania Academy of Fine Arts and Victoria and Albert Museum were some of the places which showed his work. He was born in Greece, and after emigrating to the United States in 1910, he studied at Washington University in St. Louis, the Art Institute of Chicago, Illinois, and with Charles Hawthorne and George Bellows, probably at the Art Students League, in New York City. From 1919 to 1921, he taught at the Dayton Art Institute, and then moved to New York City where he was based the remainder of his life. Source: http://www.ronnycohenfineart.com/page13.html Peter Falk, "Who Was Who in American Art"

Lot: 61 - George J. Zachary Constant, New York / Greece (1892-1978), female nude in profile, watercolor on paper, 11 7/8"H x 7 5/8"W

George J. Zachary Constant New York / Greece, (1892-1978) female nude in profile watercolor on paper Signed lower right. Biography from the Archives of askART: George Constant (1892-1978) was a pioneering modernist painter and printmaker. A member of the Federation of Modern Painters and Sculptors, Constant also worked in the WPA and other Federal Art Projects and began exhibiting regularly from the late 1920s in the important annuals and invitationals held at major institutions across the country which comprised a dominant feature of the American art scene from the 1920s through 1960s. The Whitney Museum of American Art, Pennsylvania Academy of Fine Arts and Victoria and Albert Museum were some of the places which showed his work. He was born in Greece, and after emigrating to the United States in 1910, he studied at Washington University in St. Louis, the Art Institute of Chicago, Illinois, and with Charles Hawthorne and George Bellows, probably at the Art Students League, in New York City. From 1919 to 1921, he taught at the Dayton Art Institute, and then moved to New York City where he was based the remainder of his life. Source: http://www.ronnycohenfineart.com/page13.html Peter Falk, "Who Was Who in American Art"

Lot: 62 - Davenport Griffen, California (1894 - 1986), Forest Interior, 1939?, lithograph, 12"H x 15"W (image), 15 1/2"H x 18 3/4"W (sheet), 18"H x 22"W (mat)

Davenport Griffen California, (1894 - 1986) Forest Interior, 1939? lithograph Numbered 19/25 lower left, titled lower middle, signed and dated lower right. Biography from Papillon Gallery: (William) Davenport Griffen was born in 1894 in Millbrook, NY. He graduated from Iowa State College in Ames, IA in 1918 with a B.S. in Civil Engineering; however, Griffen's true love was painting. In 1919, he enrolled in the Chicago Academy of Fine Arts and subsequently studied at the Art Institute of Chicago from 1923-1928. In 1926, he was awarded the American Travel Scholarship and began painting in Provincetown, MA.n 1928, he was awarded the John Quincy Adams Scholarship and spent six months painting in Paris, France. Griffen also painted in the U.S. Virgin Islands for 11 months between 1930-1931. Griffen had one-man exhibitions of his Virgin Islands paintings at The Art Institute of Chicago and at Montross Galleries in New York, NY in 1931. Griffen exhibited at the Art Institute of Chicago 34 times between 1927 and 1943. He also exhibited at the Salon d'Automne in Paris, The Carnegie Institute in Pittsburgh, PA, The Pennsylvania Academy of Art, Philadelphia, PA, The Whitney Museum of American Art, New York, NY, The Corcoran Biennial, Washington, D.C., and the Century of Progress Exhibitions, Chicago, IL, 1933-1934. Griffen became an instructor of composition and life drawing at the Art Institute of Chicago from 1927-1930. He won numerous prizes for his work including the Augustus Peabody Prize from the Art Institute of Chicago in 1929 and The Logan Medal at the Art Institute of Chicago, 1930. Griffen completed two WPA post office murals, The Good News and Bad, Flora, IL, 1937 and Service to the Farmer, Carmi, IL, 1939. During WWII, Griffen once-again returned to his civil engineering background and served at the Naval air base in Glenview, IL and subsequently was employed by the U.S. Army Corps of Engineers in Joliet, IL where he met his wife, Loretta Simmons, in 1943. Griffen adopted her three children from her first marriage and they had a son together, Peter. After WWII, Griffen relocated to near San Francisco, CA where he continued to paint and exhibit, but also worked as a civil engineer. He died in Rohnert Park, CA in 1986. Griffen's work is represented in the permanent collections of the Art Institute of Chicago, The Museum of Fine Arts, Boston and the Smithsonian American Art Museum, Washington, D.C. Griffen is one of the artists featured in the 1933 J.Z. Jacobson book, Art of Today, Chicago.

Lot: 63 - Isadore Firestone, Ohio / Hungary (1894 - 1979), Boys Playing, oil on masonite, 36"H x 22"W

Isadore Firestone Ohio / Hungary, (1894 - 1979) Boys Playing oil on masonite Signed lower right.

Lot: 64 - George Vertury, French (b. 1894), Défense d’afficher (Prohibition to Display), French sailors, gouache on paper, 6 1/2"H x 20 1/8"W

George Vertury French, (b. 1894) Défense d'afficher (Prohibition to Display), French sailors gouache on paper Signed lower right. Biography from Fonfrege.com: Little is known about George Rollin de Vertury other than he was born in 1894 and made the "official" painter of the merchant marines in 1924. His wild and risqué works were usually early gouache prints which were then hand-coloured.

Lot: 65 - Lawrence Lebduska, New York, Maryland / Germany (1894-1966), woman with cat, 1964, oil on board, 13 3/4"H x 10 1/2"W (sight), 16 1/2"H x 13 3/4"W (frame)

Lawrence Lebduska New York, Maryland / Germany, (1894-1966) woman with cat, 1964 oil on board Signed and dated lower left. Biography from the Archives of askArt: Born in Baltimore, Maryland to a Bohemian family, Lawrence Lebduska learned art related crafts at the age of five on a return trip to Bohemia. He was educated in Leipzig where he learned the stained glass craft. At the age of 18 he returned to the United States and his first job was with Elsie de Wolfe for whom he did wall decorations. In 1912, he began decorative mural painting and painting on canvas for pleasure. Although he had no formal art training, his fanciful animal scenes, portraits and pseudo-historical themes, had bold colors and subjects resembling Fauvre or French experimental painting. His work made quite an impression in the 1930s and is credited for inspiring Abby Aldrich Rockefeller to assemble her collection of folk art. During the 1940s, he was largely forgotten, with the public preoccupied with the onset of World War II, his career "skidded to the point where he was reduced to living in vermin-infested backrooms in Greenwich Village and the Bowery;" ill and an alcoholic. He would trade his paintings for beer and cigarettes. Occasionally he would travel uptown to dealers who used to compete for his work. In the 1960s, a Long Island dealer, Eva Lee, was fascinated by one of his vividly colored still lifes of flowers and set out on a search for the artist. She found him confined to a bed in a cheap attic room. She obtained medical care, took him home to Douglastown, Long Island, took care of him and helped him recover from alcoholism. As a result he regained his health and began to paint again producing dozens of canvases. As a result he was given his first one-man show in twenty years at the Krasner Gallery. Lebduska died in 1966 at the age of 70, leaving behind a large collection of his work. Source: Michael David Zellman, 300 Years of American Art

Lot: 66 - Lawrence Lebduska, New York, Maryland / Germany (1894-1966), landscape with horses, 1959, oil on board, 14 1/2"H x 13 1/2"W, 19"H x 18"W (frame)

Lawrence Lebduska New York, Maryland / Germany, (1894-1966) landscape with horses, 1959 oil on board Inscribed, signed, and dated verso. Biography from the Archives of askArt: Born in Baltimore, Maryland to a Bohemian family, Lawrence Lebduska learned art related crafts at the age of five on a return trip to Bohemia. He was educated in Leipzig where he learned the stained glass craft. At the age of 18 he returned to the United States and his first job was with Elsie de Wolfe for whom he did wall decorations. In 1912, he began decorative mural painting and painting on canvas for pleasure. Although he had no formal art training, his fanciful animal scenes, portraits and pseudo-historical themes, had bold colors and subjects resembling Fauvre or French experimental painting. His work made quite an impression in the 1930s and is credited for inspiring Abby Aldrich Rockefeller to assemble her collection of folk art. During the 1940s, he was largely forgotten, with the public preoccupied with the onset of World War II, his career "skidded to the point where he was reduced to living in vermin-infested backrooms in Greenwich Village and the Bowery;" ill and an alcoholic. He would trade his paintings for beer and cigarettes. Occasionally he would travel uptown to dealers who used to compete for his work. In the 1960s, a Long Island dealer, Eva Lee, was fascinated by one of his vividly colored still lifes of flowers and set out on a search for the artist. She found him confined to a bed in a cheap attic room. She obtained medical care, took him home to Douglastown, Long Island, took care of him and helped him recover from alcoholism. As a result he regained his health and began to paint again producing dozens of canvases. As a result he was given his first one-man show in twenty years at the Krasner Gallery. Lebduska died in 1966 at the age of 70, leaving behind a large collection of his work. Source: Michael David Zellman, 300 Years of American Art

Lot: 67 - Lionel Reiss, New York / Austria (1894 - 1988), Net Menders Gloucester, watercolor and ink on paper, 10 7/8"H x 15 1/8"W (sight), 19"H x 23"W (mat)

Lionel Reiss New York / Austria, (1894 - 1988) Net Menders Gloucester watercolor and ink on paper Signed and titled lower midddle. Biography from the Archives of askART: Lionel S. Reiss, American painter, etcher and watercolorist began his career as a designer and illustrator, and held executive positions as Art Director in the advertising field, primarily with Paramount Studios. He is known for his creation of the "MGM Lion". In 1930 Reiss decided to devote his time to fine art, closed his New York studio and traveled the continent of Europe, North Africa or the Near East, hunting subject matter for his Jewish pictorial records. In 1938 his book "My Models Were Jews" was published. In addition to his work of Jewish content, Lionel Reiss has won distinction for his paintings of the American scene. His work has been included in exhibitions at the Carnegie Institute, Brooklyn Museum, The Art Institute of Chicago, Los Angeles Museum Association, Cincinnati Museum, Pennsylvania Academy of Fine Arts, National Academy of Design, Museum of Virginia Fine Arts, Baltimore Museum of Art, Audubon Artists, Southern States Art League, American Watercolor Society, Society of American Etchers, Museum of Modern Art, and more. Permanent collections include Columbia University, the Jewish Museum of the Jewish Theological Seminary, The Sinai Center of Chicago, The Brooklyn Museum, Bezalel Museum in Jerusalem, Tel Aviv Museum and the Ain Harod Museum (Israel). Books by the artist: "New Lights and Old Shadows" "My Models Were Jews" Source: Marilyn Klevit Fine Art, Inc.

Lot: 68 - Paul Muller, New York / Russian Federation (1895-1970), The Kennedys, 1963, oil on canvas, 32"H x 25"W

Paul Muller New York / Russian Federation, (1895-1970) The Kennedys, 1963 oil on canvas Signed and dated upper right. Biography from Battledore Ltd Gallery: Paul Muller (Russian/American) was born in Estonia. At the age of 16 he joined the Russian Army where he was a musician with the "Labe Guard", the Czar's personal eight regiments. Following the war he worked in Budapest, then studied in Prague, Dresden, and in his native Estonia. There he worked as a sketch artist for a newspaper. Paul Muller came to the United States in 1926 and settled in New York City. He worked as an illustrator for the Encyclopedia Britannica. He also worked as a guard in the Federal Reserve Bank, Pitney Bowes Engraving Service, where he designed for the government one of the first meter-stamp postmarks. But he had a drinking problem, and ended his life as a building superintendent. During these later years he kept painting but his compositions became very phantasmagoric, often mixing references to war events and religious figures. He died in New York in 1970.

Lot: 69 - Paul Muller, New York / Russian Federation (1895-1970), Priest with Pregnant Woman, 1927, watercolor on paper, 25"H x 17"W (sight), 33 1/4"H x 25 1/2"W (frame)

Paul Muller New York / Russian Federation, (1895-1970) Priest with Pregnant Woman, 1927 watercolor on paper Signed and dated lower right. Small restoration lower right. Biography from Battledore Ltd Gallery: Paul Muller (Russian/American) was born in Estonia. At the age of 16 he joined the Russian Army where he was a musician with the "Labe Guard", the Czar's personal eight regiments. Following the war he worked in Budapest, then studied in Prague, Dresden, and in his native Estonia. There he worked as a sketch artist for a newspaper. Paul Muller came to the United States in 1926 and settled in New York City. He worked as an illustrator for the Encyclopedia Britannica. He also worked as a guard in the Federal Reserve Bank, Pitney Bowes Engraving Service, where he designed for the government one of the first meter-stamp postmarks. But he had a drinking problem, and ended his life as a building superintendent. During these later years he kept painting but his compositions became very phantasmagoric, often mixing references to war events and religious figures. He died in New York in 1970.

Lot: 70 - Paul Muller, New York / Russian Federation (1895-1970), Albert Schweitzer, 1940s, oil on canvas stretched over baby crib, 34"H x 23 1/2"W

Paul Muller New York / Russian Federation, (1895-1970) Albert Schweitzer, 1940s oil on canvas stretched over baby crib Unsigned. Biography from Battledore Ltd Gallery: Paul Muller (Russian/American) was born in Estonia. At the age of 16 he joined the Russian Army where he was a musician with the "Labe Guard", the Czar's personal eight regiments. Following the war he worked in Budapest, then studied in Prague, Dresden, and in his native Estonia. There he worked as a sketch artist for a newspaper. Paul Muller came to the United States in 1926 and settled in New York City. He worked as an illustrator for the Encyclopedia Britannica. He also worked as a guard in the Federal Reserve Bank, Pitney Bowes Engraving Service, where he designed for the government one of the first meter-stamp postmarks. But he had a drinking problem, and ended his life as a building superintendent. During these later years he kept painting but his compositions became very phantasmagoric, often mixing references to war events and religious figures. He died in New York in 1970.

Lot: 71 - William C. Grauer, Pennsylvania / Ohio (1895 - 1985), Pools and sea life, Oil Painting, 50 3/4"H x 38 1/2"W x 1"D (frame), 47"H x 35 1/2"W (painting)

William C. Grauer Pennsylvania / Ohio, (1895 - 1985) Pools and sea life Oil Painting Signed to lower right. Biography from the library of Case Western Reserve University: GRAUER, WILLIAM C. (2 Dec. 1895-6 Apr. 1985) was a painter, muralist, and art teacher active in Cleveland for nearly 60 years. Born in Philadelphia, he graduated from the Pennsylvania Museum School of Industrial Art in 1914 and saw service in France during WORLD WAR I. Coming to Cleveland as a free-lance artist in 1927, he married Natalie Eynon (1888-1955), a fellow native Philadelphian and artist with whose career his own became intertwined. Invited to contribute murals to the President's Cottage at White Sulphur Springs, W. Va., in 1932, they returned to found and co-direct the Old White Art Colony, School and Gallery there during the summers from 1934-40. During the same period they also started the art department at Cleveland College of Western Reserve University (see CASE WESTERN RESERVE UNIV.). Grauer painted murals for the West Virginia exhibitions in both the Chicago Century of Progress (1933) and the New York World's Fair (1939). His work in Cleveland included a set of murals for the Cadillac Lounge in the Schofield Building. These murals are now part of the collections of the WESTERN RESERVE HISTORICAL SOCIETY. Residents of Ambleside Dr. near UNIVERSITY CIRCLE, the Grauers also maintained a summer home and studio in E. Claridon, Geauga County. They had 2 daughters, Blanche E. and Gretchen. Following the death of his wife, Grauer married another Cleveland College art instructor, Dorothy Turobinski, in 1964. He retired from WRU as associate professor of art in 1966 but continued to paint and to teach privately. Increasingly abstract in style in his later years, his work had been exhibited in 55 MAY SHOWs at the CLEVELAND MUSEUM OF ART.

Lot: 72 - Mark Turbyfill, Illinois (1896-1990), Pensive Observer, 1955, mixed media on board, 24"H x 19"W (sight)

Mark Turbyfill Illinois, (1896-1990) Pensive Observer, 1955 mixed media on board Signed and dated lower left. Biography from the archives of the Newberry Library: Mark Turbyfill, born in 1896, came to Chicago in 1911 with his parents from Oklahoma City. A published poet while still in his teens, Turbyfill's professional dance career began in 1919 when he was invited to join the Pavley-Oukrainsky corps de ballet with the Chicago Grand Opera Company. He later became principal dancer under Adolph Bolm with the Chicago Allied Arts and partnered Chicago dancer and choreographer Ruth Page, continuing to dance through the 1920s and 1930s. He was the first teacher of Katherine Dunham, unsuccessfully trying to establish her in an all "Negro" ballet company. Turbyfill first gained renown as a poet in the 1920s, mainly for his contributions to the worlds of avant-garde verse. His poems appeared in Margaret Anderson's The Little Review and Harriet Monroe's Poetry and other magazines. The May, 1926, issue of Poetry was devoted entirely to his long poem, A Marriage With Space, which was later reprinted with other poems in 1974. A collection of his verse, entitled The Words Beneath Us, appeared in 1951. Beginning in the 1940s, Turbyfill concentrated on his third artistic interest – painting. His initial paintings and collages showed a strong surrealist influence, but he moved on to a style of abstract expressionism, which he practiced until the 1970s. Turbyfill's first solo exhibit was in 1948, and in the 1950s and 1960s he had a number of one-man gallery shows. Seeing continuity in all his creative endeavors, at times he utilized texts lifted from his own poetry in both figurative and abstract paintings and drawings. Mark Turbyfill had three active and successful careers as dancer, artist and poet, which he recorded in his unpublished autobiography, Whistling in the Windy City: Memoirs of a Poet-Dancer-Painter. Among the many persons he writes about are Margaret Anderson, Adolph Bolm, Katherine Dunham, Henry B. Fuller, Amy Lowell, Maurice Maeterlinck, Harriet Monroe, Samuel Putnam, Eunice Tietjens and Mark Tobey. Among the topics are the Chicago Allied Arts, G.I. Gurdjieff and his Institute for the Harmonious Development of Man, and the Pavley-Oukrainsky Ballet Company. Turbyfill died in 1990.

Lot: 73 - Ben Zion, New York / Ukraine, Russian Federation (1897-1987), Prophets, 18 etchings, 22"H x 18"W

Ben Zion New York / Ukraine, Russian Federation, (1897-1987) Prophets 18 etchings Biography from the Archives of askART: Biography from Mercury Gallery Ben-Zion Weinman was the son of a Polish cantor and composer who raised him for the rabbinate. He became "Ben-Zion" in America after World War I because "to drag around two names is rather too difficult." His beginnings in America are sketched elsewhere in this catalogue by his wife, Lillian Ben-Zion, but in 1983 he told an interviewer from the Archives of American Art about his discovery by the historic dealer J.B. Neumann. "I see you coming here from time to time," said Neumann one Saturday afternoon. "Are you an artist, or are you buying art?" Ben-Zion said he was neither. But Neumann repeated the question several weeks later. "So I said, 'I don't know if you can call that art work,' " Ben-Zion recalled, but "I make those small, little drawings [on a writing pad]. And that's all what I have." Neumann asked how much he wanted for three of them. "I don't know," Ben-Zion replied. Neumann offered $15. "Not too much?" the artist asked. "No," said Neumann, "and you'll find out that I'm probably cheating you." Instead, the purchase launched Ben-Zion's career. In 1935, he became a founding member, with Mark Rothko, Joseph Solman, and Adolph Gottlieb, among others, of the group of American moderns, The Ten (see "The Ten: Birth of the American Avant-garde," Mercury Gallery, December 1998). Critics took note at once. A skeptical New York Sun critic said Ben-Zion painted "furiously" and called him "the farthest along" of The Ten. His The Glory of War was featured in The Ten's 1938 show, "Whitney Dissenters," staged to protest the emphasis on regionalism and social realism in the Whitney's annual exhibits. The Glory of War was "resounding" and "forceful," an Art News reviewer wrote. "Ben-Zion selects philosophical, poetic, psychological or tragic passages from the Bible," wrote New York Times art critic and Rothko biographer Dore Ashton in 1952, "and endows them with an added spiritual dimension by means of oppressive distortions and imaginative color. In [his] canvases there is an intense and very personal interpretive bias which captures the visual and emotional values of themes without literary overtones." His "Biblical pieces," Joseph Solman wrote in 1997, "are the only profound works in that genre in modern art besides. . . Chagall and the dramatic scenes of Rouault." When New York's Jewish Museum opened in 1948, it was with a Ben-Zion show. Twice more he was exhibited there, including a large 1959 retrospective. The Phillips Collection and The Museum of Modern Art acquired Ben-Zions. The prominent dealer Curt Valentin exhibited Ben-Zion and published his remarkable Biblical etchings. But when Abstract Expressionism became ascendant Ben-Zion, who viewed all art as abstract expressionism, stopped showing at galleries. He died in 1987, fed up with the art market, inspired as ever by art itself.

Lot: 74 - Ben Zion, New York / Ukraine, Russian Federation (1897-1987), The Book of Ruth, Job, Song of Songs, 18 etchings, 22"H x 18"W

Ben Zion New York / Ukraine, Russian Federation, (1897-1987) The Book of Ruth, Job, Song of Songs 18 etchings signed and numbered, Biography from the Archives of askART: Biography from Mercury Gallery Ben-Zion Weinman was the son of a Polish cantor and composer who raised him for the rabbinate. He became "Ben-Zion" in America after World War I because "to drag around two names is rather too difficult." His beginnings in America are sketched elsewhere in this catalogue by his wife, Lillian Ben-Zion, but in 1983 he told an interviewer from the Archives of American Art about his discovery by the historic dealer J.B. Neumann. "I see you coming here from time to time," said Neumann one Saturday afternoon. "Are you an artist, or are you buying art?" Ben-Zion said he was neither. But Neumann repeated the question several weeks later. "So I said, 'I don't know if you can call that art work,' " Ben-Zion recalled, but "I make those small, little drawings [on a writing pad]. And that's all what I have." Neumann asked how much he wanted for three of them. "I don't know," Ben-Zion replied. Neumann offered $15. "Not too much?" the artist asked. "No," said Neumann, "and you'll find out that I'm probably cheating you." Instead, the purchase launched Ben-Zion's career. In 1935, he became a founding member, with Mark Rothko, Joseph Solman, and Adolph Gottlieb, among others, of the group of American moderns, The Ten (see "The Ten: Birth of the American Avant-garde," Mercury Gallery, December 1998). Critics took note at once. A skeptical New York Sun critic said Ben-Zion painted "furiously" and called him "the farthest along" of The Ten. His The Glory of War was featured in The Ten's 1938 show, "Whitney Dissenters," staged to protest the emphasis on regionalism and social realism in the Whitney's annual exhibits. The Glory of War was "resounding" and "forceful," an Art News reviewer wrote. "Ben-Zion selects philosophical, poetic, psychological or tragic passages from the Bible," wrote New York Times art critic and Rothko biographer Dore Ashton in 1952, "and endows them with an added spiritual dimension by means of oppressive distortions and imaginative color. In [his] canvases there is an intense and very personal interpretive bias which captures the visual and emotional values of themes without literary overtones." His "Biblical pieces," Joseph Solman wrote in 1997, "are the only profound works in that genre in modern art besides. . . Chagall and the dramatic scenes of Rouault." When New York's Jewish Museum opened in 1948, it was with a Ben-Zion show. Twice more he was exhibited there, including a large 1959 retrospective. The Phillips Collection and The Museum of Modern Art acquired Ben-Zions. The prominent dealer Curt Valentin exhibited Ben-Zion and published his remarkable Biblical etchings. But when Abstract Expressionism became ascendant Ben-Zion, who viewed all art as abstract expressionism, stopped showing at galleries. He died in 1987, fed up with the art market, inspired as ever by art itself.

Lot: 75 - William Gropper, New York (1897-1977), Farmer, etching, 6"H x 4"W (plate), 14"H x 9 7/8"W (sheet)

William Gropper New York, (1897-1977) Farmer etching Signed in the plate and pencil signed lower right, numbered 12/100 lower left. New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. During the 1930s, working as a part of the

Lot: 76 - William Gropper, New York (1897-1977), man with bullwhip and cuffed fists, mixed media on paper, 13"H x 8 1/2"W

William Gropper New York, (1897-1977) man with bullwhip and cuffed fists mixed media on paper Signed lower right. New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. During the 1930s, working as a part of the Federal Arts

Lot: 77 - William Gropper, New York (1897-1977), The Senate Series, 6 etchings, 6"H x 3 4"W (plate), 14"H x 9 7/8"W

William Gropper New York, (1897-1977) The Senate Series 6 etchings Pencil signed and numbered. For Associated American Artists. Includes: For the Record, Point of Order, Caucus, Mr. President, Club Members, Cloak Room New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the

Lot: 78 - Lena Gurr, New York (1897-1992), Man Woman Child, mixed media on board, 11"H x 13"W, 18" x 20" (frame)

Lena Gurr New York, (1897-1992) Man Woman Child mixed media on board Signed lower left. Biography from Gallery Moderne: Lena Gurr (1897 -1992) Painter • Printmaker • Graphic Artist Born in Brooklyn in 1897, she studied at the Brooklyn Training School for Teachers, at the Educational Alliance Art School, the Arts Students League with John Sloan, and with M. Sterne in Paris as well as in Mentone and Nice, France. Gurr was a member of the Artists League of America, the National Association of Women Artists, the New York Society of Women Artists, the Brooklyn Society of Artists, Audubon Artists and the American Artists Congress. She exhibited in many of the shows held by these organizations and at the Whitney Studio Club, National Academy of Design, Virginia Museum of Fine Arts, Brooklyn Museum, and at the World's Fair (1939). Her work is represented in the collections of the Biro-Bidjan Museum in Russia and at the Library of Congress, where she has been selected as a "Curator's Choice" in the Smithsonian Archives of American Art. In addition to her career as a painter, lithographer and seriographer, she also taught art in the New York City public school system. She had three solo shows at the ACA Gallery in 1935, 1939 and 1945, and then a retrospective in 1963. In 1931, Gurr married Russian-born painter and photographer Joseph Biel. Born in 1891, Biel studied at the Russian Academy in Paris and at the Workman's College, Melbourne, Australia. He also established the first Jewish Library in Melbourne. Upon his arrival in the United States, he studied under George Grosz at the Art Students League. Biel died in 1943 of a heart ailment. Notable among Gurr's colleagues - many of them WPA artists - were Mary Cecil Allen, Mary Ascher, Dorothy Block, Jean Antoine DeMarco, Emma Ehrenreich, Clara Fasano, Ralph Fabri, Juliana Force, Minna Harkavy, Rockwell Kent, Karl Knaths, Louis Lozowick, Ross and Dorothy Moffett, John von Wicht and Lynd Ward.

Lot: 79 - Emanuel Romano Glicenstein, New York / Italy (1897-1984), farmer feeding animals, oil on masonite, 34 1/2"H x 47 1/4"W

Emanuel Romano Glicenstein New York / Italy, (1897-1984) farmer feeding animals oil on masonite Unsigned. Biography from the Archives of askART: Born in Rome, Italy, Emanuel Romano became a painter, illustrator, muralist and teacher in New York City where from 1944 to 1945 he taught at the City College of New York. One of his murals is in the Klondike Building, Welfare Island, New York. He studied in Switzerland and exhibited at the Pennsylvania Academy of Fine Arts and in 1940 at the Art Institute of Chicago. Source: Peter Falk, "Who Was Who in American Art"

Lot: 80 - Emanuel Romano Glicenstein, New York / Italy (1897-1984), Modernist Nude Figures, gouache on paper, 17 1/2"H x 13 1/2"W (sight), 29 1/2"H x 24 1/2"W (frame)

Emanuel Romano Glicenstein New York / Italy, (1897-1984) Modernist Nude Figures gouache on paper Signed lower right. Biography from the Archives of askART: Born in Rome, Italy, Emanuel Romano became a painter, illustrator, muralist and teacher in New York City where from 1944 to 1945 he taught at the City College of New York. One of his murals is in the Klondike Building, Welfare Island, New York. He studied in Switzerland and exhibited at the Pennsylvania Academy of Fine Arts and in 1940 at the Art Institute of Chicago. Source: Peter Falk, "Who Was Who in American Art"

Lot: 81 - Emanuel Romano Glicenstein, New York / Italy (1897-1984), Modernist Reclining Nude Figures, 1948, gouache on paper, 13 1/2"H x 19 1/2"W (sight), 24 1/2"H x 29 1/2"W (frame)

Emanuel Romano Glicenstein New York / Italy, (1897-1984) Modernist Reclining Nude Figures, 1948 gouache on paper Signed lower right. Biography from the Archives of askART: Born in Rome, Italy, Emanuel Romano became a painter, illustrator, muralist and teacher in New York City where from 1944 to 1945 he taught at the City College of New York. One of his murals is in the Klondike Building, Welfare Island, New York. He studied in Switzerland and exhibited at the Pennsylvania Academy of Fine Arts and in 1940 at the Art Institute of Chicago. Source: Peter Falk, "Who Was Who in American Art"

Lot: 82 - Carl Gaertner, Ohio (1898-1952), Miller's Hill, 1943, casein on masonite, 22"H x 30"W

Carl Gaertner Ohio, (1898-1952) Miller's Hill, 1943 casein on masonite Signed and dated lower right. Signed, dated, and titled verso. Exhibited: Cleveland Museum of Art, 25th Annual May Show, 1943 Biography from the Archives of askART: The following biography is from Christine Fowler Shearer, Arts Administrator, Massillon Museum, Massillon, Ohio. She is the former Director of the Cleveland Artists Foundation, which has two paintings by Carl Gaertner in the collection. Carl Gaertner was born in Cleveland on April 18, 1898. He graduated from East Technical high school in 1918 and attended Western Reserve College. In high school he studied mechanical design, but by his senior year had decided to make painting his primary avocation. From 1920 to 1923 he studied at the Cleveland School of Art (now the Cleveland Institute of Art) with Henry Keller. In 1922, he entered his first May Show at the Cleveland Museum of Art and won second prize for an industrial oil painting. From 1925 until 1952, he taught studio classes at the Cleveland School of Art and occasional classes at John Carroll University, Western Reserve University and the John Huntington Polytechnic Institute. The reflective eye of Gaertner chronicled three decades of Cleveland and its people. It is all there: the growing might of industrial Cleveland; the mass-produced promise of the assembly line, giving way to a dawning awareness of lost freedom, and the surrender of individuality; the love affair of Americans with nature and the ideals of Thoreau and Whitman and Frost; and the conflict between that love affair and the industrial promise. Gaertners subject matter was always drawn from the world around him. Early in his career, he focused on Cleveland and its environs. This interest never left him, but as he matured, his choice of subjects broadened. He painted watercolors and oils of Bermuda in the mid 1920s and began making frequent trips to Provincetown in 1926. Like other Cleveland artists, he culled inspiration from travels within the United States, notably trips to Pittsburgh and Cambridge Springs in Pennsylvania, to the mountains of West Virginia, and to Cape Cod. From the mid 1940s until his death, he also produced paintings based on sketches made during train rides to visit galleries in New York City. At the time of his premature death in 1952, Carl Gaertner enjoyed a considerable reputation as a master of American Scene painting. By the 1940s, Gaertner was represented by the Macbeth Gallery in New York City and his paintings were exhibited in shows throughout the United States. In 1944 and 1952, Gaertner received the National Academy of Designs highest award for individual work in a group exhibition. Prestigious institutions, including the Cleveland Museum of Art and the Metropolitan Museum of Art, had begun acquiring his paintings. But since the artists sudden death from a brain hemorrhage at age 54, his reputation has fallen into relative obscurity.

Lot: 83 - Rufino Tomayo, Mexico/New York (1899-1991), Woman With Mask, c. 1967, graphite on paper, 13 1/4"H x 9 3/4"W, 18 3/4"H x 15 1/4"W (frame)

Rufino Tomayo Mexico/New York, (1899-1991) Woman With Mask, c. 1967 graphite on paper Signed lower right. Carl Solway Gallery, OH and Mary-Anne Martin Fine Art, NY labels verso.

Lot: 84 - Rifka Angel, New York, Illinois / Russian Federation (1899 - 1988), Head of an Actress, gouache on board, 20"H x 15"W

Rifka Angel New York, Illinois / Russian Federation, (1899 - 1988) Head of an Actress gouache on board Signed lower right. Titled and signed verso. Biography from the Archives of askART: Born in Russia, Rifka Angel was schooled at home as a youngster by Jewish parents. To escape religious persecution her father fled to New York City, and she joined him in 1914. A sister and brother

Lot: 85 - Raphael Soyer, New York / Russia (1899-1987), female nude, graphite and watercolor on paper, 19 1/2"H x 13 1/2"W (sight), 24 1/2"H x 18 3/4"W (frame)

Raphael Soyer New York / Russia, (1899-1987) female nude graphite and watercolor on paper Signed bottom right. Biography from the Archives of askART: Born in Borisoglebsk, Russia in 1899, Raphael Soyer is identified as a Social Realist* painter because of his interest in the common man, although he avoided subjects that were particularly critical of society. Soyer moved with his family to the Lower East Side of New York City in 1913, after they were deported from Russia by the Tsarist regime. His father, a Hebrew teacher and writer, encouraged artistic and intellectual pursuits. His popularity with his students in Russia and his liberal ideas led to problems for him with the authorities, and he was forced to leave with his family. Soyer left school at sixteen to help support the family. He attended free classes at Cooper Union* and at the National Academy of Design*. Guy Pene du Bois, a teacher at the Art Students League*, recognized his talent and introduced him to Charles Daniel, who gave him his first solo exhibition in 1929. The success of this event secured his position as a professional artist. The experience of immigrant life in the United States provided him with a rich source of imagery for his art, which was sensitive, penetrating portrayals including transients, shoppers, dancers, and fellow artists. Near his studio in Manhattan's Lower East Side he observed his fellow New Yorkers. His subjects were portrayed with strong, flat colors, which evoked a sense of isolation. Common themes were intimate studies of solitary women, often nudes, and portraits of fellow artists, reflecting his great affection and admiration for them. Soyer's most frequent model was himself, often posed with pencil or brush in hand, as in Self-Portrait ca. 1927, and his work was mainly in oil and lithography*. He did not accept commissions for portraits because his interest was with the private person and the effects of the modern world on the psyche, rather than a public facade. Artists he admired, such as Rembrandt, Degas, and Eakins, he felt were dedicated to showing their times truthfully, and emphasized inner character more than physical beauty. Both of Soyer's brothers, Moses and Isaac, were also artists. With his identical twin Moses, he painted murals for the post office in Kingessing, Pennsylvania. He also taught at the Art Students League. He was a co-founder of Reality magazine and champion of Realism* at a time when Abstract Expressionism* dominated the American art scene. The Depression's economic difficulties could be seen in his subjects, and unemployed men caught Soyer's eye. Women at work became a theme with Soyer after 1940. On November 4, 1987, he died in New York. Sources include: Michael David Zellman, 300 Years of American Art Matthew Baigell, Dictionary of American Art

Lot: 86 - Raphael Soyer, New York / Russia (1899-1987), reclined portrait, graphite on paper, 12 1/4"H x 10"W (sight), 20 3/4"H x 17 3/4"W (frame)

Raphael Soyer New York / Russia, (1899-1987) reclined portrait graphite on paper Signed lower right. Biography from the Archives of askART: Born in Borisoglebsk, Russia in 1899, Raphael Soyer is identified as a Social Realist* painter because of his interest in the common man, although he avoided subjects that were particularly critical of society. Soyer moved with his family to the Lower East Side of New York City in 1913, after they were deported from Russia by the Tsarist regime. His father, a Hebrew teacher and writer, encouraged artistic and intellectual pursuits. His popularity with his students in Russia and his liberal ideas led to problems for him with the authorities, and he was forced to leave with his family. Soyer left school at sixteen to help support the family. He attended free classes at Cooper Union* and at the National Academy of Design*. Guy Pene du Bois, a teacher at the Art Students League*, recognized his talent and introduced him to Charles Daniel, who gave him his first solo exhibition in 1929. The success of this event secured his position as a professional artist. The experience of immigrant life in the United States provided him with a rich source of imagery for his art, which was sensitive, penetrating portrayals including transients, shoppers, dancers, and fellow artists. Near his studio in Manhattan's Lower East Side he observed his fellow New Yorkers. His subjects were portrayed with strong, flat colors, which evoked a sense of isolation. Common themes were intimate studies of solitary women, often nudes, and portraits of fellow artists, reflecting his great affection and admiration for them. Soyer's most frequent model was himself, often posed with pencil or brush in hand, as in Self-Portrait ca. 1927, and his work was mainly in oil and lithography*. He did not accept commissions for portraits because his interest was with the private person and the effects of the modern world on the psyche, rather than a public facade. Artists he admired, such as Rembrandt, Degas, and Eakins, he felt were dedicated to showing their times truthfully, and emphasized inner character more than physical beauty. Both of Soyer's brothers, Moses and Isaac, were also artists. With his identical twin Moses, he painted murals for the post office in Kingessing, Pennsylvania. He also taught at the Art Students League. He was a co-founder of Reality magazine and champion of Realism* at a time when Abstract Expressionism* dominated the American art scene. The Depression's economic difficulties could be seen in his subjects, and unemployed men caught Soyer's eye. Women at work became a theme with Soyer after 1940. On November 4, 1987, he died in New York. Sources include: Michael David Zellman, 300 Years of American Art Matthew Baigell, Dictionary of American Art

Lot: 87 - Raphael Soyer, New York / Russia (1899-1987), seated female nude, graphite and pastel on paper, 13 1/4"H X 10"W (sight), 21 1/4"H X 17 1/4"W (frame)

Raphael Soyer New York / Russia, (1899-1987) seated female nude graphite and pastel on paper Signed bottom left.

Lot: 88 - Moses Soyer, New York (1899-1974), Reclining Woman, oil on masonite, 9 5/8"H x 19 3/4"W (sight), 13 7/8"H x 24 1/8"W (frame)

Moses Soyer New York, (1899-1974) Reclining Woman oil on masonite Signed upper right. Biography from the Archives of askART: edicated to art expression with social-realist themes of the Depression Era in America, Moses Soyer was born in Czarist Russia in 1899, and was one of three artistic brothers, the others being Raphael and Isaac. Raphael Soyer was Moses' identical twin. Later in his career, Moses Soyer turned to the depiction of female figures, especially ballet dancers. The Soyer brothers were raised in an intellectual atmosphere created by their father, a Hebrew scholar. In 1912, the Soyers emigrated to the United States and eventually settled in New York City. Moses Soyer's artistic studies began in 1916, and included classes in New York at Cooper Union, the National Academy of Design, the Educational Alliance, and the Modern School, where he was influenced by Robert Henri and George Bellows. After traveling to Europe on a fellowship, Soyer taught at several schools until The Depression made such teaching positions scarce. The Depression, in fact, set the mood for most of Soyer's art expression. The Works Project Administration provided him with work as well as the fellowship of other artists, but the era itself provided the social sentiments which permeate most of Soyer's work. Using some of the techniques of his favorite artists, such as Van Rijn Rembrandt and Gustave Courbet, he portrayed his subjects in the perseverance of hard work or in the uncertainty of unemployment. As an artist, Soyer was particularly sensitive to the lack of work during the Depression and to the fact the Works Projects Administration provided employment for many artists who would have remained unemployed. He was opposed to landscape painting, and pursued the opportunity to use art for the purpose of making realistic social statements about his time. Together, Moses and his twin worked on some large projects, such as a mural commissioned by the Works Projects Administration for the Kingsessing Station Post Office in Philadelphia. After the Depression, Soyer tended towards ballet subjects, reminiscent of Degas, yet his work retained his own personal style of conveying sentimental moods. His paintings remained popular throughout his life. Soyer died in 1974. Source: Web-site of Comenos Fine Art

Lot: 89 - Sadie Skoletsky Rosenblum, Florida / Russian Federation (1899 - 1987), ring of figures in red, Oil on board, 7 1/2"H x 10 1/4"W (sight), 11 1/2"H x 14 1/4"W (frame)

Sadie Skoletsky Rosenblum Florida / Russian Federation, (1899 - 1987) ring of figures in red Oil on board Signed lower right.

Lot: 90 - Nahum Tschacbasov, New York / Russia (1899-1984), untitled, 1945, double sided with female portrait verso, oil on board, 11 1/2"H x 15 3/8"W (sight), 14 3/4"H x 19"W (frame)

Nahum Tschacbasov New York / Russia, (1899-1984) untitled, 1945 double sided with female portrait verso, oil on board Signed and dated lower left. Obituary from NYTimes.com: Mr. Tschacbasov's work is in the collections of the Metropolitan Museum of Art, the Brooklyn Museum, the Jewish Museum and the Whitney Museum of American Art. He formed his own school of fine arts in Woodstock, N.Y., and also taught at the Art Students League. A book of his poems, 'The Machinery of Fright,' was published by Southampton College Press in 1982.

Lot: 91 - Norbert Lenz, Ohio (1900 - 1992), abstract still life, oil on masonite, 48"H x 36"W (sight), 56"H x 44"W (frame)

Norbert Lenz Ohio, (1900 - 1992) abstract still life oil on masonite Signed upper right. Biography from Butler Institute of American Art Born Norwalk,OH March 2, 1900. Education : Cleveland School of Art; Huntington Polytechnic Institute. Member : Cleveland School of Art. Exhibits : Pennsylvania Academy of Fine Art 1930 - 1939; Art Institute of Chicago 1936; Butler Art Institute 1943 and 1944 Cleveland Museum of Art 1930 - 1944; Ohio Water Color Exhibition 1945.

Lot: 92 - Norbert Lenz, Ohio (1900 - 1992), Despair, 1970s, oil on masonite, 52"H x 38"W

Norbert Lenz Ohio, (1900 - 1992) Despair, 1970s oil on masonite Signed lower right. Exhibited: 1974 Midyear Show, Butler Institute of American Art, Youngstown, Ohio Biography from Butler Institute of American Art Born Norwalk,OH March 2, 1900. Education : Cleveland School of Art; Huntington Polytechnic Institute. Member : Cleveland School of Art. Exhibits : Pennsylvania Academy of Fine Art 1930 - 1939; Art Institute of Chicago 1936; Butler Art Institute 1943 and 1944 Cleveland Museum of Art 1930 - 1944; Ohio Water Color Exhibition 1945.

Lot: 93 - Joseph Kaplan, American / Russian Federation (1900-1982), boat yard, oil on canvas, 16 1/4" x 22"

Joseph Kaplan American / Russian Federation, (1900-1982) boat yard oil on canvas Signed lower right. Biography from the Archives of askART: Born in 1900 in Minsk, Russia, he studied at the Educational Alliance Art School (founded in 1914), as well as the National Academy of Design, both in New York City. He lived in Provincetown, Massachusetts and in New York City, curating several exhibitions for five Midwestern museums, the Philadelphia Art Alliance and the Cape Cod Art Association in Hyannis, Massachusetts. Kaplan was a member of several art organizations, including the Artists League of America, Audubon Artists, and the Provincetown Art Association, where he served as honorary vice-president and trustee from 1955 on. Exhibitions: 1941, Carnegie Institute; American Artists for Victory, 1942; National Arts Club, 1946; 3 times at the Corcoran Gallery biennials between 1949 and 1953; Pennsylvania Academy of the Fine Arts Annuals betwen 1946 and 1954, also in 1958; Pepsi-Cola in 1944; American Arts Congress; Cape Cod Art Association, 1962; Audubon Artists 1967; National Academy of Design, 1969. He won numerous awards, including at the National Academy of Design, the Cape Cod Art Association, and the Audubon Artists. His work is in the permanent collections of the Metropolitan Museum of Art, the Butler Institute of American Art, the Newark Museum, the University of Kentucky, and others. Source: Falk, Peter Hastings (Editor), Who Was Who in American Art

Lot: 94 - Sally Grosz Bodkin, New York/Hungary (1900-1974), Fishmonger, 1942, ceramic, 16"H x 9"W x 8"H

Sally Grosz Bodkin New York/Hungary, (1900-1974) Fishmonger, 1942 ceramic Signed to base.

Lot: 95 - Fritzi Brod, American / Czechoslovakian (1900 - 1952), landscape, watercolor on paper, 15"H x 11 1/8"W (sheet)

Fritzi Brod American / Czechoslovakian, (1900 - 1952) landscape watercolor on paper Signed lower right. Biography from the Archives of askART: A Chicago painter, printmaker and pattern designer, Fritzi Brod was a member of the Chicago Society of Artists, the Chicago Art Club and the Chicago Women's Salon. She also exhibited at the Pennsylvania Academy of the Fine Arts and the Los Angeles Museum of Art. She was born in Prague, Czechoslavakia, and met her husband, Oswald Brod, when he was in Europe on a buying trip for Brentano's, a New York book store. On his return, he was asked to head Brentano's in Chicago, and committed to modern art, he made sure the book store was stocked with publications on the subject, many at discount prices. Contemporary artists often gathered at the book store, and when Fritz married Oswald, she became a part of the group. She had been a recognized pattern designer in Prague, and became one of the early promoters of dress patterns in the modern style, something that was relatively shocking to conservative customers at Marshall Fields. However, a Chicago Tribune critic praised her work, which brought some positive reactions, something that increased in the early 1950s with wider acceptance of abstract art. But Fritzi Brod did not stay alive long enough to enjoy many accolades. She died of cancer in 1952. Source: Jean S. Hunt, "Fritzi Schermer Brod", Walking with Women Through Chicago History II, p. 30

Lot: 96 - Hale Woodruff, Georgia, New York / France (1900 - 1980), The First King, 1965, silkscreen greeting card, 10 1/2"H x 4 3/8"W

Hale Woodruff Georgia, New York / France, (1900 - 1980) The First King, 1965 silkscreen greeting card Titled and signed in the print interior. Born in Cairo, Illinois in 1900 and raised in Tennessee, Hale Woodruff began attending the John Herron School of Art in 1920, studying under William Forsyth. In 1924, he was forced to quit due to financial pressure. Although finances were always

Lot: 97 - Stanley William Hayter, New York / United Kingdom, France (1901 - 1988), Night Moth, etching and aquatint, 7"H x 5 1/2"W (sight), 19 1/4"H x 14 1/4"W

Stanley William Hayter New York / United Kingdom, France, (1901 - 1988) Night Moth etching and aquatint Pencil signed lower right, numbered 199/300 lower left. Biography from Annex Galleries: Stanley William Hayter, a chemist by training from Britain, spent most of his life in Paris, where in 1927 he founded an experimental workshop for the graphic arts -- Atelier 17 -- that played a central role in the 20th century revival of the print as an independent art form. (The name was adopted in 1933 when Hayter moved his establishment from its original home to 17 Rue Campagne-Premiène). In 1940-50 he lived in New York, taking Atelier 17 with him. Hayter returned to Paris in 1950 and re-established Atelier 17, attracting artists from around the world, many now coming from Asia. Hayter had an un-rivalled knowledge of the technicalities of printmaking, on which he wrote two major books, New Ways of Gravure'(1949) and About Prints'(1962). His historical importance has long been acknowledged, and his own work has won him recognition as one of the outstanding graphic artists of his time. His prints are varied in technique and style, but most characteristically are influenced by the abstract vein of Surrealism and are notable for their experiments with texture and color.

Lot: 98 - Two greeting card prints: Stanley William Hayter, Robert Marion Metcalf: 5 1/2"H x 4 3/4"W (Hayter)

Two greeting card prints: Stanley William Hayter, Robert Marion Metcalf: Stanley William Hayter (New York / United Kingdom, France, 1901 - 1988), abstract,1954, lithograph. Pencil signed, dated, and inscribed. Robert Marion Metcalf (Ohio, 1902-1978), Madonna and child, ca.1980s, linocut. Signed in the print interior by Gertrude Metcalf. Print from a painting by Robert Metcalf. Biography from the Archives of askART: Born in London to a family of painters, Stanley Hayter chose instead to study geology and chemistry and then worked for a Persian Gulf oil company. However, he contracted malaria and returned to London to recover, and then moved to Paris in 1926 to study at the Academie Julian. In 1933 in Paris, he established his own studio, the Atelier 17. At this time he became interested in Surrealism, and opposing Fascism, actively supported the Republican government of the Spanish Civil War. During World War II, Hayter co-founded the Industrial Camouflage Research Unit in London, and with his associates produced camouflage designs for factories. The squiggly green pattern designs of camouflage was something he had observed in Spain, and he worked creatively on improving this method. Source: Roy R. Behrens, Camoupedia, p. 184

Lot: 99 - Jenne Stahl, American (20th century), The Hunter, 1979, bronze with marble base, 36"H x 35"W x 20"D

Jenne Stahl American, (20th century) The Hunter, 1979 bronze with marble base Signed to base and under tail. Numbered 8/38.

Lot: 100 - Joseph Jicha, Austria / Hungary / Ohio (1901 - 1960), New Orleans, watercolor on paper, 20 1/4"H x 29"W (sight), 29 3/4"H x 38 1/2W x 1"D (frame)

Joseph Jicha Austria / Hungary / Ohio, (1901 - 1960) New Orleans watercolor on paper Signed and titled lower right. Biography from the Archives of askART: Joseph Jicha, "commercial artist and watercolorist, was born in Austria-Hungary to Rudolph and Helen (Remesch) Jicha, and came to Cleveland with his family as an infant. His father was a skilled coppersmith who worked decorations for the Cleveland Institute of Art. He apprenticed 13-year-old Joseph to sculptor Walter Sinz at the Institute. As a student, Jicha was a member of the Kokoon Arts Club. The Cleveland Community Fund commissioned him to design a poster for its campaign in 1928. In 1929, Jicha won the international Frank Logan Medal at the Chicago Art Institute for painting. He believed his commercial work helped him as a painter, because of the careful planning of design work. Jicha worked for Fawn Art and Creative Artists on advertisements for the Hotel Statler, Sherwin Williams Company., and Libbey-Owens-Ford Glass Co. His work appeared in the Saturday Evening Post and Life magazine; he won the Art Director's Show in New York City in 1936; and he exhibited paintings at Korner & Wood (1938) and Hotel Alcazar (1941). His paintings were described by critics as having great line strength and composition, with blazing colors. Jicha also exhibited in 1941 by invitation at the National Watercolor Show in San Diego. His work is in the San Diego Museum and the Mexico Natl. Museum. He taught summer school at the Cleveland Institute of Art in 1950. Two years later, Jicha and his wife, the former Cora Smith Ingalis, whom he married in September 1904, traveled across America to paint for a year. The couple had no children. Jicha died in Cleveland and was buried in Olmsted Falls." Source: The Encyclopedia of Cleveland History, http://ech.cwru.edu/ech-cgi/article.pl?id=JJW

Lot: 101 - Joseph Jicha, Austria / Hungary / Ohio (1901 - 1960), Rhyolite, Nevada, Watercolor on paper, 21"H x 29"W (sight), 29 1/2"H x 37 1/2"W x 3/4"D (frame)

Joseph Jicha Austria / Hungary / Ohio, (1901 - 1960) Rhyolite, Nevada Watercolor on paper Signed and titled lower left. Biography from the Archives of askART: Joseph Jicha, "commercial artist and watercolorist, was born in Austria-Hungary to Rudolph and Helen (Remesch) Jicha, and came to Cleveland with his family as an infant. His father was a skilled coppersmith who worked decorations for the Cleveland Institute of Art. He apprenticed 13-year-old Joseph to sculptor Walter Sinz at the Institute. As a student, Jicha was a member of the Kokoon Arts Club. The Cleveland Community Fund commissioned him to design a poster for its campaign in 1928. In 1929, Jicha won the international Frank Logan Medal at the Chicago Art Institute for painting. He believed his commercial work helped him as a painter, because of the careful planning of design work. Jicha worked for Fawn Art and Creative Artists on advertisements for the Hotel Statler, Sherwin Williams Company., and Libbey-Owens-Ford Glass Co. His work appeared in the Saturday Evening Post and Life magazine; he won the Art Director's Show in New York City in 1936; and he exhibited paintings at Korner & Wood (1938) and Hotel Alcazar (1941). His paintings were described by critics as having great line strength and composition, with blazing colors. Jicha also exhibited in 1941 by invitation at the National Watercolor Show in San Diego. His work is in the San Diego Museum and the Mexico Natl. Museum. He taught summer school at the Cleveland Institute of Art in 1950. Two years later, Jicha and his wife, the former Cora Smith Ingalis, whom he married in September 1904, traveled across America to paint for a year. The couple had no children. Jicha died in Cleveland and was buried in Olmsted Falls." Source: The Encyclopedia of Cleveland History, http://ech.cwru.edu/ech-cgi/article.pl?id=JJW

Lot: 102 - Kae Dorn Cass, Ohio (1901 - 1971), Rooftops - Cleveland, watercolor on board, 21"H x 29"W (sight), 33"H x 40 1/2"W x 1 1/4"D (frame)

Kae Dorn Cass Ohio, (1901 - 1971) Rooftops - Cleveland watercolor on board Signed lower left. Vixseboxse Art Galleries, OH label verso. Exhibited: Thirteenth Annual May Show, Cleveland Museum of Art, Cleveland, OH, 1931 Biography from WolfsGallery.com: Kae Dorn Cass was born in 1901 and remained a life-long Clevelander. She was a survivor of the 1908 Collinwood Elementary School fire which killed her sister and 171 other children. She was graduated from East Technical High School and entered the Cleveland School of Art in 1919. Upon graduation from the school she was awarded a Frederick C. Gottwald Scholarship for a year's study in Paris. She joined the faculty in 1925 and taught at the Cleveland School of Art until 1961. A gifted watercolorist, she exhibited nationally and her work was included in nearly every Cleveland Museum of Art May Show since 1925. Her favorite themes were flowers and landscapes. Her work was hung in the Corcoran and in shows in San Francisco and New York. She was past president of the Women's Art Club of Cleveland and a member of the Ohio Watercolor Society. She was also elected to the Pen Women of America and was in the first edition of Who's Who of American Women. She was a councilman in Mayfield Village in the late 1940's and a honorary fire fighter. source: Cleveland Institute of Art Newsletter, Spring-Summer 1971

Lot: 103 - Kae Dorn Cass, Ohio (1901 - 1971), still life, 1947, gouache on paper, 24"H x 18"W (sight)

Kae Dorn Cass Ohio, (1901 - 1971) still life, 1947 gouache on paper Signed and dated lower right. Biography from WolfsGallery.com: Kae Dorn Cass was born in 1901 and remained a life-long Clevelander. She was a survivor of the 1908 Collinwood Elementary School fire which killed her sister and 171 other children. She was graduated from East Technical High School and entered the Cleveland School of Art in 1919. Upon graduation from the school she was awarded a Frederick C. Gottwald Scholarship for a year's study in Paris. She joined the faculty in 1925 and taught at the Cleveland School of Art until 1961. A gifted watercolorist, she exhibited nationally and her work was included in nearly every Cleveland Museum of Art May Show since 1925. Her favorite themes were flowers and landscapes. Her work was hung in the Corcoran and in shows in San Francisco and New York. She was past president of the Women's Art Club of Cleveland and a member of the Ohio Watercolor Society. She was also elected to the Pen Women of America and was in the first edition of Who's Who of American Women. She was a councilman in Mayfield Village in the late 1940's and a honorary fire fighter. source: Cleveland Institute of Art Newsletter, Spring-Summer 1971

Lot: 104 - Kae Dorn Cass, Ohio (1901 - 1971), Summack, watercolor on paper, 20 3/4"H x 26 3/4"W (sight), 28"H x 34"W x 1 1/2"D (frame)

Kae Dorn Cass Ohio, (1901 - 1971) Summack watercolor on paper Unsigned. Labeled verso. Exhibited: Cleveland Museum of Art, 21st Annual May Show, 1939 Butler Art Institute, 1940 New Year Show Biography from WolfsGallery.com: Kae Dorn Cass was born in 1901 and remained a life-long Clevelander. She was a survivor of the 1908 Collinwood Elementary School fire which killed her sister and 171 other children. She was graduated from East Technical High School and entered the Cleveland School of Art in 1919. Upon graduation from the school she was awarded a Frederick C. Gottwald Scholarship for a year's study in Paris. She joined the faculty in 1925 and taught at the Cleveland School of Art until 1961. A gifted watercolorist, she exhibited nationally and her work was included in nearly every Cleveland Museum of Art May Show since 1925. Her favorite themes were flowers and landscapes. Her work was hung in the Corcoran and in shows in San Francisco and New York. She was past president of the Women's Art Club of Cleveland and a member of the Ohio Watercolor Society. She was also elected to the Pen Women of America and was in the first edition of Who's Who of American Women. She was a councilman in Mayfield Village in the late 1940's and a honorary fire fighter. source: Cleveland Institute of Art Newsletter, Spring-Summer 1971

Lot: 105 - Kae Dorn Cass, Ohio (1901 - 1971), Colonel Satt's Place, watercolor on paper, 14 1/2"H x 21"W (sight), 21 1/2"H x 28 1/2" W (frame)

Kae Dorn Cass Ohio, (1901 - 1971) Colonel Satt's Place watercolor on paper Signed bottom right. Exhibited: Cleveland Museum of Art, 35th Annual May Show, 1953. Biography from WolfsGallery.com: Kae Dorn Cass was born in 1901 and remained a life-long Clevelander. She was a survivor of the 1908 Collinwood Elementary School fire which killed her sister and 171 other children. She was graduated from East Technical High School and entered the Cleveland School of Art in 1919. Upon graduation from the school she was awarded a Frederick C. Gottwald Scholarship for a year's study in Paris. She joined the faculty in 1925 and taught at the Cleveland School of Art until 1961. A gifted watercolorist, she exhibited nationally and her work was included in nearly every Cleveland Museum of Art May Show since 1925. Her favorite themes were flowers and landscapes. Her work was hung in the Corcoran and in shows in San Francisco and New York. She was past president of the Women's Art Club of Cleveland and a member of the Ohio Watercolor Society. She was also elected to the Pen Women of America and was in the first edition of Who's Who of American Women. She was a councilman in Mayfield Village in the late 1940's and a honorary fire fighter. source: Cleveland Institute of Art Newsletter, Spring-Summer 1971

Lot: 106 - Edgar Britton, Illinois, Colorado, Nebraska (1901 - 1982), reclined female nude, 1934, graphite on paper, 7 3/4"H x 10 1/4"W

Edgar Britton Illinois, Colorado, Nebraska, (1901 - 1982) reclined female nude, 1934 graphite on paper Signed and dated lower right. Biography from the Archives of askART: Known primarily for his murals, Edgar Britton was also a painter in oil and watercolor and a sculptor in bronze. His work, with "simplified, weighty forms", (Kennedy 95) was obviously influenced by the social-realist style of the Mexican muralists including Diego Rivera, Jose Orozco, and David Siqueiros. Britton was born in Kearney, Nebraska and studied at the University of Iowa and with Grand Wood from 1920 to 1924. His reputation was established during the Depression years when he did numerous paintings and murals for the Federal Art Project including serving as Director from 1940 to 1941 of the mural division of the Illinois Art Project. His fresco work, completed for the Works Progress Administration, is in the Waterloo, Iowa Post Office; and Chicago Heights, Illinois at Bloom High School. On June 3, 1982, it was named the first high school in Illinois to be a National Historic site, in part because of the Edgar Britton's frescoes, which are in the entrance of the building and on other walls throughout Bloom High School. (Information from Roland Ramirez, 1982 graduate of Bloom High School). Because he had tuberculosis, his doctor advised him to go to Colorado, which he did in the mid 1940s, and he stayed there the remainder of his life and focused primarily on creating sculpture. He also taught art at the Fountain Valley School for boys and the Colorado Springs Fine Art Center. From 1967 to 1971, he was a member of the Fine Arts Commission of Denver, and he served as President of the Artists Equity in Colorado Springs. Art exhibitions: "The Lyrical Line: Edgar Britton's Passion for the Human Figure." Colorado Springs Fine Arts Center. 20 January-13 May 2001. "The Erotic Art of Edgar Britton," Coburn Gallery, Colorado College. 28 March -18 April, 2001. Reviews of book and exhibitions: Joanne Ditmer, "Brazen bronze: Book spotlights Britton's graceful local figures." Denver Post. 4 June 2001. Michael Paglia, "Mind and Body: Edgar Britton's legacy is rediscovered." Westword. 12-18 April, 2001. Mark Arnest, "Exhibits show Britton's work is both erotic, innocent." The Gazette. Colorado Springs, 6 April 2001. Mary Chandler, "Work celebrates human body." Rocky Mountain News. 25 March 2001. John Hazlehurst, "Tracing the Lyrical Line." The Independent. Colorado Springs, 18-24 January 2001. Sources include: Louise Dunn Yochim, Role and Impact: The Chicago Society of Artists Elizabeth Kennedy, Chicago Modern, 1893-1945 Exhibition and book review information courtesy of Jane Hilberry Roland Ramirez, Chicago Heights, Illinois

Lot: 107 - Edgar Britton, Illinois, Colorado, Nebraska (1901 - 1982), Couple, woodcut, 5 1/2"H x 7 1/2"W (plate), 10 1/2"H x 14 1/2"W (sheet), 14"H x 18"W (mat)

Edgar Britton Illinois, Colorado, Nebraska, (1901 - 1982) Couple woodcut Numbered 1/50 and titled lower left, signed lower right. Biography from the Archives of askART: Known primarily for his murals, Edgar Britton was also a painter in oil and watercolor and a sculptor in bronze. His work, with "simplified, weighty forms", (Kennedy 95) was obviously influenced by the social-realist style of the Mexican muralists including Diego Rivera, Jose Orozco, and David Siqueiros. Britton was born in Kearney, Nebraska and studied at the University of Iowa and with Grand Wood from 1920 to 1924. His reputation was established during the Depression years when he did numerous paintings and murals for the Federal Art Project including serving as Director from 1940 to 1941 of the mural division of the Illinois Art Project. His fresco work, completed for the Works Progress Administration, is in the Waterloo, Iowa Post Office; and Chicago Heights, Illinois at Bloom High School. On June 3, 1982, it was named the first high school in Illinois to be a National Historic site, in part because of the Edgar Britton's frescoes, which are in the entrance of the building and on other walls throughout Bloom High School. (Information from Roland Ramirez, 1982 graduate of Bloom High School). Because he had tuberculosis, his doctor advised him to go to Colorado, which he did in the mid 1940s, and he stayed there the remainder of his life and focused primarily on creating sculpture. He also taught art at the Fountain Valley School for boys and the Colorado Springs Fine Art Center. From 1967 to 1971, he was a member of the Fine Arts Commission of Denver, and he served as President of the Artists Equity in Colorado Springs. Art exhibitions: "The Lyrical Line: Edgar Britton's Passion for the Human Figure." Colorado Springs Fine Arts Center. 20 January-13 May 2001. "The Erotic Art of Edgar Britton," Coburn Gallery, Colorado College. 28 March -18 April, 2001. Reviews of book and exhibitions: Joanne Ditmer, "Brazen bronze: Book spotlights Britton's graceful local figures." Denver Post. 4 June 2001. Michael Paglia, "Mind and Body: Edgar Britton's legacy is rediscovered." Westword. 12-18 April, 2001. Mark Arnest, "Exhibits show Britton's work is both erotic, innocent." The Gazette. Colorado Springs, 6 April 2001. Mary Chandler, "Work celebrates human body." Rocky Mountain News. 25 March 2001. John Hazlehurst, "Tracing the Lyrical Line." The Independent. Colorado Springs, 18-24 January 2001. Sources include: Louise Dunn Yochim, Role and Impact: The Chicago Society of Artists Elizabeth Kennedy, Chicago Modern, 1893-1945 Exhibition and book review information courtesy of Jane Hilberry Roland Ramirez, Chicago Heights, Illinois

Lot: 108 - Edgar Britton, Illinois, Colorado, Nebraska (1901 - 1982), Bather, 1940 / Samson and Delilah, 3 woodcuts, 6"H x 4"W (plate), 10"H x 7 7/8"W (sheet) (Samson and Delilah)

Edgar Britton Illinois, Colorado, Nebraska, (1901 - 1982) Bather, 1940 / Samson and Delilah 3 woodcuts Pencil signed and titled. Biography from the Archives of askART: Known primarily for his murals, Edgar Britton was also a painter in oil and watercolor and a sculptor in bronze. His work, with "simplified, weighty forms", (Kennedy 95) was obviously influenced by the social-realist style of the Mexican muralists including Diego Rivera, Jose Orozco, and David Siqueiros. Britton was born in Kearney, Nebraska and studied at the University of Iowa and with Grand Wood from 1920 to 1924. His reputation was established during the Depression years when he did numerous paintings and murals for the Federal Art Project including serving as Director from 1940 to 1941 of the mural division of the Illinois Art Project. His fresco work, completed for the Works Progress Administration, is in the Waterloo, Iowa Post Office; and Chicago Heights, Illinois at Bloom High School. On June 3, 1982, it was named the first high school in Illinois to be a National Historic site, in part because of the Edgar Britton's frescoes, which are in the entrance of the building and on other walls throughout Bloom High School. (Information from Roland Ramirez, 1982 graduate of Bloom High School). Because he had tuberculosis, his doctor advised him to go to Colorado, which he did in the mid 1940s, and he stayed there the remainder of his life and focused primarily on creating sculpture. He also taught art at the Fountain Valley School for boys and the Colorado Springs Fine Art Center. From 1967 to 1971, he was a member of the Fine Arts Commission of Denver, and he served as President of the Artists Equity in Colorado Springs. Art exhibitions: "The Lyrical Line: Edgar Britton's Passion for the Human Figure." Colorado Springs Fine Arts Center. 20 January-13 May 2001. "The Erotic Art of Edgar Britton," Coburn Gallery, Colorado College. 28 March -18 April, 2001. Reviews of book and exhibitions: Joanne Ditmer, "Brazen bronze: Book spotlights Britton's graceful local figures." Denver Post. 4 June 2001. Michael Paglia, "Mind and Body: Edgar Britton's legacy is rediscovered." Westword. 12-18 April, 2001. Mark Arnest, "Exhibits show Britton's work is both erotic, innocent." The Gazette. Colorado Springs, 6 April 2001. Mary Chandler, "Work celebrates human body." Rocky Mountain News. 25 March 2001. John Hazlehurst, "Tracing the Lyrical Line." The Independent. Colorado Springs, 18-24 January 2001. Sources include: Louise Dunn Yochim, Role and Impact: The Chicago Society of Artists Elizabeth Kennedy, Chicago Modern, 1893-1945 Exhibition and book review information courtesy of Jane Hilberry Roland Ramirez, Chicago Heights, Illinois

Lot: 109 - Edgar Britton, Illinois, Colorado, Nebraska (1901 - 1982), religious scenes, 2 lithographs, 8 5/8"H x 11 5/8"W (largest)

Edgar Britton Illinois, Colorado, Nebraska, (1901 - 1982) religious scenes 2 lithographs Signed lower right and inscribed. Biography from the Archives of askART: Known primarily for his murals, Edgar Britton was also a painter in oil and watercolor and a sculptor in bronze. His work, with "simplified, weighty forms", (Kennedy 95) was obviously influenced by the social-realist style of the Mexican muralists including Diego Rivera, Jose Orozco, and David Siqueiros. Britton was born in Kearney, Nebraska and studied at the University of Iowa and with Grand Wood from 1920 to 1924. His reputation was established during the Depression years when he did numerous paintings and murals for the Federal Art Project including serving as Director from 1940 to 1941 of the mural division of the Illinois Art Project. His fresco work, completed for the Works Progress Administration, is in the Waterloo, Iowa Post Office; and Chicago Heights, Illinois at Bloom High School. On June 3, 1982, it was named the first high school in Illinois to be a National Historic site, in part because of the Edgar Britton's frescoes, which are in the entrance of the building and on other walls throughout Bloom High School. (Information from Roland Ramirez, 1982 graduate of Bloom High School). Because he had tuberculosis, his doctor advised him to go to Colorado, which he did in the mid 1940s, and he stayed there the remainder of his life and focused primarily on creating sculpture. He also taught art at the Fountain Valley School for boys and the Colorado Springs Fine Art Center. From 1967 to 1971, he was a member of the Fine Arts Commission of Denver, and he served as President of the Artists Equity in Colorado Springs. Art exhibitions: "The Lyrical Line: Edgar Britton's Passion for the Human Figure." Colorado Springs Fine Arts Center. 20 January-13 May 2001. "The Erotic Art of Edgar Britton," Coburn Gallery, Colorado College. 28 March -18 April, 2001. Reviews of book and exhibitions: Joanne Ditmer, "Brazen bronze: Book spotlights Britton's graceful local figures." Denver Post. 4 June 2001. Michael Paglia, "Mind and Body: Edgar Britton's legacy is rediscovered." Westword. 12-18 April, 2001. Mark Arnest, "Exhibits show Britton's work is both erotic, innocent." The Gazette. Colorado Springs, 6 April 2001. Mary Chandler, "Work celebrates human body." Rocky Mountain News. 25 March 2001. John Hazlehurst, "Tracing the Lyrical Line." The Independent. Colorado Springs, 18-24 January 2001. Sources include: Louise Dunn Yochim, Role and Impact: The Chicago Society of Artists Elizabeth Kennedy, Chicago Modern, 1893-1945 Exhibition and book review information courtesy of Jane Hilberry Roland Ramirez, Chicago Heights, Illinois

Lot: 110 - Frank Kleinholz, New York, Florida (1901-1987), Peace Demonstration, oil on canvas

Frank Kleinholz New York, Florida, (1901-1987) Peace Demonstration oil on canvas Signed lower right. Exhibited: ACA Galleries, NY Biography from the Archives of askART: "Frank Kleinholz: A 20th Century American Modernist" by G. GROSSMAN Phd., Professor at the University of Georgia Frank Kleinholz was born in 1901 in Brooklyn, New York, the son of a blind father and hard-working

Lot: 111 - Frank Kleinholz, New York, Florida (1901-1987), The Saga of Humpty Dumpty: A. Sitting Pretty B. Was He Pushed or Did He Fall C. "X" Marks the Spot, 1955, Oil on panel triptych, 28 3/4"H x 65"W x 1 1/2"D (frame), 21 3/4"H

Frank Kleinholz New York, Florida, (1901-1987) The Saga of Humpty Dumpty: A. Sitting Pretty B. Was He Pushed or Did He Fall C. "X" Marks the Spot, 1955 Oil on panel triptych Signed in 3rd panel at top right corner. Ex. Collection of Mr. & Mrs. Samuel Rosenfeld. Biography from the Archives of askART: "Frank Kleinholz: A 20th Century American Modernist" by G. GROSSMAN Phd.,

Lot: 112 - Louis Ribak, New Mexico, New York / Lithuania (1902 - 1979), female nude figure study, 1927, graphite on paper, 17 7/8"H x 12 3/8"W

Louis Ribak New Mexico, New York / Lithuania, (1902 - 1979) female nude figure study, 1927 graphite on paper Signed and dated middle right. Damage to upper right corner. Biography from David Cook Galleries: Louis Ribak emigrated with his family from Russian Poland to New York City in 1912. He studied at the Art Students League during the early 1920's under John Sloan. Sloan was an

Lot: 113 - Lawrence Edwin Blazey, Ohio (1902-1999), Coast at Palos Verdes Peninsula California, watercolor on illustration board, 14"H x 18 1/2"W (sight), 22"H x 29"W (frame)

Lawrence Edwin Blazey Ohio, (1902-1999) Coast at Palos Verdes Peninsula California watercolor on illustration board Signed lower right. Biography from the Archives of askART: Lawrence Edwin Blazey studied under the painter Frank Wilcox at the Cleveland School of Art*, and also studied at the Cranbrook Academy of Art in Michigan and the Slade School of Art in London. He is best known as a draughtsman and illustrator, with a particular affinity for city and urban views, and also worked as an advertising artist, architectural and industrial designer, ceramicist and product development engineer. He exhibited at the Cleveland Museum of Art between 1929 and 1957, winning several prizes, and also showed his work at the Corcoran Gallery* in Washington, the Art Institute of Chicago, the Syracuse Museum of Fine Art, and elsewhere, as well as in the National Ceramic Travelling Exhibition of 1954. In later years Blazey taught at the Cleveland School of Art, and also gave lectures on industrial design. Works by Blazey are in the Cleveland Museum of Art and elsewhere. Source: Website of Stephen Ongpin Fine Art, London

Lot: 114 - Lawrence Edwin Blazey, Ohio (1902-1999), Spanish Fort at St. George, Bermuda, watercolor on illustration board, 20"H x 27.5"W

Lawrence Edwin Blazey Ohio, (1902-1999) Spanish Fort at St. George, Bermuda watercolor on illustration board Signed lower right. Biography from the Archives of askART: Lawrence Edwin Blazey studied under the painter Frank Wilcox at the Cleveland School of Art*, and also studied at the Cranbrook Academy of Art in Michigan and the Slade School of Art in London. He is best known as a draughtsman and illustrator, with a particular affinity for city and urban views, and also worked as an advertising artist, architectural and industrial designer, ceramicist and product development engineer. He exhibited at the Cleveland Museum of Art between 1929 and 1957, winning several prizes, and also showed his work at the Corcoran Gallery* in Washington, the Art Institute of Chicago, the Syracuse Museum of Fine Art, and elsewhere, as well as in the National Ceramic Travelling Exhibition of 1954. In later years Blazey taught at the Cleveland School of Art, and also gave lectures on industrial design. Works by Blazey are in the Cleveland Museum of Art and elsewhere. Source: Website of Stephen Ongpin Fine Art, London

Lot: 115 - Lawrence Edwin Blazey, Ohio (1902-1999), Mountains at Phoenix, watercolor on illustration board, 14 1/2"H x 19"W (sight)

Lawrence Edwin Blazey Ohio, (1902-1999) Mountains at Phoenix watercolor on illustration board Signed lower right. Biography from the Archives of askART: Lawrence Edwin Blazey studied under the painter Frank Wilcox at the Cleveland School of Art*, and also studied at the Cranbrook Academy of Art in Michigan and the Slade School of Art in London. He is best known as a draughtsman and illustrator, with a particular affinity for city and urban views, and also worked as an advertising artist, architectural and industrial designer, ceramicist and product development engineer. He exhibited at the Cleveland Museum of Art between 1929 and 1957, winning several prizes, and also showed his work at the Corcoran Gallery* in Washington, the Art Institute of Chicago, the Syracuse Museum of Fine Art, and elsewhere, as well as in the National Ceramic Travelling Exhibition of 1954. In later years Blazey taught at the Cleveland School of Art, and also gave lectures on industrial design. Works by Blazey are in the Cleveland Museum of Art and elsewhere. Source: Website of Stephen Ongpin Fine Art, London

Lot: 116 - Lawrence Edwin Blazey, Ohio (1902-1999), Palm Tree at Palos Verdes, CA, watercolor on paper, 12"H x 15"W (sight)

Lawrence Edwin Blazey Ohio, (1902-1999) Palm Tree at Palos Verdes, CA watercolor on paper Signed lower left. Biography from the Archives of askART: Lawrence Edwin Blazey studied under the painter Frank Wilcox at the Cleveland School of Art*, and also studied at the Cranbrook Academy of Art in Michigan and the Slade School of Art in London. He is best known as a draughtsman and illustrator, with a particular affinity for city and urban views, and also worked as an advertising artist, architectural and industrial designer, ceramicist and product development engineer. He exhibited at the Cleveland Museum of Art between 1929 and 1957, winning several prizes, and also showed his work at the Corcoran Gallery* in Washington, the Art Institute of Chicago, the Syracuse Museum of Fine Art, and elsewhere, as well as in the National Ceramic Travelling Exhibition of 1954. In later years Blazey taught at the Cleveland School of Art, and also gave lectures on industrial design. Works by Blazey are in the Cleveland Museum of Art and elsewhere. Source: Website of Stephen Ongpin Fine Art, London

Lot: 117 - Louis Ribak, New Mexico, New York / Lithuania (1902 - 1979), Lunch Time, watercolor on paper, 17"H x 22 1/8"W

Louis Ribak New Mexico, New York / Lithuania, (1902 - 1979) Lunch Time watercolor on paper Signed lower right. Signed and titled verso. Federal Art Project W.P.A. New York City stamp verso. Biography from David Cook Galleries: Louis Ribak emigrated with his family from Russian Poland to New York City in 1912. He studied at the Art Students League during the early 1920's under John

Lot: 118 - Letterio Calapai, New York, Illinois, Massachusetts (1902 - 1993), collection of greeting cards, 13 aquatints, etchings, and woodcuts, 5 1/2"H x 4"W (plate), 7"H x 5"W (sheet) (Chimera)

Letterio Calapai New York, Illinois, Massachusetts, (1902 - 1993) collection of greeting cards 13 aquatints, etchings, and woodcuts Cards include inscriptions. Untitled, 1966: numbered 6/50, signed, and dated right. Untitled, 1967: signed lower right. Jack Frost II, 1969: titled lower left, numbered 44/200 lower middle, signed lower right. Untitled, 1973: numbered 8/100 lower left, signed lower right. Untitled, 1975: signed lower right. Chimera, 1976: titled and numbered 10/72 lower left, signed lower right. Sunset in Sunset, ME, 1978: titled lower left, numbered 45/75 lower middle, signed and dated lower right. Noel, 1979: signed lower right. Jeweled City, 1982: Titled and numbered 34/60 lower left, signed and dated lower right. Re-birth, 1984: titled and numbered 30/60 lower left, signed lower right. Happy New Year, 1984: signed and dated lower right. Halley's Comes to Town, 1985/86: numbered 30/75 lower left, signed lower right. Sprouts: signed lower right.

Lot: 119 - Ben (Franklin) Johnson, New York (1902 - 1967), abstract figure, oil on canvas, 77 1/2"H x 47 3/4"W, 78 1/2"H x 48 1/2"W (frame)

Ben (Franklin) Johnson New York, (1902 - 1967) abstract figure oil on canvas Signed and dated upper right. Abrasions and chipped paint. Damage to frame. Biography from Butler Institute of American Art: Ben Johnson was born on September 11, 1902, in New York City, and was educated there. He studied at Pratt Institute and while still a student, he was accepted for showing at the First International Watercolor Exhibition at Brooklyn Museum in 1925. He became a Tiffany Scholar in 1930-1933 with two grants, and exhibited at Mrs. Phillip Roosevelt's gallery the GRD Studio, and had his first one-man show at the Jumble Shop Restaurant in 1930, when he was at once recognized as an extremely talented young painter. After a long lapse of about twelve years, which he devoted to religious activities, he again returned to painting of the female nude, working in his cabin in the country. One-man shows followed, at the Parness Square Gallery, Woodstock, NY; the Advanced Gallery, and Zabriskie Gallery, NY, 1957-1959; Cober Gallery in 1960; The Kornblee Gallery, and David Stuart Galleries in 1963, and Gallery '63, Inc. in 1964, while a further show was held at the Selected Artists Gallery in 1966, all in New York City. Group shows included WMAA, and WGMA:AFA, Mother and Child in Modern Art, in 1963, and Chicago/AI in 1964. He won a first prize at Saratoga Springs Centennial in 1963. His many prominent collectors include : Mr. and Mrs. Billy Wilder, Mr. and Mrs. David Orr, Mr. and Mrs. Seldon Rodman, Mr. Benet Schiff, Mr. and Mrs. Joseph James Akston, Mr. and Mrs. George Axelrod, and Mr. Arthur Al Goldberg. Source: A Gallery Dache press release, March 1956

Lot: 120 - Lee Gatch Jr., New Jersey, Pennsylvania, Maryland (1902-1968), abstract landscape, 1961, oil on canvas, 21"H x 39 1/2"W (sight), 29 3/4"H x 48 1/2"W (frame)

Lee Gatch Jr. New Jersey, Pennsylvania, Maryland, (1902-1968) abstract landscape, 1961 oil on canvas Signed and dated lower right.

Lot: 121 - Theodore Gilbert Haupt, Minnesota, New York (1902-1990), Abstract Floral Still Life, Oil on canvas, 28 1/2"H x 24"W, 30 1/2"H x 26"W (frame)

Theodore Gilbert Haupt Minnesota, New York, (1902-1990) Abstract Floral Still Life Oil on canvas Signed lower right. Biography from the Archives of askART: Theodore Haupt was born Oct 11,1902 in St. Paul, MN he died about 1990. He was a grandson of General Herman Haupt a prominent railroad engineer in the Civil War. He grew up at 2102 Carter Ave in St. Paul's St. Anthony Park, later living on Ramsey Hill off Summit Avenue. He lived in New York state in the 1940's and was living in San Miguel Allende, Mexico in the 1970's. Theodore's father, Rev. C. E. Haupt an Episcopal Minister was archdeacon of Minnesota and an instructor at Breck School. Theodore Haupt in the words of artist Clem Haupers, was a "slick" portrait painter. Haupt studied at the Minneapolis School of Art* in 1922, instructed by Anthony Angerola. In 1923, Theodore Haupt won a Guggenheim Scholarship* to the Academy Julian* in Paris, where he remained two years, also studying in Vienna and Gratz. Artists Clara Mairs and Clem Haupers studied in Paris with him. They remained life-long friends. Haupt started doing covers for the New Yorker magazine while still in St. Paul. In 1927 he moved to NYC working for New Yorker, Charm and Vanity Fair magazines. He produced 45 covers for New Yorker from 1927 to 1933. His work is decidedly modernist, when subjective, it is abstracted and/or surreal. Submitted by Linda Bjorklund. Sources: Interviews with Clem Haupers, and Francis Greenman's daughter 1922 Catalog of Minneapolis School of Art Wikipedia 2017 City Directories, James A Ward, in "That Man Haup't", 1973

Lot: 122 - Helen Gerardia, New York / Russian Federation (1903 - 1988), Red Star, Oil on canvas

Helen Gerardia New York / Russian Federation, (1903 - 1988) Red Star Oil on canvas Signed lower right, titled verso. Rudolph Gallery, NY/FL label verso. Biography from the Archives of askART: The following information was submitted by Bob Gamse, whose source, with permission, is a document supplied to him by Arts and Industry, a New York Art Gallery, which handled much of the work

Lot: 123 - Maud Cabot Morgan, Massachusetts (1903 - 1999), Abstract in Orange, 1969, lithograph, 20 1/4 x 26 1/8

Maud Cabot Morgan Massachusetts, (1903 - 1999) Abstract in Orange, 1969 lithograph Pencil signed lower right. Edition 14 lower left. Biography from the Archives of askART: Maud Cabot Morgan, known for her collages, but working in several painting, drawing and print media, exhibited in two and five-person shows with artists of major reputation, including Alexander Calder, Mark Rothko,

Lot: 124 - Harry Shoulberg, New York, Pennsylvania (1903-1995), still life, oil on canvas, 36"H x 22 1/2"W (sight), 46"H x 33 1/2"W (frame)

Harry Shoulberg New York, Pennsylvania, (1903-1995) still life oil on canvas Signed lower left. Biography from the Archives of askART: The following is from Rex Rivolo: Harry Shoulberg was born in Philadelphia, 25 October 1903 of Russian/Jewish heritage. His father, Max Shoulberg, was the fourth of twenty children and the first to be born in American. His mother was Tessie Derfler,

Lot: 125 - Thomas Eldred, New York, Michigan (1903 - 1993), abstract surrealist sketches, 1936, pencil on paper, 18”H x 12”W

Thomas Eldred New York, Michigan, (1903 - 1993) abstract surrealist sketches, 1936 pencil on paper Three signed and dated lower right. One signed and dated upper right. Biography from Williams American Art Galleries: Thomas Brownell Eldred, painter, printmaker and teacher, was born in Climax, Michigan in 1903. Eldred began his education studying economics at Kalamazoo College, in Michigan, where he graduated in 1926. His interest in art was evident in the large portfolio that he had accumulated during his time there. He was accepted to the Art Institute of Chicago and studied under John Norton. After four years in Chicago and a stint with the Merchant Marines, Eldred hitchhiked to New York where he attended the Art Students League. It was there that he met and worked under Thomas Hart Benton and Guy Pene DuBois. Eldred declined an invite to the artist's colony, Yaddo, and instead took a teaching position (funded by the WPA program) at the Brooklyn Museum of Art. That job lead to his partnering with Werner Drewes, one of the founding members of the American Abstract Group. The Guggenheims acquired Eldred's work to go in their new museum, The Museum of Non-Objective Art (now the Guggenheim Museum). Eldred traveled to Paris and studied with William Stanley Hayter in his influential printmaking workshop, Atelier 17. Other artists there included Chagall, Jaques Lipchitz, Miro and Matta. When Hayter opened a school in the U. S. in 1940, Eldred joined him again, along with Robert Motherwell, Louise Nevelson and Jackson Pollock. During the 1930s and 1940s, Eldred produced a body of work of which much of it illustrates the complex position of modernist abstraction at this time. Eldred's art, engaging directly or flirting with abstraction, was eclectic. It reveals the impact of a myriad of major artists: Arp, Braque, Feininger, Kandinsky, Joan Miro and Pablo Picasso. His work can resemble that of the American artist associated with the American Abstract Artists group, and it can have the structure of modern geometric abstraction or the fluidity of biomorphism. Frequently both elements cohabit his work. Eldred died in 1993 in Grove City, Pennsylvania.

Lot: 126 - Salvador Dalí, France / Spain (1904-1989), Propheta Altissimi, 1964 / Familia Ruth Moabitidis, 1964, lithographs, 19 7/8 x 13 ½ (Propheta Altissimi), 19 x 13 ¾ (Familia Ruth Moabitidis)

Salvador Dalí France / Spain, (1904-1989) Propheta Altissimi, 1964 / Familia Ruth Moabitidis, 1964 lithographs Propheta Altissimi, signed and dated 1964 in the stone. Familia Ruth Moabitidis, signed and dated 1964 in the stone. Both are part of the series of lithographs created for Biblia Sacra Vulgatae Editionis, published by Rizzoli-Mediolani (1967-1969); these are printer's proofs with a handwritten note in Italian, and marginal marks – providing insight into how the lithographs were actually produced; each has a horizontal crease and Familia… has the text printed twice on the back. Vibrant colors.

Lot: 127 - Chaim Gross, New York, Massachusetts / Austria, Poland (1904 - 1991), abstract figural sketch / abstract landscape sketch, graphite on paper / ink on paper, 8 1/4"H x 10 1/2"W (largest)

Chaim Gross New York, Massachusetts / Austria, Poland, (1904 - 1991) abstract figural sketch / abstract landscape sketch graphite on paper / ink on paper Signed lower right. Includes inscriptions. Biography from the Archives of askART: The Chaim Gross Studio Museum, located in Greenwich Village, was founded in 1989 with the mission to collect, preserve, display, and interpret in an historical context Chaim Gross's art and to foster an understanding of how artists live and work. The selection of works on view demonstrates the contiunity of Gross's personal vision over seven decades: the figure in repose, acrobats, mother and child groupings, and religious Jewish imagery predominate. Although his favorite subjects remained constant, their variations were boundless. The Chaim Gross Studio Museum, housed in the artist's former home and studio, is operated under the auspices of the Renee and Chaim Gross Foundation. During their lifetimes, the artist and his wife contributed art, their home and financial support. The Museum hopes to continue their efforts by acquiring additional works through donations. At the Chaim Gross Studio Museum the visitor can examine the artist's work in special gallery settings as well as see where the artist originally worked. On the first floor is an array of his wood and stone carvings ranging from the early 1920s to his final wood sculpture of 1988--89. Also on view is the artist's studio as it looked when Gross was alive. Beneath the skylight the visitor can see his tools, an unfinished carving still in a vise and on surrounding shelves examples of his portrait busts and preparatory maquettes. On the second floor are displayed his later bronzes, as well as changing installations devoted to his watercolors and drawings. Informal gallery talks for groups of all ages can now be accommodated. Future plans include lectures, films, videos and workshop demonstrations, as well as traveling exhibitions of the artist's work. The Museum promotes scholarly research and encourages graduate students to prepare theses and doctoral dissertations on the life and work of Chaim Gross, maintains a research library, as well as archives relating to the art of Chaim Gross and the collections that he and his wife, Renee, assembled during their fifty-nine year marriage. Catalogues raisonne of the works on paper, and the sculpture, currently are in progress. Text prepared by April J. Paul, Curator Source: The Chaim Gross Studio Museum, //americanart.si.edu/exhibitions/online/gross/gross-noframe.html?/exhibitions/online/gross/grossmuseum1.html

Lot: 128 - Fletcher Martin, California, Colorado (1904 - 1979), Picador, watercolor on paper, 8 5/8"H x 11 3/8"W

Fletcher Martin California, Colorado, (1904 - 1979) Picador watercolor on paper Signed upper right. Biography from the Archives of askART: Born in Palisade, Colorado, a small western town where his father ran the newspaper, Fletcher Martin was a self-taught artist, best known for his painting of western subjects. He worked as a painter, muralist, and illustrator. Martin grew up in a family that moved to towns throughout the West. He showed an early interest in art, primarily from circus posters and amateur painters. At age 12, he began working as a printer, and after dropping out of high school, had various jobs including lumberjack and professional boxer. In Seattle, where he worked for Western Show Print, he specialized in big, gaudy outdoor posters. From 1922 to 1926, he served in the Navy and then settled in Los Angeles where he had a job with Earl Hays printers. He had a long-time interest in boxing and did many paintings of that activity. He also assisted Mexican painter Siqueiros with a large mural and created a design for a Post Office mural in Kellogg, Idaho that citizens found objectionable because it depicted a mining accident. His revised work was a frontiersman and a prospector, but he featured an ass in the prominent part of the composition over the postmaster's door. In 1938, he began a thirty-year career as visiting teacher in art schools in California including Mills College, Otis Art Institute, and Claremont College. In 1943, he traveled to North Africa as artist-correspondent for Life magazine. He died in New York City in 1979. Source: Edan Hughes, Artists in California, 1786-1940

Lot: 129 - Anne Michalov, Oregon, Illinois (1904 - 2001), 4 a.m., lithograph, 12 1/2"H x 18 3/4"W (sheet)

Anne Michalov Oregon, Illinois, (1904 - 2001) 4 a.m. lithograph Titled lower left, signed lower right. Biography from the Archives of askART: This biography was written by the Martin-Zambito Fine Art Gallery, Seattle, WA: Anne Michalov was been a resident of the Northwest for over 50 years. Born and raised in Illinois, she came to the Northwest because of her husband's military service. In the early 1940's, she taught at the WPA Art Center in Spokane and lived briefly in Seattle during that period. After studying at the Chicago Art Institute in the 1920's, she continued to produce paintings and lithographs and became employed by the various Federal Art Projects during the Depression. In Chicago, she produced a fine body of work in lithography as well as paintings and public murals. Her works have been included in national and regional exhibitions including the 1939 New York World's Fair, Chicago Art Institute, 1939 Great Lakes Exhibition, Portland Art Museum and several others. Her works are included in numerous private and public collections including the Library of Congress, Newark Art Museum, University of Michigan Museum of Art, Portland Art Museum, and the Chicago Art Institute. Michalov's lithographs are illustrated in the following publications:The Federal Art Project - American Prints From The 1930's, University of Michigan, Ann Arbor; American Prints in the Collection of the Library of Congress, Karen F. Beall; American Art Today: The New York World's Fair, 1939 catalogue, reprinted in 1987; and Encyclopedia of Women Artists of the American West by Phil Kovinick, University of Texas Press.

Lot: 130 - Chaim Gross, New York, Massachusetts / Austria, Poland (1904-1991), Woman and Flowers, 1963, lithograph, 18"H x 12"W (sight), 20"H x 16 1/8"W (mat)

Chaim Gross New York, Massachusetts / Austria, Poland, (1904-1991) Woman and Flowers, 1963 lithograph Pencil signed and dated lower right, inscribed lower left. Creases to paper upper and lower middle. Biography from the Archives of askART: The Chaim Gross Studio Museum, located in Greenwich Village, was founded in 1989 with the mission to collect, preserve, display, and interpret in an historical context Chaim Gross's art and to foster an understanding of how artists live and work. The selection of works on view demonstrates the contiunity of Gross's personal vision over seven decades: the figure in repose, acrobats, mother and child groupings, and religious Jewish imagery predominate. Although his favorite subjects remained constant, their variations were boundless. The Chaim Gross Studio Museum, housed in the artist's former home and studio, is operated under the auspices of the Renee and Chaim Gross Foundation. During their lifetimes, the artist and his wife contributed art, their home and financial support. The Museum hopes to continue their efforts by acquiring additional works through donations. At the Chaim Gross Studio Museum the visitor can examine the artist's work in special gallery settings as well as see where the artist originally worked. On the first floor is an array of his wood and stone carvings ranging from the early 1920s to his final wood sculpture of 1988--89. Also on view is the artist's studio as it looked when Gross was alive. Beneath the skylight the visitor can see his tools, an unfinished carving still in a vise and on surrounding shelves examples of his portrait busts and preparatory maquettes. On the second floor are displayed his later bronzes, as well as changing installations devoted to his watercolors and drawings. Informal gallery talks for groups of all ages can now be accommodated. Future plans include lectures, films, videos and workshop demonstrations, as well as traveling exhibitions of the artist's work. The Museum promotes scholarly research and encourages graduate students to prepare theses and doctoral dissertations on the life and work of Chaim Gross, maintains a research library, as well as archives relating to the art of Chaim Gross and the collections that he and his wife, Renee, assembled during their fifty-nine year marriage. Catalogues raisonne of the works on paper, and the sculpture, currently are in progress. Text prepared by April J. Paul, Curator Source: The Chaim Gross Studio Museum, //americanart.si.edu/exhibitions/online/gross/gross-noframe.html?/exhibitions/online/gross/grossmuseum1.h

Lot: 131 - Philip Reisman, New York / Poland (1904 - 1992), Combing the Hair, etching, 4 3/4"H x 6 3/4"W (plate), 9 1/2"H x 13 1/8"W (sheet)

Philip Reisman New York / Poland, (1904 - 1992) Combing the Hair etching Pencil signed lower right and in the plate. Titled lower left, numbered 43/100 lower middle. Biography from Papillon Gallery: Philip Reisman was born July 18, 1904 in Warsaw, Poland. In 1908 his family moved to New York, where he would come to expressively interpret scenes of various daily labor, seedy nightclubs and reflective moments within the city. Reisman studied at the Art Students League of New York under Wallace Morgan, George Bridgeman, George Luks and Frank Du Mond. He studied privately as well with Harry Wickes from 1927-1928. The Works Project Administration (WPA) and the Public Works Art Project (PWAP) provided Resiman with opportunities for commission and travel during the 1930's. Exhibitions include several one-person shows at the ACA Gallery in New York between 1943 and 1963, and numerous group exhibitions with the National Academy of Design, Hudson Guild and Whitney Annual in New York. Reisman also illustrated short stories for "Colliers" magazine and an edition of "Anna Karenina" for Random House and created a mural for the Bellevue Hospital, New York in 1937. Reisman received awards from the Carnegie Institute, Nicholas Roerich Museum, National Academy of Design, American Academy and Institute of Arts and Letters, and the American Society of Contemporary Artists. He taught at the American Artists' School, Educational Alliance, South Shore Arts Workshop, Workshop School of Advertising Art and the Young Men's Hebrew Association. His works have been included in the public collections of the New York Public Library; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; the National Academy of Design, New York and the Hirschorn Museum and Sculpture Garden of the Smithsonian Institution, Washington D.C. In 1986, Martin H. Bush published a book of Philip Reisman's life and work for the Edwin A. Ulrich Museum of Art in Witchita, Kansas.

Lot: 132 - Umberto Roberto (Roman) Romano, New York, Massachusetts / Italy (1905 - 1984), Frightened Horses, lithograph, 11 7/8"H x 16 1/8"W (sheet), 16 1/8"H x 20 5/8"W (mat)

Umberto Roberto (Roman) Romano New York, Massachusetts / Italy, (1905 - 1984) Frightened Horses lithograph Pencil signed lower right and in the plate. Titled verso. Biography from the Archives of askART: Umberto Romano was a painter, sculptor, teacher and illustrator who did work embracing a wide variety of styles and influences. It is written that "Roman's versatility may have kept

Lot: 133 - Umberto Roberto (Roman) Romano, New York, Massachusetts / Italy (1905 - 1984), Men on Horseback, lithograph, 12 1/8"H x 14 1/8"W (sheet)

Umberto Roberto (Roman) Romano New York, Massachusetts / Italy, (1905 - 1984) Men on Horseback lithograph Pencil signed lower right and in the plate lower left. Biography from the Archives of askART: Umberto Romano was a painter, sculptor, teacher and illustrator who did work embracing a wide variety of styles and influences. It is written that "Roman's versatility may have kept him

Lot: 134 - Sabina Teichman, New York (1905 - 1983), Siblings, 1951, oil on canvas board, 19 1/4"H x 23 1/4"W (sight), 29 3/4"H x 33 3/4"W (frame)

Sabina Teichman New York, (1905 - 1983) Siblings, 1951 oil on canvas board signed lower left. EX Harry Salpeter Gallery, NYC Biography from the Archives of askART: Sabina Teichman: (1905-1983) Studied at Columbia Univ. (BA & MA), also with Charles J. Martin & Arthur J. Young. Member of Audubon Artists, Provincetown Art Association Exhibits include WMAA, Art USA, 1958, PAAM, Butler Institute Amer. Art, Audubon Artists Ann., Womens Westchester Center. Works at: Butler Inst., Smithsonian Inst., Fogg Mus. Art, Harvard Univ., SFMA. Source: Outer Cape Auction, courtesy Terry Catalano

Lot: 135 - Felix Labisse, French (1905 - 1982), La Reine de Saba (The Queen of Sheba), lithograph, 29 3/4"H x 22"W (sheet)

Felix Labisse French, (1905 - 1982) La Reine de Saba (The Queen of Sheba) lithograph Pencil signed lower right. Titled verso. Artist's proof. Biography from the Archives of askART: Félix Labisse was a French Surrealist painter, illustrator, and designer. He was born in Marchiennes. He divided his time between Paris and the Belgian coast from 1927. In Ostend he met James Ensor, who influenced his work. Beginning in 1931 he designed for the theater. His paintings depict fantastical hybrid creatures, and are often erotic. He painted the first of a series of blue women in 1960; among them is the Bain Turquoise. He was the subject of a film by Alain Resnais, Visite à Félix Labisse (1947). In 1966 he was elected to the Académie des Beaux-Arts. In 1973 his paintings were shown in a retrospective exhibition at the Museum Boijmans Van Beuningen, Rotterdam. He died in Neuilly-sur-Seine in 1982.

Lot: 136 - Felix Labisse, French (1905 - 1982), The Woman With a Knife (La Femme Avec un Couteau), lithograph, 29 7/8"H x 20 3/8"W (sheet)

Felix Labisse French, (1905 - 1982) The Woman With a Knife (La Femme Avec un Couteau) lithograph Pencil signed lower right. Artist's proof. Biography from the Archives of askART: Félix Labisse was a French Surrealist painter, illustrator, and designer. He was born in Marchiennes. He divided his time between Paris and the Belgian coast from 1927. In Ostend he met James Ensor, who influenced his work. Beginning in 1931 he designed for the theater. His paintings depict fantastical hybrid creatures, and are often erotic. He painted the first of a series of blue women in 1960; among them is the Bain Turquoise. He was the subject of a film by Alain Resnais, Visite à Félix Labisse (1947). In 1966 he was elected to the Académie des Beaux-Arts. In 1973 his paintings were shown in a retrospective exhibition at the Museum Boijmans Van Beuningen, Rotterdam. He died in Neuilly-sur-Seine in 1982.

Lot: 137 - Felix Labisse, French (1905 - 1982), Judith, lithograph on wove paper, 29 7/8"H x 21"W (sheet)

Felix Labisse French, (1905 - 1982) Judith lithograph on wove paper Pencil signed lower right, numbered 30/150. Titled verso. Biography from the Archives of askART: Félix Labisse was a French Surrealist painter, illustrator, and designer. He was born in Marchiennes. He divided his time between Paris and the Belgian coast from 1927. In Ostend he met James Ensor, who influenced his work. Beginning in 1931 he designed for the theater. His paintings depict fantastical hybrid creatures, and are often erotic. He painted the first of a series of blue women in 1960; among them is the Bain Turquoise. He was the subject of a film by Alain Resnais, Visite à Félix Labisse (1947). In 1966 he was elected to the Académie des Beaux-Arts. In 1973 his paintings were shown in a retrospective exhibition at the Museum Boijmans Van Beuningen, Rotterdam. He died in Neuilly-sur-Seine in 1982.

Lot: 138 - Harold Rome, New York, Connecticut (1908-1993), Mother Janus, 1964, oil on canvas, 49 1/2"H x 31 3/4"W (sight), 54 1/2"H x 36 1/2"W (frame)

Harold Rome New York, Connecticut, (1908-1993) Mother Janus, 1964 oil on canvas Signed and dated lower left. Signed, titled, and dated verso. Biography from the Archives of askART: Harold Jacob Rome (May 27, 1908 – October 26, 1993) was an American composer, lyricist, and writer for musical theater. He was also an artist and art collector. Born in Hartford, Connecticut, Rome played piano in local dance bands and was already writing music while studying architecture and law at Yale University. After graduation he worked as an architect in New York City, but continued to pursue his musical interests, arranging music for local bands and writing material for revues at Green Mansions, a Jewish summer resort in the Adirondacks. Much of the music Rome was writing at this time was socially conscious and of little interest to Tin Pan Alley, or that which appeals to the masses.. In 1937, he made his Broadway debut as co-writer, composer, and lyricist of the topical revue Pins and Needles. Pins and Needles was originally written for a small theatrical production directed by Samuel Roland. After a 2-week professional run, it was adapted for performances by members of the then-striking International Garment Workers' Union as an entertainment for its members. Because Roland was associated with left-wing causes, he was asked by ILGWU president David Dubinsky to withdraw. The show was a huge success, running for 1108 performances, and prompted George S. Kaufman and Moss Hart to invite Rome to collaborate on another topical revue, Sing Out the News, in 1938. In the early 1940s, Rome wrote songs for several revues and shows, but it was not until after the end of World War II that he had his next real success with Call Me Mister. His first full-fledged musical was Wish You Were Here in 1952. Additional Broadway credits include Fanny (1954), Destry Rides Again (1959), I Can Get It for You Wholesale (1962), in which Barbra Streisand made her Broadway debut, and The Zulu and the Zayda (1965), which dealt with racial and religious intolerance. He also wrote the lyrics for La Grosse Valise (composer Gerard Calvi), which enjoyed a short run at the 54th Street Theater in 1965. In 1970, he wrote a musical adaptation of Gone with the Wind entitled Scarlett for a Tokyo production with a Japanese cast. It later was staged in English with little success in London and Los Angeles. Rome's music and/or lyrics can be heard in such films as Rear Window, Anchors Aweigh, Thousands Cheer, and Babes on Broadway. In 1991, Rome was presented with a special Drama Desk Award for his "distinctive contribution to musical theater." Later that same year, he was inducted into the American Theater Hall of Fame. Rome also was a painter and art collector. He died of a stroke in New York City at the age of 85. Submitted by Kate Brown, relative of Harold Rome

Lot: 139 - William Corasick, Pennsylvania (1907-2002), abstract cityscape, watercolor on paper, 17"H x 22"W (sight), 29 1/2"H x 34 1/2"W (frame)

William Corasick Pennsylvania, (1907-2002) abstract cityscape watercolor on paper Signed lower right. Biography from the Archives of askART:A resident of Drexel Hill, Pennsylvania, William Corasick was a painter and long-time teacher in the Philadelphia public schools. He studied at Temple University and the University of Pennsylvania and was a member of the Philadelphia Art Alliance. Exhibition venues included the Pennsylvania Academy and the National Academy of Design. Corasick was married and he and his wife, Irene who was an elementary school teacher, had one child. He was an avid tennis player and lived into is 90s, dying in the fall of 2002. Sources include: Peter Falk, "Who Was Who in American Art" Irene Fitzgerald, granddaughter of the artist, February 2005

Lot: 140 - Ulfert Wilke, Germany (1907 - 1987), untitled calligraphy, ink on paper, 7 3/4"H x 10 3/4"W (sight), 11 3/4"H x 14 3/4"W (mat)

Ulfert Wilke Germany, (1907 - 1987) untitled calligraphy ink on paper Signed with initials, chop mark and date lower right. From AskArt: Ulfert Wilke is known for his calligraphic creations in abstract, non-lettered configuration which form rhythmic cluster and shape open spaces. His creations are in watercolor, ink and acrylic. The artist was also a teacher, art collector, curator, and museum director. Ulfert was born in Bavaria, Germany in 1907 immigrated to the United States in 1938 and because a citizen in 1943. He had a number of one-man exhibitions worldwide. Germany in 1930s and 1950s, Denver Art Museum in 1943, Georgia Museum in Athens 1956, De Young Museum in San Francisco 1959, Des Moines Art Center in 1970, a traveling exhibition to Omaha and San Francisco in 1970, Charles H. McNider Museum in Iowa 1974 and the Arts Club of Chicago 1977. During his career he was awarded Guggenheim fellowships to Germany and Italy. First prized in 1943 from the Delgado Museum in New Orleans. In 1956 a Georgia Museum purchase award. His work is in permanent collections of the Guggenheim Museum, the Whitney Museum, Cleveland Museum of Art, San Francisco Museum of Art, . Des Moines Art Center, Dayton Art Institute, New, York University Art Center, Los Angeles County Museum of Art, Philadelphia Museum and the Museum of Tel Aviv in Israel. He has participated in numerous group shows, including the Tokyo Biennial. Numerous collectors hold in private collections. The work of Ulfert Wilke was described by Alfred Frankenstein of the 'San Francisco Chronicle': "These works are exquisitely done, evoking the baffling beauties of distant languages one cannot decipherIn the drawing of these dancing, lashing, interacting strokes, and their placement in the white, two-dimensional field of the paper, Ulfert Wilke is a past master, gentler than Klee or Miro among the other great modern calligraphers, but of their class and quality."

Lot: 141 - Feliks Topolski, United States, Poland, England (1907 - 1989), Nubar Sarkis Gulbenkian, ink on paper, 23"H x 36"W

Feliks Topolski United States, Poland, England, (1907 - 1989) Nubar Sarkis Gulbenkian ink on paper Signed lower middle. Biography from the Archives of askART: Feliks Topolski was born on 14 August 1907 in Warsaw, Poland. He studied in the Warsaw Academy of Art, and trained as an artillery officer. Later he studied and worked in Italy and France, and eventually he moved to Britain in

Lot: 142 - Syd J. Browne, New York (1907 - 1991), Tenement, winter city scene, oil on board, 9 5/8"H x 13 5/8"W (sight), 15 1/4"H x 19 1/4"W (frame)

Syd J. Browne New York, (1907 - 1991) Tenement, winter city scene oil on board signed lower left. Biography from the Archives of askART: The following is from Peter Kostoulakos, AOA, NEAA: Fine Art Consultant, www.pkart.com Syd J. Browne was born in Brooklyn, NY on August 21, 1907. His work mainly oil paintings and etchings includes streets, landscapes, townscapes, marine and harbors, and scenes of Spain. He was the husband of 20th-century artist Sandra James Browne. Browne studied at the Art Students League in New York City; with Eric Pape (1870-1938); and DuMond. He was a member of the American Watercolor Society in New York City; Society of American Etchers in Brooklyn, NY; Southern Printmakers; Salmagundi Club in New York City; Philadelphia Watercolor Club; and the New York Watercolor Club. Browne exhibited at the Paris Exposition, 1937; World's Fair, New York, 1939; and the Art Institute of Chicago, 1939. His work is on display at the Library of Congress. References: Davenport's Art Reference 2001/2002, page 303; Who Was Who in American Art, vol. I, page 84

Lot: 143 - Syd J. Browne, New York (1907 - 1991), Tenement, winter city scene, oil on masonite board, 9 5/8"H x 13 5/8"W (sight), 15 1/8"H x 19 1/4"W (frame)

Syd J. Browne New York, (1907 - 1991) Tenement, winter city scene oil on masonite board signed lower left. Biography from the Archives of askART: The following is from Peter Kostoulakos, AOA, NEAA: Fine Art Consultant, www.pkart.com Syd J. Browne was born in Brooklyn, NY on August 21, 1907. His work mainly oil paintings and etchings includes streets, landscapes, townscapes, marine and harbors, and scenes of Spain. He was the husband of 20th-century artist Sandra James Browne. Browne studied at the Art Students League in New York City; with Eric Pape (1870-1938); and DuMond. He was a member of the American Watercolor Society in New York City; Society of American Etchers in Brooklyn, NY; Southern Printmakers; Salmagundi Club in New York City; Philadelphia Watercolor Club; and the New York Watercolor Club. Browne exhibited at the Paris Exposition, 1937; World's Fair, New York, 1939; and the Art Institute of Chicago, 1939. His work is on display at the Library of Congress. References: Davenport's Art Reference 2001/2002, page 303; Who Was Who in American Art, vol. I, page 84

Lot: 144 - Karl Eugene Fortess, New York, Massachusetts / Belgium (1907-1993), Monuments With Hill, oil on canvas, 14"H x 20"W

Karl Eugene Fortess New York, Massachusetts / Belgium, (1907-1993) Monuments With Hill oil on canvas Signed lower left. Biography from Butler Institute of American Art: Karl Fortess studied at the Art Institute of Chicago and the Art Students League. His work is has a surrealist bent and is most often identified as of the Woodstock School. Fortess has had his artworks exhibited at the Museum of Modern Art, Whitney Museum of Art, Metropolitan Museum, Woodstock Art Association, Boston Art Museum, and Carnegie Institute. He was awarded the Guggenheim Fellowship in 1946, the Childe Hassam Fund purchase award in 1952, and many other juried prizes during his career. In addition to working as a WPA artist and administrator, Fortess taught at the Art Students League, Brooklyn Museum Art School, and Boston University.

Lot: 145 - Alexander Dobkin, Italy / New York (1908-1975), landscape with figure, 1952, oil on canvas, 43 1/2"H x 26 5/8"W (sight), 51 1/2"H x 34 1/4"W (frame)

Alexander Dobkin Italy / New York, (1908-1975) landscape with figure, 1952 oil on canvas Signed and dated lower left. Biography from RoGallery: The artworks of Alexander Dobkin have a playful surrealism about them. Dobkin is known for writing the book Principles of Figure Drawing considered to be one of the most comprehensive guides to figure drawing with 500 illustrations, originally published in 1975, recently republished in 2010.

Lot: 146 - Don Freeman, New York, California (1908-1978), Dawn in the Assembly, lithograph, 11 3/8"H x 15"W (sheet)

Don Freeman New York, California, (1908-1978) Dawn in the Assembly lithograph Pencil signed lower right and in the print, titled lower left. Edition 33 verso. Biography from the Archives of askART: Submitted December 2022 by Nancy Moure, Independent Art Researcher Repro. and "Trumpeter's Path to Art, Writing Told. [Come One, Come All, by Don Freeman: Rinehart] Don Freeman is a California artist and writer who also likes to play hot licks on a trumpet. His early days were spent in the house of Mrs. Blass, who cared for the three Freeman children and another child and planned careers for them, mostly with the aid of tea leaves and a Ouija board. They lived on the border at Chula Vista and later in San Diego where Mr. Freeman worked. Don's descriptions of Chula Vista and San Diego are heightened by the drawings he has done from memory… Moved to New York. After San Diego art school experience, Don was sent to New York to finish his education. He took his trumpet with him and earned money now and then playing at clubs and special events… What he learned at art school under John Sloan was the most important training Don had – how to draw a crowd. … Don Freeman met people famed in their fields… [musicians] and he went backstage in theaters, coming out with sketches… He even played a small part on the stage with three lines to speak… Those who were amused by the book Don wrote and illustrated when he came back from the war, ‘It Shouldn't Happen to a Dog,' will be even more entertained by the fun, recapturing of youthful zest and naivete and the pictures of all sorts of people in his gay, informal autobiography," Source: Los Angeles Times, (newspaper) Dec. 11, 1949, p. 124 (i.e., pt. IV, p. 8).

Lot: 147 - William Keck, Illinois, Wisconsin (1908 - 1995), landscape, 1940, watercolor on paper, 14 1/2"H x 21"W (sight)

William Keck Illinois, Wisconsin, (1908 - 1995) landscape, 1940 watercolor on paper Signed and dated lower right. Biography from the Archives of askART: William Keck was born in 1908 in Watertown, Wisconsin. He studied architecture at the University of Illinois and received a B. A. in 1931. After graduating, he joined his older brother George Fred Keck, who was an accomplished architect, in Chicago. One of the most recognized innovations of the 1933 Century of Progress Exhibition in Chicago was the Kecks' glass and steel "House of Tomorrow." William left the office to serve in the military from 1942 until 1945. Upon returning from service, he formed a partnership with George Fred -- Keck & Keck -- and worked in that firm for the rest of his career. The Kecks were pioneers in the field of passive solar architecture and avant-garde modern design and received numerous awards for their work. The apartment building they designed and lived in at 5551 S. University Avenue in Chicago has been designated a Chicago landmark. The Kecks were awarded the First Illinois Medal in Architecture from the University of Illinois-Champaign in 1980. William was elected to the College of Fellows of the American Institute of Architects in 1969. He died in Chicago in 1995. Source: Oral History, Art Institute of Chicago

Lot: 148 - Marion Bryson, American (20th century), landscape, watercolor on paper, 23 1/2"H x 17 1/2"W (sight)

Marion Bryson American, (20th century) landscape watercolor on paper Signed lower right. From WolfsGallery.com: Marion Bryson was an artist of the Cleveland School and is known for her watercolors of landscapes, animals and flowers. She was awarded first prize in the watercolor category in the 1942 Cleveland Museum of Art May Show.

Lot: 149 - Marion Bryson, American (20th century), fruit bowl still life, watercolor on paper, 17 1/4"H x 23"W (sight), 26 1/4"H x 31 1/2W x 1"D (frame)

Marion Bryson American, (20th century) fruit bowl still life watercolor on paper Signed lower right and left. From WolfsGallery.com: Marion Bryson was an artist of the Cleveland School and is known for her watercolors of landscapes, animals and flowers. She was awarded first prize in the watercolor category in the 1942 Cleveland Museum of Art May Show.

Lot: 150 - Dorothy McIntosh Cogswell, Massachusetts (1909-2008), 18th Century Connecticut House and 20th Century Telephone Pole, 1934, watercolor on paper, 21 7/8"H x 14 1/2"W

Dorothy McIntosh Cogswell Massachusetts, (1909-2008) 18th Century Connecticut House and 20th Century Telephone Pole, 1934 watercolor on paper Signed and dated lower right. Titled verso. Biography from the Archives of askART: Born in Plymouth, Massachusetts, she earned a BFA & MFA from Yale University. Most of her professional years were spent at Mt. Holyoke College in South Hadley, Massachusetts. There she did commissioned murals, and from 1939-74, was Professor of Art History. She retired to Bradenton, Florida. In 1974, a retrospective of her work was held at Mt. Holyoke. According to the Yale Alumni magazine Dorothy McIntosh Cogswell passed away on July 3, 2008.

Lot: 151 - Max Howard, Indiana (1909 - 1995), Polperro, Cornwall, watercolor on paper, 24 1/2"H x 18 1/2"W (image), 26"H x 20 1/4"W (sheet)

Max Howard Indiana, (1909 - 1995) Polperro, Cornwall watercolor on paper Titled and signed verso.

Lot: 152 - Mary Ray Gehr, Illinois (1910 - 1997), New Beginnings, oil on canvas, 52"H x 37"W

Mary Ray Gehr Illinois, (1910 - 1997) New Beginnings oil on canvas Signed lower left. Exhibited: Feingarten Galleries, Chicago label. Biography from Fine Art San Diego: Chicago artist and illustrator Mary Gehr was locally and nationally renowned for her positive influence on her community, on the art world, and in the sphere of children's illustrating. Gehr was born in Chicago

Lot: 153 - Mary Ray Gehr, Illinois (1910 - 1997), Saturn Among Pisces, oil on canvas, 50"W x 37 1/2"W

Mary Ray Gehr Illinois, (1910 - 1997) Saturn Among Pisces oil on canvas Signed lower right. Exhibited: The Arts Club of Chicago, Annual Exhibition, 1968. Biography from Fine Art San Diego: Chicago artist and illustrator Mary Gehr was locally and nationally renowned for her positive influence on her community, on the art world, and in the sphere of children's illustrating. Gehr

Lot: 154 - Mary Ray Gehr, Illinois (1910 - 1997), Cap Martin, acrylic on canvas, 61"H x 61 1/2"W (frame)

Mary Ray Gehr Illinois, (1910 - 1997) Cap Martin acrylic on canvas Signed lower left. Signed and titled verso. Biography from Fine Art San Diego: Chicago artist and illustrator Mary Gehr was locally and nationally renowned for her positive influence on her community, on the art world, and in the sphere of children's illustrating. Gehr was born in Chicago around 1910. She attended

Lot: 155 - Mary Ray Gehr, Illinois (1910 - 1997), Antibes, 1971, acrylic on canvas, 52 1/4"H x 64 1/4"W (frame)

Mary Ray Gehr Illinois, (1910 - 1997) Antibes, 1971 acrylic on canvas Signed lower left and verso. Exhibited: The Arts Club of Chicago, Annual Exhibition 1971 Biography from Fine Art San Diego: Chicago artist and illustrator Mary Gehr was locally and nationally renowned for her positive influence on her community, on the art world, and in the sphere of children's illustrating.

Lot: 156 - Mary Ray Gehr, Illinois (1910 - 1997), Lambityeco, oil on canvas, 51"H x 64"W x 1 1/2"D

Mary Ray Gehr Illinois, (1910 - 1997) Lambityeco oil on canvas Signed lower left. Signed and titled verso. Biography from Fine Art San Diego: Chicago artist and illustrator Mary Gehr was locally and nationally renowned for her positive influence on her community, on the art world, and in the sphere of children's illustrating. Gehr was born in Chicago around 1910. She attended

Lot: 157 - Mary Ray Gehr, Illinois (1910 - 1997), abstract landscape, acrylic on canvas, 51 3/4"H x 69 1/2"W

Mary Ray Gehr Illinois, (1910 - 1997) abstract landscape acrylic on canvas Signed lower left. Biography from Fine Art San Diego: Chicago artist and illustrator Mary Gehr was locally and nationally renowned for her positive influence on her community, on the art world, and in the sphere of children's illustrating. Gehr was born in Chicago around 1910. She attended Highland Park High

Lot: 158 - Mary Ray Gehr, Illinois (1910 - 1997), industrial landscape, collage and oil on masonite, 24"H x 36"W

Mary Ray Gehr Illinois, (1910 - 1997) industrial landscape collage and oil on masonite Signed lower left. Biography from Fine Art San Diego: Chicago artist and illustrator Mary Gehr was locally and nationally renowned for her positive influence on her community, on the art world, and in the sphere of children's illustrating. Gehr was born in Chicago around 1910. She attended

Lot: 159 - Mary Ray Gehr, Illinois (1910 - 1997), Chiapas Landscape, oil on canvas, 50 1/2"H x 67"W (sight), 51 3/4"H x 68"W (frame)

Mary Ray Gehr Illinois, (1910 - 1997) Chiapas Landscape oil on canvas Signed lower left. Biography from Fine Art San Diego: Chicago artist and illustrator Mary Gehr was locally and nationally renowned for her positive influence on her community, on the art world, and in the sphere of children's illustrating. Gehr was born in Chicago around 1910. She attended Highland Park High

Lot: 160 - Raphael Gleitsmann, Ohio (1910 - 1995), The Village, 1947, oil on masonite, 35"H x 48"W, 43"H x 56"W (frame)

Raphael Gleitsmann Ohio, (1910 - 1995) The Village, 1947 oil on masonite Signed and dated 1947, and inscribed Germany 1945 lower left. Biography from the Archives of askART: Raphael Gleitsmann, born in 1910, spent most of his life in Akron, Ohio. He was a self-taught artist whose only "formal" training came from Miss Calvin at Central High School and Paul Travis at the Cleveland School of Art. Although he favored oil painting, he also worked in watercolor, photography and other media. The artist's earlier works were idealized presentations of life in Middle America during the Great Depression in the realistic style. Gleitsmann served as a combat engineer in World War II from 1943-1945. While in Europe he created quaint sketches that also recorded the devastation caused by the war. He was wounded at the Rhine River, received the Purple Heart and returned to Akron. Everything he saw and experienced at war abroad affected his art. Although he initially returned to painting in his signature realistic manner, he quickly began to grow into a more abstracted, expressionistic style, based on imagination and memory, which focused on post-Apocalyptic imagery such as ruins and cemeteries. "The war experience put something into the work that it had never had before-a greater awareness of such things as the attrition of time . . . what happened to us," said Gleitsmann in a 1982 interview. "It's something deep in the experience that does shift focus around, and you are different and often better." Gleitsmann received national recognition for these works when he received first prize in a 1948 Carnegie Institute exhibition of international contemporary painting beating out Andrew Wyeth. These war-inspired paintings, may also have led him to end his career as an artist around 1954, Gleitsmann may have wished to put the horrors of war behind him "it's something like having a belief-believing that what you're doing is of importance . . . when you lose the belief, it seems there's no return . . . mostly I just found I really had nothing to say anymore," said Gleitsmann. After Gleitsmann retired from painting, he first tried framing and then focused on restoration work on oil paintings and works of paper. The artist passed away in 1995. Source: Akron Art Museum

Lot: 161 - Ellwood Graham, California, Oregon (1911 - 2007), View, abstract, oil on masonite, 12 3/4"H x 15 3/4"W (sight), 18 3/8"H x 21"W (frame)

Ellwood Graham California, Oregon, (1911 - 2007) View, abstract oil on masonite Signed lower right, signed and titled verso. Biography from the Archives of askART: The following information is from ART (unknown volume, unknown date. However, by reference to artist's age it is somewhere around 1991-2) "Art Notes" Rick Deregon 'Memories of a 'modernist' Pebble Beach artist Ellwood

Lot: 162 - Jennett Lam, Connecticut (1911-1985), Green Target Chair, 1960, oil on masonite panel, 18"H x 16"W

Jennett Lam Connecticut, (1911-1985) Green Target Chair, 1960 oil on masonite panel Signed and dated lower right. Exhibited: Morris County, Morristown, N.J. Jennett Brinsmade Lam was an American painter. Lam was born in Ansonia, Connecticut, and studied with Josef Albers at Yale University, receiving both her Bachelor of Fine Arts and her Master of Fine Arts degrees from that institution, in 1954 and 1960 respectively. Wikipedia

Lot: 163 - Alexander Redein, New York, Connecticut (1912-1990), female nude, mixed media on paper, 8"H x 5 1/4"W

Alexander Redein New York, Connecticut, (1912-1990) female nude mixed media on paper Signed lower right. Biography from The Artisfun Gallery: Alex Redein was born on January 21, 1912 in Bridgeport, Connecticut. He was a prominent member of the New York art community for many years. He studied at Yale School of Fine Art, The Art Students League, and in Mexico City. Along with Remo Farrugio, Byron Browne, Herbert and Henry Kallem, Joseph DeMartini, Michael Lekakis and many others he was part of the famous 28th Street group of modernists who congregated at the Henry and David Rothman Frame Shop and is increasingly becoming an object of study. Along with other members of the group, he summered and painted in Provincetown, Woodstock and Fire Island and is identified with those well-known art communities. Exhibitions include Greer Galleries, Pennsylvania Academy of Fine Arts 1947, National Academy of Design 1949, American Watercolor Society 1950, Butler Art Institute 1955, 1958, Farnsworth Museum 1950, Connecticut Museum of Art 1956, Philadelphia Art Alliance 1951, 1958, the Minnesota State Fair 1949, Pinacotheca Gallery 1944, and the John Heller Gallery. Public collections include the Smithsonian American Art Museum, Whitney Museum of Art, the Corcoran Institute, the National Academy of Design, the Brooklyn Museum of Art, and Ein Harod Museum of Art in Israel. Alexander Redein died in New York City, New York on August 25,1990. Sources: Who Was Who In American Art Social Security Death Index Smithsonian Archives Other Interent Resources

Lot: 164 - Francisco Zúñiga, Mexican (1912-1998), La familia indígena II, 1980, Color lithograph on paper, 31 ¼"H x 22”W

Francisco Zúñiga Mexican, (1912-1998) La familia indígena II, 1980 Color lithograph on paper Brewster 57. Signed, dated and numbered in pencil (lower left corner); blind stamp from Kyron (printer in Mexico City). Attached at several points on support board. Accompanied by receipt of previous owner and by gallery label. Unframed.

Lot: 165 - Bob Cross, United Kingdom (1912 - 2010), Early Frost, 2005, gouache and charcoal on paper, 14 1/2"H x 9"W (sight), 25"H x 19"W (frame)

Bob Cross United Kingdom, (1912 - 2010) Early Frost, 2005 gouache and charcoal on paper Signed lower left. Biography from Wilson55 (form. Peter Wilson): Bob Crossley was born in Northwich, Cheshire in 1912 but grew up in Rochdale, the Lancashire town where his father, an engine fitter, worked. Crossley showed in various exhibitions such as the Royal Academy; Society of Graphic Art; Paris Salon and Manchester Academy, being elected a member in 1950. Had a solo show at Crane Kalman Gallery, Manchester, 1959. L.S. Lowry bought a painting from his first major London show at the Reid Gallery in 1960. In 1959 Bob moved to St. Ives, Cornwall and became a member of the Penwith Society of Arts and a member of the Newlyn Society of Artists a year later, his election supported by his friend Terry Frost.

Lot: 166 - Ezio Martinelli, New York, New Jersey / Italy (1913 - 1980), abstract, ink wash on paper, 11 5/8"H x 15 1/2"W (sight), 18 1/2"H x 21 1/2"W (mat)

Ezio Martinelli New York, New Jersey / Italy, (1913 - 1980) abstract ink wash on paper Signed and dated verso. Biography from the Archives of askART: Born in West Hoboken, New Jersey, Ezio Martinelli became a sculptor known for abstract styles with many of his pieces made from aluminum. From 1947 to 1975, he was professor of art at Sarah Lawrence College, and from 1956 to 1962, he had a Guggenheim Foundation Fellowship. His art training was at the Academy of Fine Arts in Bologna, Italy, and in New York City at the National Academy of Design from 1932 to 1936. In addition to numerous national museums, his work is at the Hunterian Museum and University Art Collection in Glasgow, Scotland, as well as the United Nations in New York City, the University of Illinois, the University of Wisconsin, and at the Elgin Academy of Fine Arts. The sculpture at the United Nations General Assembly Building in New York City faces the East River. The dedication was attended by Adlai Stevenson and Eleanor Roosevelt.

Lot: 167 - John Klinkenberg, American (1913 - 1968), abstract, 1964 / Study at a Window, 1966, oil on paper / 2 lithograph exhibition posters, 23 1/2"H x 17 1/2"W (sight), 35"H x 28"W (mat)

John Klinkenberg American, (1913 - 1968) abstract, 1964 / Study at a Window, 1966 oil on paper / 2 lithograph exhibition posters Abstract, 1964: Signed and dated lower right. Study at a Window: Signed in the print.

Lot: 168 - Joachim Probst, New York (1913-1980), Motif, 1967, oil on canvas, 26"H x 23 1/4"W

Joachim Probst New York, (1913-1980) Motif, 1967 oil on canvas Signed, dated, and titled verso. Painted with heavy impasto. Biography from RoGallery: I was born September 1, 1913, in New York City. Self-taught. Through my endeavor to seek self-esteem, I became a misanthrope with a firm hand on delusion. This brilliance soon introduced me into poverty, and with so fearful a future granted me, I coined and struck this phrase, 'Art is the stand against decay.' And with this in mind, I entered my paradise of immortality. And with this paradise came my hell. And in hell I called on Satan. Joachim Probst is one of the few contemporary artists who has recklessly committed himself to deal with the ultimate symbols themselves; the Christ, the Mother, King David…and Ahab. These are some of the figures he dares to paint. "Christ painter, go away," was the epithet hurled at Probst by some of the Greenwich Viallage habitues who paint. Our Cathedral church again pushes the lesser over and makes room for the Christ painter who uses the contemporary idiom that few others can handle with any but non-objective work. This artist with unique defining power comes among us. His Christ will cause many of us to tremble as we are confronted by Him. O noble Son of God?'Consider my madness.?I am a lunatic without an asylum,? Even a cripple without a crutch,? Surely the angels must weep for me.' I feared, I trembled, and I painted. I stood in dark places (clothed in black) calling, 'Would'st that I could take a sure step in a sure direction.' Alas, Satan spoke. 'God thou shalt never know, guilt is thy name. Art thou shalt have, best be thy lot an instrument to uphold the faith, Art thou shalt have. Sing thee Christ forever. Will is woe, woe is thy will, change "me" to "I," brevity is thy purity—Seek the pact, turn not from gloomy madness. Despair is thy mother.'"—From an article in Contemporary American Painting and Sculpture, University of Illinois, 1959.

Lot: 169 - Joachim Probst, New York (1913-1980), Crux, 1953, oil on board, 24"H x 18"W

Joachim Probst New York, (1913-1980) Crux, 1953 oil on board Signed, dated, and titled verso. Biography from RoGallery: I was born September 1, 1913, in New York City. Self-taught. Through my endeavor to seek self-esteem, I became a misanthrope with a firm hand on delusion. This brilliance soon introduced me into poverty, and with so fearful a future granted me, I coined and struck this phrase, 'Art is the stand against decay.' And with this in mind, I entered my paradise of immortality. And with this paradise came my hell. And in hell I called on Satan. Joachim Probst is one of the few contemporary artists who has recklessly committed himself to deal with the ultimate symbols themselves; the Christ, the Mother, King David…and Ahab. These are some of the figures he dares to paint. "Christ painter, go away," was the epithet hurled at Probst by some of the Greenwich Viallage habitues who paint. Our Cathedral church again pushes the lesser over and makes room for the Christ painter who uses the contemporary idiom that few others can handle with any but non-objective work. This artist with unique defining power comes among us. His Christ will cause many of us to tremble as we are confronted by Him. O noble Son of God?'Consider my madness.?I am a lunatic without an asylum,? Even a cripple without a crutch,? Surely the angels must weep for me.' I feared, I trembled, and I painted. I stood in dark places (clothed in black) calling, 'Would'st that I could take a sure step in a sure direction.' Alas, Satan spoke. 'God thou shalt never know, guilt is thy name. Art thou shalt have, best be thy lot an instrument to uphold the faith, Art thou shalt have. Sing thee Christ forever. Will is woe, woe is thy will, change "me" to "I," brevity is thy purity—Seek the pact, turn not from gloomy madness. Despair is thy mother.'"—From an article in Contemporary American Painting and Sculpture, University of Illinois, 1959.

Lot: 170 - Muriel Kallis Steinberg Newman, Illinois (1914-2008), abstract, watercolor on paper, 15 5/8"H x 10 7/8"W

Muriel Kallis Steinberg Newman Illinois, (1914-2008) abstract watercolor on paper Signed lower left, inscribed to Richard Florsheim verso. Biography from NYTimes.com: Muriel Kallis was born on Feb. 25, 1914, the only child of Maurice and Ada Nudelman Kallis. Her father was an engineer. As a child she studied at the School of the Art Institute of Chicago; she later took art courses at the University of Chicago. Mrs. Newman did not turn her back on her hometown; according to The Chicago Tribune, she donated more than 170 works to the School of the Art Institute. Speaking of her kinship with the great Abstract Expressionists, she told The Times in 1980, "I knew them well and loved their work." She added: "At first I began to hang my own things next to them, but I soon realized I wasn't making much of a statement. I really am not at heart a collector. I'm a failed artist; there's no other way to describe it."

Lot: 171 - Sylvia Carewe, New York (1914-1981), abstract, oil on canvas, 20"H x 12"W

Sylvia Carewe New York, (1914-1981) abstract oil on canvas Signed lower right.

Lot: 172 - Martin Linsey, Ohio, New Mexico (1915 - 2010), Miami, 1947, watercolor on paper, 10 1/4"H x 13 3/4"W (sight), 18"H x 21"W (frame)

Martin Linsey Ohio, New Mexico, (1915 - 2010) Miami, 1947 watercolor on paper Signed dated, and titled lower right. Biography from the Archives of askART: Obituary. The Plain Dealer, Friday, March 5, 2010 Despite being partly color-blind, Martin Louis Linsey was a leading artist. He exhibited and sold work widely and lectured for the Cleveland Museum of Art. Linsey died March 3 at home Los Lunas, N.M. at age 94. "He had an innate feel for what to pick out of a scene," said Jay Hoffman, a long-time artist and museum colleague. The soft-spoken Linsey was a popular portrayer of Cleveland. "He loved every inch of its grit and idiosyncrasies," said Kathy Barrie, another museum colleague.Linsey painted many watercolors with narrow ranges of colors. But relatives say he did so by choice, not because of his degree of trouble telling red from green. He also turned out oils, drawings, prints and photographs. He was raised in Cleveland and Cleveland Heights, with a vacation home Mentor-on-the-Lake. As a young man, he worked on boats in the Caribbean and depicted streets in Miami, shrimp boats in St. Augustine, yachts in Nassau and more. When World War II began, the Marines rejected him because of his color-blindness, but the Army had him make maps in combat zones in Italy, France and Germany. After the war, Linsey returned to the Bahamas, living awhile on a 14-foot dinghy. Then he earned a master's degree in art history at Western Reserve University and worked several jobs in photography and industrial design, such as making models and delineations for Dalton and Dalton architects. In 1960, he began 20 years in the museum's education department. He went to Europe about 13 times, photographing buildings and sites for slide shows back home. He also took his wife, the former Arline Schwartz, and their three young children in a travel trailer to collect Seminole textiles in the Everglades. Linsey often exhibited at the Art Institute of Chicago, Butler Art Institute of Youngstown, Cincinnati Art Museum and elsewhere. He won his home museum's May Show. He took photographs for museum publications, Progressive Architecture, Antiques World and more. He made many works collected by the museum, American Red Cross, U.S. Interior Department, Standard Fruit and others. In 1980, Linsey retired to Scottsdale, Ariz., and volunteered as a photographer for the Phoenix Art Museum. In widowhood, he married Maria Major and moved with her to New Mexico.

Lot: 173 - Ruth Levine Gikow, New York / Ukraine, Russian Federation (1915 - 1982), floral still life, watercolor on paper, 20 1/8"H x 14 1/4"W

Ruth Levine Gikow New York / Ukraine, Russian Federation, (1915 - 1982) floral still life watercolor on paper Signed lower left. Biography from the Archives of askART: The following biography is from George Krevsky: Ruth Gikow was born in the Russian Ukraine, the daughter of Boris and Lena Gikow. When she was five, her family emigrated to the Lower East Side of New York. With a zest for living she never lost, she overcame the language barrier quickly and survived the teeming streets, diverting her tough cronies with chalk drawings on the sidewalk. She won distinction for her artwork at Washington Irving High School, which had one of the strongest art departments in New York City. At age 17, Gikow entered Cooper Union Art School and studied under two well known regional artists, Austin Purvis, Jr. and John Steuart Curry. She continued her studies under Raphael Soyer and held an impromptu showing of her earliest paintings in the lobby of the Eighth Street Playhouse in Greenwich Village. After art school, she received funding for four years from the WPA's Federal Arts Project. In 1939, she was commissioned to paint murals for the children's ward at Bronx Hospital, Riker's Island and Rockefeller Center. With some associates, she helped found the American Serigraph Society, which turned out a volume of original graphics within the range of people of modest means. Following World War II, after a brief career in commercial art, she met and married Jack Levine. Challenged by his dedication and commitment, she returned to her own painting and drawing with renewed vigor. She illustrated Dostoevsky's Crime and Punishment and began to exhibit at New York's Weyhe Gallery, Grand Central Galleries, Nordness Gallery, Forum Gallery and the Kennedy Galleries. Her endless quest to find humanity in a turbulent and sometimes hostile environment led art critic Henry-Russell Hitchcock to describe her as one of the country's "ten outstanding women painters." Her own figurative style was nurtured when she and her husband traveled Europe, studying Old Master works, the wall paintings of Pompeii and the Byzantine mosaics at Ravenna. Gikow's work is represented in numerous private and public collections, including the Metropolitan Museum of Art, Museum of Modern Art in New York, Smithsonian Institution, Washington, DC, Philadelphia Museum of Art, Whitney Museum of American Art, New York, Portland Museum of Art, Maine, National Institute of Arts and Letters, New York, Museum of Fine Arts, Springfield, Massachusetts, Hartford Arts Foundation, Connecticut, and the Butler Art Institute, Youngstown, Ohio.

Lot: 174 - Alfred Porteneuve, French (1896 - 1949), Side Chair, 1945, Upholstery, Wood, 36 1/2"H x 17 1/2"W x 23"D

Alfred Porteneuve French, (1896 - 1949) Side Chair, 1945 Upholstery, Wood

Lot: 175 - Willy Guhl, Swiss (1915-2004), giant saucer bowl planter on iron hairpin rod base, cement composite on iron hairpin tripod base, 34"H x 31"Diam (bowl w/ stand)

Willy Guhl Swiss, (1915-2004) giant saucer bowl planter on iron hairpin rod base cement composite on iron hairpin tripod base

Lot: 176 - Asian inspired cast iron powder coated hanging table bell metal gong on stand after Tom Torrens, garden sculpture. 30"H x 22"W x 8"D

Asian inspired cast iron powder coated hanging table bell metal gong on stand after Tom Torrens, garden sculpture.

Lot: 177 - Set of four Christian Liaigre Holly Hunt Outremer counter stools. 39"H x 17 1/2"W x 19"D (one)

Set of four Christian Liaigre Holly Hunt Outremer counter stools. Solid maple with black nylon webbed seats. Produced in France, 1970s. Lot includes extra roll of black webbing.

Lot: 178 - Joseph Jankowski, Ohio (b. 1916), Yucatan Night, 1971, oil on canvas

Joseph Jankowski Ohio, (b. 1916) Yucatan Night, 1971 oil on canvas Signed lower right. Exhibited: 3rd Annual All Ohio Show, The Canton Art Institute. Biography from WolfsGallery.com: Born in 1916, Joseph P. Jankowski was primarily inspired by the 1930s. Globally this period can be best characterized by the dueling of the world's leading political philosophies - Marxist Socialism, Capitalist Democracy, and the Totalitarianism of both Communism and Fascism. In Europe, Surrealism continued to be the leading artistic trend; a kind of expression and school of thought that by this time had spread across the globe. In Mexico, artists such as Frida Kahlo and Diego Rivera incorporated a number of these principals into their radical political ideologies to develop a innovative kind of magic realism.

Lot: 179 - James A. Ernst, Maryland (1916-1989), Confrontation, 1958, mixed media illustration on board, 9 1/2"H x 12"W (sight), 14"H x 16"W (frame)

James A. Ernst Maryland, (1916-1989) Confrontation, 1958 mixed media illustration on board Signed lower right. Biography from PulpArtists.com: James Arnold Albert Ernst was born August 5, 1916 in New York City. His father, Arthur Ogden Ernst, was born in 1882 in Austria and came to America in 1890. His mother, Florence B. Rakas, was born in 1891 in New York City of German ancestry. His

Lot: 180 - Joseph Paul Jankowski, Ohio (1916 - 1999), Christus, oil on canvas, 72"H x 37"W (sight), 80"H x 45"W (frame)

Joseph Paul Jankowski Ohio, (1916 - 1999) Christus oil on canvas Signed "J. Jankowski" lower left.

Lot: 181 - Richard Aberle Florsheim, Illinois (1916 - 1979), Fireworks, lithograph, 23"H x 17 1/2"W (sight), 30"H x 24 1/2"W (frame)

Richard Aberle Florsheim Illinois, (1916 - 1979) Fireworks lithograph Titled lower middle, signed lower right. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 182 - Richard Aberle Florsheim, Illinois (1916-1979), Dark City, lithograph, 25 1/2"H x 20"W

Richard Aberle Florsheim Illinois, (1916-1979) Dark City lithograph Pencil signed and titled lower. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 183 - Richard Florsheim, Ilinois (1916 - 1979), Flags, lithograph, 25 3/4"H x 18 3/4"W

Richard Florsheim Ilinois, (1916 - 1979) Flags lithograph Artist proof lower left, titled lower middle, signed lower right. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 184 - Richard Florsheim, Ilinois (1916 - 1979), abstract Interior, lithograph, 22"H x 18"W

Richard Florsheim Ilinois, (1916 - 1979) abstract Interior lithograph Numbered 22/50 lower left, signed lower right. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 185 - Richard Florsheim, Ilinois (1916 - 1979), Night City, lithograph, 20" H x 16 1/4" W

Richard Florsheim Ilinois, (1916 - 1979) Night City lithograph Numbered 17/17 lower left, titled lower middle, signed lower right. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 186 - Richard Florsheim, Ilinois (1916 - 1979), abstract, Lithograph, 24 1/2" H x 19 3/4" W

Richard Florsheim Ilinois, (1916 - 1979) abstract Lithograph abstract; numbered 2/38 lower left, signed lower right, titled lower right. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 187 - Richard Aberle Florsheim, Illinois (1916-1979), Catalysts, lithograph, 16"W x 13"H

Richard Aberle Florsheim Illinois, (1916-1979) Catalysts lithograph Pencil signed and titled lower. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 188 - Richard Aberle Florsheim, Illinois (1916-1979), Incandescent City, 1960, lithograph, 26"H x 20"W

Richard Aberle Florsheim Illinois, (1916-1979) Incandescent City, 1960 lithograph Pencil signed and titled lower right. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 189 - Kenneth Marcus Hugh, Ohio (1916-2011), Autumn Harvest, 1943, oil on canvas, 17 1/2"H x 24 1/2"W (sight)

Kenneth Marcus Hugh Ohio, (1916-2011) Autumn Harvest, 1943 oil on canvas Signed and dated lower right. Biography from the Archives of askART: Born Hugh Kenneth Marcus on August 14, 1916, he dropped the Hugh and was Kenneth Marcus for most of his childhood and young adulthood. He started painting at the age of five and took private art lessons. He was sketching portraits and figures by the time he was twelve. He graduated from Charles F. Brush High School in 1935 and then attended The Cleveland School of Art on a scholarship, graduating in 1939. He was awarded the President's Traveling Scholarship upon graduation, but turned it down for unknown reasons. He then pursued his dreams of painting portraits, watercolors and oils, printmaking and silk screen designs. He added Hugh to the end of his name after marrying fellow classmate, Mary Agnes Matousek, in 1941, thus becoming Kenneth Marcus Hugh for the remainder of his life. Hugh won awards in many juried shows including Cleveland May shows starting in the 1930's, at the Butler Institute of American Art in Youngstown, Ohio, the Fine Arts Association of Willoughby, Beck Center for the Arts, Cleveland Jr. Chamber of Commerce Art Show and the Cleveland Artists Guild. Other juried shows include the 33rd Traveling Exhibit of Water Colors by Cleveland Artists, the Cleveland May Show Artists Traveling Exhibit, the Cleveland Jewish Community Center, the Contemporary Arts Gallery in New York City (1947), the Pennsylvania Academy of Fine Arts, and the Dayton Print Show. He had many one man shows in local galleries and his work hangs in the corporate collections of B.P. America, Holland Hitch of New Jersey, Spencer Manufacturing, and Underwood Canneries of Boston, Massachusetts. Hugh was interested in motion and color and the interaction of it. He has said, "I invite the eye to enjoy a tide pool of kaleidoscopic colors, the dynamic and tranquil faces of nature, as well as the vibrant and disquieting mood of the urban scene." Helen Cullinan, former art critic for the Cleveland "Plain Dealer" once likened the "quick line and spontaneous distortions" of Hugh's work to the spirit of Red Grooms, Stuart Davis and Reginald Marsh. Hugh assisted Carl Gaertner in teaching water color at the Cleveland School of Art in the summers of 1943 and 1944. He taught life class and water color painting at the Jewish Community Center in the late 1930's for the Council Educational Alliance. Some of his instructors at the Cleveland School of Art were : Glen Shaw, Rolf Stoll, Joseph Rogozin, and Michael Rothenstein In his later years, Hugh exhibited his work at the Erie Art Museum in Pennsylvania, the Valley Art Center in Chagrin Falls, and Baycrafters in Bay Village until his death at the age of 94 on February 11, 2011. (Hugh had four children and lived with his wife, Mary Agnes Matousek (also a 1939 graduate of The Cleveland School of Art) in South Euclid, Ohio for sixty-nine years.) Kenneth Marcus Hugh 1939 graduate of Cleveland School of Art

Lot: 190 - Alfred Rozelaar Green, United Kingdom (1917 - 2013), Personnages Dans La Plaines, color lithograph, 19 1/2"H x 22"W (sheet)

Alfred Rozelaar Green United Kingdom, (1917 - 2013) Personnages Dans La Plaines color lithograph Numbered 114/120 lower left, signed lower right, titled verso.

Lot: 191 - Jacob Armstead Lawrence, New York, New Jersey (1917 - 2000), Two Rebels exhibition poster, 1963, lithograph, 26 1/4"H x 19"W

Jacob Armstead Lawrence New York, New Jersey, (1917 - 2000) Two Rebels exhibition poster, 1963 lithograph Biography from Michael Rosenfeld Gallery: Jacob Lawrence was born in Atlantic City and came of age in Harlem during the Great Depression. During the 1930s, Lawrence received early artistic training under Charles Alston at the Utopia Children's Center in Harlem, and the Harlem Art Workshops at 135th Street Public Library and 306 West 141st Street, which were run by Augusta Savage. Both Alston and Savage encouraged Lawrence in his studies and helped him secure scholarships for art classes and steady employment as an easel painter for the WPA (1938-40). Inspired by everyday life in Harlem and the history of African-Americans in the United States, Lawrence developed a distinctive style of narrative painting featuring a flattened picture plane and boldly colored figures. In 1937, Lawrence began a narrative suite based on the life of the Haitian leader Toussaint L'Ouverture. He would eventually go on to create nine narrative series based on African-American life and heroes, including the now-famous series, "Migration of the Negro". In 1941 Lawrence joined the roster of artists at Edith Halpert's Downtown Gallery, a leading gallery specializing in American art, and gained widespread recognition in 1944 when the Museum of Modern Art in New York organized the first traveling exhibition of his "Migration" series. The theme of migration continued to be an important subject for Lawrence, but he also represented African-Americans at work and play, and at home and abroad. Jacob Lawrence lived and worked in Seattle, Washington with his wife, artist Gwendolyn Knight, until his death in 2000. In 2000, The Jacob and Gwendolyn Lawrence Foundation was established to serve as an educational resource on the art of Lawrence and his wife, artist Gwendolyn Knight, and a catalogue raisonné was published, documenting over 900 of Jacob Lawrence's paintings, drawings, and murals.

Lot: 192 - Jose Maria de Servin, Michigan, Arizona / Mexico (1917-1983), Esclavo, 1956, encaustic and tempera on board, 34 1/2"H x 28 1/4"W

Jose Maria de Servin Michigan, Arizona / Mexico, (1917-1983) Esclavo, 1956 encaustic and tempera on board Signed lower right. Exhibited: Galerie Arte Moderno, Mexico Biography from the Archives of askART: The following information was submitted by Ben E. Kozlovsky, Sr: Jose Maria de Servin was taken to Guadalajara Mexico by his family when he was two months of age. He was a distinguished member of the group "Young Painters of Jalisco." Later Jose Maria de Servin collaborated with Merciful Jose Orozco in works of the Legislative Palace of Guadalajara, Jalisco. Jose Maria de Servin also taught summer art courses for 15 years at the University of Arizona. Jose Maria de Servin's mural productions were numerous. He painted important murals in union with his brothers Antonio and Miguel. His religious pictures were very well accepted in Europe. Main Exhibitions: Spanish Athenian, Guadalajara, Jal. (1940); Gallery of Contemporary Art, Mexico, D.F. (1949); Gallery of Universal Art, Monterrey, N. L. (1959); House of the Crafts, Guadalajara (1964); Rossemberg's Gallery, Scottsdale, AZ. and in Miami, FL. (1969). Crafts Capuchinas, Guadalajara (1971). Building "The Angel", Mexico, D.F. (1977). In addition Jose Mariia de Servin has participated in important exhibitions in Venezuela and Panama. n exhibition tribute was held the year after Jose Maria de Servin's death, Regional Museum of Guadalajara (1984) Prizes and Distinctions: Medal of Honor Fair of Jalisco (1953). In the Madonna Festival of Los Angeles, CA., Jose Maria de Servin received the first prize for the work "the Madonna and the Boy" (1956). In 1957 Jose de Servin gained the prestige's Merciful Jose Orozco award. First prize in the Year of the Plastic Arts of Jalisco (1964). In 1967 he is honored with the appointment to Life Member of Friends of the Mexican Art of the Art Museum in Phoenix, Arizona. Named artistic Adviser of the House of the Crafts of Jalisco (1969) Jose Maria de Servin's murals works are rich in color and show a high sense of the "Mexicanidad". Jose Maria de Servin has works of this sort in the Regional Museum, the House of the Jalisciense Culture and the House of the Crafts as well as in the hotels Mendoza and Hilton, of Guadalajara, Jalisco. His works can be viewed in the Arcs of Phoenix, Arizona.; The Cortijo of San Jose, Tijuana, B. C. and the Pharmacies Benavides de Monterrey, N. L.

Lot: 193 - Maurice Verrier, French (1917-2004), abstract, 1940s, oil on board, 29 1/2"H x 14 1/2"W (sight), 38"H x 23"W, (frame)

Maurice Verrier French, (1917-2004) abstract, 1940s oil on board Signed lower right. After Klee and Miro. Biography from the Archives of askART: Maurice Verrier was born in St. Malo, Brittany, France in 1917. He studied with Andre Lhote, also with Rouault during the German occupation on the Eglise de Normandie. He graduated from the National Academy of Paris Beaux Art. He won many prizes and honorable mentions in London, Paris Berlin and Rome. Information from Martin Lowitz Gallery submitted by Ralph Blunt

Lot: 194 - Juliette LaChaume, Louisiana (20th century), Rape of Andromeda, 1957, oil on canvas, 41 1/2"H x 30"W

Juliette LaChaume Louisiana, (20th century) Rape of Andromeda, 1957 oil on canvas Signed and dated upper left.

Lot: 195 - Anthony J. Vaiksnoras, (1918 - 1973) Ohio, A Dream of the Unknown, 1953, oil on canvas, 15"H x 22 1/2"W (sight), 23 1/4"H x 31"W (frame)

Anthony J. Vaiksnoras (1918 - 1973), Ohio A Dream of the Unknown, 1953 oil on canvas Signed lower right. Exhibited: Cleveland Museum of Art, 36th May show, 1954. Biography from EnamelArts.Org: An immensely versatile artist, Anthony Vaiksnoras worked throughout his life in a wide variety of media from painting, sculpture, and watercolor to lithography and enameling. Highly regarded by curators and collectors alike, he exhibited at prominent institutions throughout the country including the Cleveland Museum of Art, the Carnegie Museum of Art, the Corcoran Art Gallery, and the Metropolitan Museum of Art. Born in DuBois, Pennsylvania, Vaiksnoras moved with his family to northeastern Ohio when he was still a young child. After graduating from Cleveland's East Technical High School he received a scholarship to study at the Cleveland School of Art, graduating in 1942. After serving in the U.S. Army during World War II, he returned to Cleveland and earned his living working at the influential PDA Advertising Agency in roles of increasing responsibility. Trained as a painter, Vaiksnoras first began enameling in 1947 and quickly gained prominence in the field. His work was featured in the Ohio Ceramic and Sculpture Show at the Butler Institute of American Art in 1948, where it won an award and was purchased for their permanent collection. He also exhibited his enamels in the Cleveland Museum of Art's annual May Shows from 1948 to 1950 and again in 1952. One of his enamels Abstract African Theme received a purchase award in 1950. Vaiksnoras's work of the 1950s and early 1960s reflects his interest in Surrealism, African art, and his increasing commitment to pure abstraction. In commenting on the meaning of his paintings, Vaiksnoras touched upon expansive issues that pertain to his work in all media. He said, "Time is the greatest invention of the mind. It is the mysterious that I love in painting. It is the stillness and the silence. I want my paintings to obsess and to haunt. Eternity and infinity are connotations that surpass the searching capacity of the mind. I believe in spiritual reality that reflects the entire personality of the artist, his mood, sensitivity and creative determination."

Lot: 196 - Richard Wengenroth, New York (20th century), abstract, 1957, gouache on paper, 21"H x 30"W

Richard Wengenroth New York, (20th century) abstract, 1957 gouache on paper Signed and dated upper right. Biography from Richard Wengenroth.com: Richard Wengenroth was born in Brooklyn, New York. In his late teens and early twenties he hitchhiked the United States coast-to-coast and traveled to Japan, Mexico, France, Italy, Germany, England, and the Benelux countries. He earned degrees from Wittenberg University and Ohio Wesleyan University. He was awarded a Fulbright Grant to Germany and attended the Akademie der Bildende Künste, München where he was close to members of Der Zen Gruppe and was instrumental in arranging that group's first American exhibition. In his academic career he has taught drawing, painting and art history, did organizational work and program development at Ohio Wesleyan University, University of Kentucky and City University of New York. In the 1960s he was Founding Director of a residential arts apprenticeship program which brought midwest college arts students to working apprenticeships with New York City artists. Richard Wengenroth has been painting and exhibiting for over 50 years. He has won numerous awards and prizes, and has been reviewed consistently. His work has been shown in solo and group exhibitions in the United States, France and Germany, and is represented in over 100 public and private collections.

Lot: 197 - Daniel Hudson, American (20th century), abstract, 1966, mixed media on paper, 19"H x 25"W (sight)

Daniel Hudson American, (20th century) abstract, 1966 mixed media on paper Signed lower right?

Lot: 198 - Si Lewen, New York / Germany, Poland (b. 1918), Vista, 1974, graphite on paper, 14"H x 17 1/2"W (sight), 19"H x 25"W (frame)

Si Lewen New York / Germany, Poland, (b. 1918) Vista, 1974 graphite on paper Signed and dated lower left. Biography from the Archives of askART: Biography for Si Lewen submitted by Gary Stanley/ArtSanDiego: Si Lewen was born on November 8, 1918 in Lublin, Poland, at the end of World War I. As an infant he was smuggled into Germany. In his early years in Berlin he witnessed the

Lot: 199 - Walter Meigs, Connecticut / New York (1918-1988), Trees By A Pool, 1952, oil on masonite, 23 1/4"H x 47 1/4"W, 25"H x 48 1/2"W (frame)

Walter Meigs Connecticut / New York, (1918-1988) Trees By A Pool, 1952 oil on masonite Signed and dated lower right. The Downtown Gallery, NY label verso. Biography from Butler Institute of American Art: Walter Meigs (1918-1988) (from an exhibition catalog Walter Meigs : A Retrospective published by Harmon Meek Gallery in 1983) In June of 1951 Art d'anjourd Jui, published in

Lot: 200 - Antonio Frasconi, New York, Connecticut / Uruguay (1919-2013), Sioux-Plains, 1971 , woodcut, 29 7/8"H x 21 3/4"W (sheet)

Antonio Frasconi New York, Connecticut / Uruguay, (1919-2013) Sioux-Plains, 1971 woodcut Signed and dated lower right, titled lower left, numbered 69/100 lower middle. From the Archives of askART: Following is The New York Times obituary of the artist. "Antonio Frasconi, Woodcut Master, Dies at 93" By DOUGLAS MARTIN Published: January 21, 2013 In 1953, Time magazine called

Lot: 201 - Antonio Frasconi, New York, Connecticut / Uruguay (1919-2013), Sunflower , woodcut, 21 1/4"H x 27 1/4"W (sheet)

Antonio Frasconi New York, Connecticut / Uruguay, (1919-2013) Sunflower woodcut Signed and dated lower right, titled and numbered 6/10 lower left. From the Archives of askART: Following is The New York Times obituary of the artist. "Antonio Frasconi, Woodcut Master, Dies at 93" By DOUGLAS MARTIN Published: January 21, 2013 In 1953, Time magazine called Antonio Frasconi America's

Lot: 202 - Montano, Spanish (20th century), Children in the Sun, 1958, oil on canvas, 39 1/4"H x 28"W

Montano Spanish, (20th century) Children in the Sun, 1958 oil on canvas modern figure painting. Signed and dated upper right.

Lot: 203 - Robert Lohman, Indiana (1919-2001), Apollo, 1964, oil on canvas, 48"H x 36"W, 65"H x 41"W (frame)

Robert Lohman Indiana, (1919-2001) Apollo, 1964 oil on canvas Signed lower right. Signed and dated verso. Artist made hand carved frame, 1968. Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 204 - Robert Lohman, Indiana (1919-2001), Jester, 1949, ceramic, 20 1/2"H x 13"W x 15 1/4"D

Robert Lohman Indiana, (1919-2001) Jester, 1949 ceramic Signed to base. Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 205 - Robert Lohman, Indiana (1919-2001), Two Women, 1950s, wood, 25"H x 10"W x 10 1/2"D

Robert Lohman Indiana, (1919-2001) Two Women, 1950s wood Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 206 - Robert Lohman, Indiana (1919-2001), shrouded figure, 1946, 15"H x 8"W x 6"D

Robert Lohman Indiana, (1919-2001) shrouded figure, 1946 Signed and dated to base. Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 207 - Robert Lohman, Indiana (1919-2001), Family, figural group, 1940s, wood, 30"H x 13"W x 10"D

Robert Lohman Indiana, (1919-2001) Family, figural group, 1940s wood Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 208 - Robert Lohman, Indiana (1919-2001), Haunted, 1950, plaster and pigment, 21"H x 13"W x 7"D

Robert Lohman Indiana, (1919-2001) Haunted, 1950 plaster and pigment Signed and dated on base. Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 209 - Robert Lohman, Indiana (1919 - 2001), abstract allegorical scene, oil on masonite, 55 3/4"H x 75 1/2"H (frame)

Robert Lohman Indiana, (1919 - 2001) abstract allegorical scene oil on masonite signed and dated lower right Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 210 - Jane Botsford Armstrong, New York (1921 - 2012), Mother and Child, marble sculpture, 10 1/2"H x 15 1/2"W x 10"D

Jane Botsford Armstrong New York, (1921 - 2012) Mother and Child marble sculpture Signed with initials verso. Biography from the Archives of askART: Stone and marble sculptor Jane B. Armstrong, born in Buffalo, New York in 1921, has eight- hundred works in public and private collections in Europe, the United States and Canada. She has had more than one hundred one-person exhibitions in museums, galleries and universities, and had been awarded forty medals in national juried exhibitions. Solo exhibitions include New York City galleries like Frank Rehn, 1971, 1973, 1975, 1977; Sculpture Center, 1981; Schiller-Wapner, 1987; Grand Central, 1989; as well as Marjorie Parr Gallery in London in 1976, and Glass Gallery, Toronto, in 1985. Armstrong studied at Middlebury College in Vermont, Pratt Institute, Brooklyn, New York, and, in 1964, the Art Students League in New York City with John Hovannes and Jose de Creeft. She is a member of the Sculptors Guild and fellow of the National Sculpture Society. Source: Jules and Nancy Heller, "North American Women Artists of the 20th Century" "Southwest Art", 9/2000

Lot: 211 - Ellsworth Kelly, (1923-2015) Galerie Maeght green square on orange ground color lithograph exhibition poster 26"H x 20"W

Ellsworth Kelly, (1923-2015) Galerie Maeght green square on orange ground color lithograph exhibition poster

Lot: 212 - Knox Martin, American (b.1923), Woman, Still-Life With Grapes and Bananas, 1986, oil on canvas, 48 1/4"H x 42"W (sight), 49 3/4"H x 43 1/2"W (frame)

Knox Martin American, (b.1923) Woman, Still-Life With Grapes and Bananas, 1986 oil on canvas signed lower right. Inscribed verso. Provenance: From a private collector, Indianapolis. From the archives of AskArt: New York School artist Knox Martin was born in Barranquilla, Colombia to an American aviator father - the first man to ever pilot an aircraft over the Andes - and a Colombian mother. His family moved to Salem, Virginia and later to New York City when he was 5 years old. Knox Martin served in the Coast Guard in WWII on a sub-chaser, part of a rescue flotilla at Omaha Beach in Normandy. He attended The Art Students League of New York from 1946 to 1950 under the GI Bill. At the League he studied with Harry Sternberg, Vaclav Vytlacil, Will Barnet and Morris Kantor. There he met fellow students Susan Weil, Cy Twombly, and Al Held and was a mentor to Robert Rauschenberg. In 1954, at Franz Kline's recommendation, Knox Martin's work was included in the Stable Gallery annual exhibition. Charles Egan saw the work and invited him to have his first solo exhibition at the Charles Egan Gallery. His prevalent theme is woman. Vivien Raynor wrote in the New York Times: "The artist is best known for his repertory of signs and symbols that allude to nature and, in particular, to the female form. Flatly and freely painted in Pop colors, they have often been executed on a grand scale..." (1) A renowned muralist, one of his best-known works in New York City is a 12-story wall painting, Venus, on the wall of Bayview Women's Correctional Facility on West 19th Street. Venus was commissioned in 1970 by Doris Freedman of CityWalls and restored in 1998 with the support of the Public Art Fund. Knox Martin has received numerous grants and awards, including an NEA Grant, two Pollock-Krasner Grants, Gottlieb Grant, CAPS Grant, Longview Fellowship (3 purchase awards) and the Benjamin West Clinedinst Memorial Medal. He taught at Yale Graduate School of the Arts, first as visiting critic in art, and then as Professor of Art. He also taught at New York University, the University of Minnesota, Fort Rajgat, India, and the International School of Art in Umbria, Italy. For over 45 years he taught a legendary Master Class at the Art Students League of New York. Sources include: Don Ray the artist's website (1) Vivien Raynor, Knox Martin: Angry But More Human, New York Times (November 9, 1980).

Lot: 213 - Alfred Van Loen, New York / Germany (1924-1994), 3601493 Woman and Child Alfred Van Loen 553161 Sculpture, Wood on acrylic stand, 68"H x 11"W x 11"D

Alfred Van Loen New York / Germany, (1924-1994) 3601493 Woman and Child Alfred Van Loen 553161 Sculpture Wood on acrylic stand

Lot: 214 - Alfred Van Loen, New York / Germany (1924 - 1994), Sheeba, 1967, plaster with lacquer finish on ebonized plinth, 27 3/4"H x 8 1/2"W x 9 1/2"D

Alfred Van Loen New York / Germany, (1924 - 1994) Sheeba, 1967 plaster with lacquer finish on ebonized plinth Embossed monogram signature. Referenced in "Beyond Time; The Art of Alfred Van Loen" SunStorm c.1993, p. 38. Van Loen was a highly influential modern artist and teacher of German descent. He relocated to Amsterdam during WWII and was eventually formally trained there. He came to teach and be active in New York. His work is held in numerous important collections including MOMA. He succumbed to diabetes in the early 1990s.

Lot: 215 - Manuel Arias, Cuban (20th century), female bust, 1940s, wood, 15"H x 6"W x 7 1/2"D

Manuel Arias Cuban, (20th century) female bust, 1940s wood Signed to base.

Lot: 216 - Unknown (Japanese, 20th century), Abstract Modern Figures, 1971, glazed stoneware ceramic figural sculpture. 8"H x 12"D x 6"W

Unknown (Japanese, 20th century), Abstract Modern Figures, 1971, glazed stoneware ceramic figural sculpture. Signed with chop seal and dated on base.

Lot: 217 - Jan Jones, American (20th century), studio pottery bowl, 1956, stoneware, 6 1/4"H x 13 1/2"Diam.

Jan Jones American, (20th century) studio pottery bowl, 1956 stoneware Signed and dated under base.

Lot: 218 - Ernest Otto Mondorf, United States / Germany (1924-2008), Harbor of Ibiza, 1959, oil on canvas, 8 1/4"H x 11 1/4"W

Ernest Otto Mondorf United States / Germany, (1924-2008) Harbor of Ibiza, 1959 oil on canvas Signed and dated lower right.

Lot: 219 - Charles Edward Burdick, American (1924-2016), City Scene with bridge and rail, ink and watercolor on paper, 14 1/4"H x 21 1/4"W

Charles Edward Burdick American, (1924-2016) City Scene with bridge and rail ink and watercolor on paper Signed lower right. Biography from Leonard Davenport Fine Arts / LSDArt: Born in Providence, RI, Charles Burdick first won a scholarship at the age of 9 to attend a class at the Rhode Island School of Design. Following service in WWII, he returned to RISD, but transferred after a year to Art Students League in New York. His instructors included Reginald Marsh, Will Barnett and Edwin Dickinson. In the 1960s, he began to summer in Provincetown, MA. In 1966, he moved to Wellfleet on Cape Cod, and established his studio there. He supported his family of five by selling his artwork from his studio and in juried, largely outdoor shows around the country. Since 1976, he has wintered on the east coast of Florida and shown at shows there. He has won numerous awards over the years, but he eschewed working with a gallery and did little publicity, preferring to sell his painting directly to the collector. Recently, his daughter established a gallery to display his art in a more formal setting. Animals have always been a favorite subject since the 1950s, particularly horses and bulls. In the 1980s he produced a series of Peaceable Kingdoms and Noah's Ark paintings as well as circus paintings. Late in the 1980s, he did a medieval series based on the Unicorn. Most recently, he has been painting playful, imaginary paintings of famous artists working in their studios, often using the palette and stylistic references of the subject.

Lot: 220 - Varujan Boghosian, New Hampshire, Connecticut (1926-2020), Construction Worker, wood, 7 1/2" x 13" x 4"

Varujan Boghosian New Hampshire, Connecticut, (1926-2020) Construction Worker wood Signed to side of box. Biography from the Archives of askART: Born in New Britain, Connecticut, he is known primarily for his assemblages in which he uses a variety of incongruous objects such as parts of weathered barn doors, antique dolls' heads, old leather, marbles, and ping-pong balls. He became a professor of sculpture at Dartmouth College in New Hampshire. He is also a watercolorist and sculptor who did many works relating to medieval themes of Knights, Death, and the Devil starting with the Orpheus legend, a theme he further explored through the writing of his own poetry. After serving in the United States Navy, he attended Central Connecticut Teachers College and the Vesper George School of Art in Boston. In 1953, he had a Fulbright grant to paint in Italy, and from 1956 to 1959, he worked with Josef Albers, geometric abstractionist, at Yale University where he earned both his BFA and MFA.

Lot: 221 - Robert C. "Bobby" Ray, Indiana (1926-2020), cityscapes, watercolor on paper, 18"H x 15"W (one)

Robert C. "Bobby" Ray Indiana, (1926-2020) cityscapes watercolor on paper Signed lower right.

Lot: 222 - Robert C. "Bobby" Ray, Indiana (1926-2020), 2 portrait / abstract sketch books, 1950s, watercolor on paper, 17"H x 14"W (one)

Robert C. "Bobby" Ray Indiana, (1926-2020) 2 portrait / abstract sketch books, 1950s watercolor on paper Signed and dated.

Lot: 223 - Robert C. "Bobby" Ray, Indiana (1926-2020), FIVE figural / abstract sketch books, 1950s, mixed media on paper, 11"H x 8 1/2"W (largest)

Robert C. "Bobby" Ray Indiana, (1926-2020) FIVE figural / abstract sketch books, 1950s mixed media on paper Dated and inscribed.

Lot: 224 - Robert C. "Bobby" Ray, Indiana (1926-2020), 4 abstracts, 1970s, mixed media on paper, 19"H x 12 1/4"W (largest)

Robert C. "Bobby" Ray Indiana, (1926-2020) 4 abstracts, 1970s mixed media on paper Signed and dated.

Lot: 225 - Ellen Lanyon, American (1926-2013), Phantom Fish Bowl, 1970, oil on canvas, 34"H x 34"W, 35 1/2"H x 35 1/2"W (frame)

Ellen Lanyon American, (1926-2013) Phantom Fish Bowl, 1970 oil on canvas signature not visible. Provenance: From a private collector, Indianapolis. From the artist's memorial tribute by the Art Institute of Chicago submitted by Gene Meier. His source was the brother of the artist. Lanyon has been an icon of the Chicago school for more than 60 years, painting in a way that harkens to both formalism and the realms of dreams and symbolism. Her works involve the most fanciful of still-lifes one could ever imagine, such as, the replication of intricate objects, like a small ceramic humidor in the shape of a frog smoking a pipe that first belonged to her grandfather, and the incorporation of natural elements in fantastical settings. Lanyon said that she felt she was a magician through her paintings, one "who can transform flowers into fire, create the animate out of the inanimate, and utilize osmosis and gravity to create illusion." And she did through items of nostalgia, rich color pallets, and dream-like scenarios that brought her scenes to life. Lanyon made the transition to New York City as her primary residence and studio in the late-1970s, but her heart and home has always been in Chicago. She has had more than 75 solo exhibitions and 11 museum exhibitions, including three major traveling retrospectives. Her work is in the collections of the Art Institute of Chicago; Museum of Contemporary Art, Chicago; Union League Club, Chicago; numerous private collections in the Chicago area; and other major museums and collections in the United States and abroad. Education: Honorary Doctorate, The School of the Art Institute of Chicago, 2007 The Courtauld Institute University of London, UK MFA, University of Iowa, Iowa City, IA, 1950 BFA, The School of the Art Institute of Chicago,1948 Lanyon has taught painting at several institutions including the School of the Art Institute of Chicago, and the Cooper Union and the School of Visual Arts in New York City. Lanyon received several Armstrong Prize Awards and a Logan Prize from the Art Institute of Chicago, Fulbright Study Grant, Cassandra Foundation Grant, Herewood Lester Cook Foundation Award, two National Endowment for the Arts Visual Artists Awards, Florsheim Art Foundation Grant, several Yaddo Fellowships, Ossabaw Island Project Fellowship, and two Purchase Awards from the American Academy of Arts and Letters. She was elected to the Union League Club, Chicago; Century Association, New York City; and the National Academy of Design. Ellen is survived by her husband Roland Ginzel, children Lisa Ginzel and Andrew Ginzel (Sarah Walker); grandson Walker Ginzel; brother Richard Lanyon (Marsha Richman); and other nephews and nieces. Ellen was the eldest daughter of the late Howard W. and Ellen M. Lanyon of Chicago.

Lot: 226 - Martha Laughlin, American (1928-2002), portrait, oil on board, 23 1/2"H x 11 1/2"W (sight), 27 1/2"H x 15 1/2"W (frame)

Martha Laughlin American, (1928-2002) portrait oil on board Signed lower right.

Lot: 227 - Jean-Jacques Morvan, French (1928 - 2005), Painter, 1958, pastel on paper, 14 1/8"H x 9 3/4"W (sight), 14 1/2"H x 19 3/8"W (mat)

Jean-Jacques Morvan French, (1928 - 2005) Painter, 1958 pastel on paper Signed and dated lower left.

Lot: 228 - Jean-Jacques Morvan, French (1928 - 2005), Reclining Nude, 1958, pastel on paper, 9 1/8"H x 12 1/8"W (sight), 14 1/2"H x 17"W (frame)

Jean-Jacques Morvan French, (1928 - 2005) Reclining Nude, 1958 pastel on paper Signed lower left, dated lower right.

Lot: 229 - Jean-Jacques Morvan, French (1928 - 2005), abstract reclining nude, 1957, mixed media on paper, 10 1/8"H x 14 1/2"W (sight), 15"H x 19"W (frame)

Jean-Jacques Morvan French, (1928 - 2005) abstract reclining nude, 1957 mixed media on paper Signed and dated upper left.

Lot: 230 - Gregory Masurovsky, New York / France (1929 - 2009), female nude, 1966, ink on paper, 24 3/4"H x 19"W

Gregory Masurovsky New York / France, (1929 - 2009) female nude, 1966 ink on paper Signed with initials and dated lower right. Biography from the Archives of askART: Gregory Masurovsky was a student in his teen-age years at Black Mountain College, an educational experience that stimulated his life-long commitment to graphic art. He was married to Shirley Goldfarb, an abstract painter, and on their first visit to Paris, they decided to settle there. Friends in Paris included the intellectual elite such as Simone de Beauvoir, They encountered intellectual and artistic luminaries like de Beauvoir, Albert Giacometti, and Jean-Paul Sartre, and as well as David Hockney, who painted a significant double portrait of them and who just beginning to get recognition. An especially close associate was Michel Butor, French philospher and critic, with home Masurovsky collaborated. Source: Michel Butor, Gregory Masurovsky: A World in Black and White

Lot: 231 - Gregory Masurovsky, New York / France (1929 - 2009), abstract female nude, 1965, ink on paper, 24 7/8"H x 18 7/8"W

Gregory Masurovsky New York / France, (1929 - 2009) abstract female nude, 1965 ink on paper Signed with initials and dated lower right. Staining along bottom edge. Biography from the Archives of askART: Gregory Masurovsky was a student in his teen-age years at Black Mountain College, an educational experience that stimulated his life-long commitment to graphic art. He was married to Shirley Goldfarb, an abstract painter, and on their first visit to Paris, they decided to settle there. Friends in Paris included the intellectual elite such as Simone de Beauvoir, They encountered intellectual and artistic luminaries like de Beauvoir, Albert Giacometti, and Jean-Paul Sartre, and as well as David Hockney, who painted a significant double portrait of them and who just beginning to get recognition. An especially close associate was Michel Butor, French philospher and critic, with home Masurovsky collaborated. Source: Michel Butor, Gregory Masurovsky: A World in Black and White

Lot: 232 - Gregory Masurovsky, New York / France (1929 - 2009), abstract standing figure, 1965, ink on paper, 25"H x 18 7/8"W

Gregory Masurovsky New York / France, (1929 - 2009) abstract standing figure, 1965 ink on paper Signed with initials and dated lower right. Biography from the Archives of askART: Gregory Masurovsky was a student in his teen-age years at Black Mountain College, an educational experience that stimulated his life-long commitment to graphic art. He was married to Shirley Goldfarb, an abstract painter, and on their first visit to Paris, they decided to settle there. Friends in Paris included the intellectual elite such as Simone de Beauvoir, They encountered intellectual and artistic luminaries like de Beauvoir, Albert Giacometti, and Jean-Paul Sartre, and as well as David Hockney, who painted a significant double portrait of them and who just beginning to get recognition. An especially close associate was Michel Butor, French philospher and critic, with home Masurovsky collaborated. Source: Michel Butor, Gregory Masurovsky: A World in Black and White

Lot: 233 - Gregory Masurovsky, New York / France (1929 - 2009), Flowers and Wallflowers 2, 1970, ink on paper, 24 3/4"H x 19"W

Gregory Masurovsky New York / France, (1929 - 2009) Flowers and Wallflowers 2, 1970 ink on paper Signed with initials and dated lower right. Signed, dated, and titled verso. Exhibited: The Betty Parsons Gallery, NY Biography from the Archives of askART: Gregory Masurovsky was a student in his teen-age years at Black Mountain College, an educational experience that stimulated his life-long commitment to graphic art. He was married to Shirley Goldfarb, an abstract painter, and on their first visit to Paris, they decided to settle there. Friends in Paris included the intellectual elite such as Simone de Beauvoir, They encountered intellectual and artistic luminaries like de Beauvoir, Albert Giacometti, and Jean-Paul Sartre, and as well as David Hockney, who painted a significant double portrait of them and who just beginning to get recognition. An especially close associate was Michel Butor, French philospher and critic, with home Masurovsky collaborated. Source: Michel Butor, Gregory Masurovsky: A World in Black and White

Lot: 234 - Matthew David Carone, American (b. 1930), Four Playing II, 2001, mixed media on paper

Matthew David Carone American, (b. 1930) Four Playing II, 2001 mixed media on paper Signed lower right.

Lot: 235 - Jasper Johns, New York (b. 1930), Leo Castelli Gallery NYC exhibition poster, 1968, offset lithograph, 35 1/4"H x 24"W

Jasper Johns New York, (b. 1930) Leo Castelli Gallery NYC exhibition poster, 1968 offset lithograph Signed in the print. Staining at top of poster. Biography from the Archives of askART: Painter, sculptor, and printmaker Jasper Johns became one of America's best-known post-Abstract Expressionists and Minimalists. His name is most associated with pictorial images of flags and numbers, Pop-Art subjects that he depicted in Minimalist style with emphasis on linearity, repetition, and symmetry. Johns completed his first flag painting in 1955, alphabet subjects in 1956, sculpture in 1958, and lithographs in 1960. Unlike Abstract Expressionism, these signature works seem removed from the artist's emotions. They are modernist in that they lack traditional perspective, focusing on inter-relationships of color and shapes, but are realist in that they have recognizable subject matter. Born in Augusta, Georgia, Johns grew up in South Carolina, with no formal art training but did attend the University of South Carolina for two years. In 1949 he moved to New York City but was drafted into the Army. Returning to New York, he began experimenting with styles, and "Flag", dated 1955, earned him his first major attention. It was revolutionary in that it was simply a geometric design on a large canvas, divorced from emotional or political connotation. His flag paintings are credited as key in the development of Minimal Art in that the focus of these pieces was their linearity and uniformity with de-emphasis on the unique creative talents of the artist. For Johns, major influences on this Minimalist style were his friendships with dancer Merce Cunningham, composer John Cage, and artist Robert Rauschenberg. Over the next few years, Johns used the same approach with other images that were traditional symbols. In 1956 to 1957, he added numbers to his paintings; in 1958, he did his first sculpture of mundane objects; and in 1960, he executed his first lithographs. In 1959, his work became increasingly abstract, influenced by Surrealism and Dadaism, with surfaces complicated by combining bold colors with letters and other symbols, some of them obvious such as maps and others hard to read. He created assemblage, and from 1972, used a cross-hatching method. In 1997, a major retrospective of 225 of Johns' work was held in New York at the Museum of Modern Art, organized by Kirk Varnedoe. Following this, he began a new series that was much more muted, mysterious, and serene than his earlier work. The exhibition of these paintings debuted on September 15, 1999 at the San Francisco Museum of Modern Art and traveled to the Yale University Art Gallery in January 2000 and then to the Dallas Museum of Art. In the late 1990s, Johns has been working from a restored barn near Sharon, Connecticut and pursues a hobby of raising bees. Source: Matthew Baigell, Dictionary of American Art Michael David Zellman, 300 Years of American Art

Lot: 236 - John Balossi, New York, Puerto Rico (1931-2007), abstract, 1969, ink on paper, 25"H x 38"W

John Balossi New York, Puerto Rico, (1931-2007) abstract, 1969 ink on paper Signed and dated lower left. Biography from PuertoRicoArte.com: John Balossi (May 28, 1931 – April 8, 2007) was a painter and sculptor. Born in New York City, he received his BFA and master's degree at Columbia University in N.Y.C. He was an associate Professor of Fine Arts at the University of Puerto Rico in Río Piedras. Balossi was also a ceramist and printmaker, and gave more than thirty one-man exhibitions in Puerto Rico, New York, and Paris, France. In his thematic, he was well known for his interpretations of horses. Remarkable were some of his xilos such as the series "White Rider" and the enormous "Moonscape" (on discarded paper) unfortunately lost. His work can be found in the Museum of Modern Art (N.Y.); Finch College Museum (N.Y.); Museum of Fine Arts (Fort Lauderdale); Chase Manhattan Fine Arts Center; University of Massachusetts Amherst; Ponce Art Museum; and in many other public and private art collections.

Lot: 237 - Nissan Engel, New York / Israel, France (1931-2016), Musicians, oil on canvas, 30 1/2"H x 20"W, 37 1/2"H x 27"W (frame)

Nissan Engel New York / Israel, France, (1931-2016) Musicians oil on canvas Signed lower left. Biography from the Archives of askART: The following information was compiled and submitted by Cameron L. Wolf:Artist, craftsman, innovator, technician, poet, musician - all of these terms are needed to describe Nissan Engel. In a prolific career spanning nearly four decades, Engel has developed a unique form of expression - rich, complex, highly personal - that defies easy classification. He is perhaps best known for his work in mixed media, in which he manipulates disparate elements to create harmonious, lyrical compositions. His body of work reflects a continual evolution, a constant seeking of new arenas in which to play out his ideas - painting, drawing, collage, printmaking. As he masters each new technique, he incorporates it into his work to achieve his ultimate artistic goals: harmony and equilibrium. "The cabalistic idea of harmony is what I'm looking for - this religious sense of balance between the upper and lower parts that is the basis of God's creation of the world. This is what I want to find, what I want to say, what I want to liberate and communicate." (Interview by Katherine Winn, "Nissan Engel," Art Gallery International, April, 1990). Born is Israel in 1931, Engel graduated from the Beaux-Arts Bezalel in Jerusalem and later received a diploma in theater design from the Centre Dramatique de l'Est in Strasbourg, France. He moved to Paris in the mid-1950s, where he painted and also worked on a variety of stage designs and costume projects; he had the first of many painting exhibits starting in 1960 at the Galerie Weil. In 1965 he moved to New York City. During his days in Paris and throughout his ten-year stay in the United States, Engel worked almost exclusively in the painting medium. The subjects of his early works - landscapes, still lifes, and equestrian figures often presented in horse racing and circus scenes - were rendered in a style that was predominantly figural and representational, reflecting his academic training. The paintings from this period are strongly graphic and characterized by a bold and direct use of color. Engel's early influences include Picasso, Klee, Marini, Kandinsky, and other European expressionists, as well as the conceptual artists Oppenheim and Beuys. He also was influenced by the abstract expressionists of the New York School, many of whom he knew and befriended while living in New York City.

Lot: 238 - Donald Gordon Laycock, Australia (b. 1931), Summer Solstice, 1961, oil on masonite, 47 1/2"H x 36 1/8"W

Donald Gordon Laycock Australia, (b. 1931) Summer Solstice, 1961 oil on masonite Unsigned. Bendigo Art Gallery label, Bendigo, Victoria verso. Biography from ArtistProfile.com: The sociopolitical context Laycock was working in, from the post–World War II period onwards, witnessed Australia's shifting alliance from England to the US. Laycock was one of the first Australian

Lot: 239 - Alan Gussow, New York (1931-1997), Along the Coast of Lobster Cove, 1963, watercolor on paper, 4 1/4"H x 8 3/4"W (sight), 11 3/8"H x 15 7/8"W (mat)

Alan Gussow New York, (1931-1997) Along the Coast of Lobster Cove, 1963 watercolor on paper Signed and dated lower center. Biography from the Archives of askART: A strong conservationist, Alan Gussow painted landscapes and seascapes that combined realism and abstraction. He was the first official artist for the Cape Cod National Seashore association and chairman of the American Beautiful Fund in the 1970s. From 1956 to 1968, he was a teacher at the Parsons School of Design. In 1972, his book, A Sense of Place, was published. The work featured reproductions of his paintings and text celebrating the American landscape. Source: Peter Hastings Falk (editor), Who Was Who in American Art

Lot: 240 - Robert B. Berkshire, Indiana (1932-2010), figure study, 1976, oil pastel on paper, 18 1/2"H x 24 1/2"W (sight), 19 1/4"H x 25 1/4"W (frame)

Robert B. Berkshire Indiana, (1932-2010) figure study, 1976 oil pastel on paper Signed and dated lower right. Biography from the IUPUI Herron School of Art + Design: Indianapolis native Robert B. Berkshire was a scholarship student at the John Herron Art Institute, graduating in 1954 with a diploma in fine arts. A Fulbright Fellowship funded his yearlong studies in Italy. He earned a master's degree in fine arts from Florida State University in 1958 and returned to Indianapolis to teach at his undergraduate alma mater. He remained a beloved member of the Herron faculty until his retirement in 1996. Berkshire painted with a verve that leapt from the canvas. He painted the way he lived: Large. He became one of Indianapolis' best-known painters. Through his estate planning, Berkshire made permanent resources available for painting scholarships, gallery support and unrestricted funds at Herron. The Robert B. Berkshire gallery was named in his honor.

Lot: 241 - Mae Alice Engron, Indiana (1933-2007), female portrait, oil on canvas, 31 1/2" x 31 1/4" (sight), 36" x 35 1/2" (frame)

Mae Alice Engron Indiana, (1933-2007) female portrait oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate.

Lot: 242 - Mae Alice Engron, Indiana (1933-2007), three figures, oil on canvas, 31 1/4" x 28"

Mae Alice Engron Indiana, (1933-2007) three figures oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate.

Lot: 243 - Mae Alice Engron, Indiana (1933-2007), La Boca's cafe city scene, oil on canvas

Mae Alice Engron Indiana, (1933-2007) La Boca's cafe city scene oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate.

Lot: 244 - Mae Alice Engron, Indiana (1933-2007), abstract with insect, oil on burlap, 36" 1/4H x 36 1/4"W (sight), 40" x 40" (frame)

Mae Alice Engron Indiana, (1933-2007) abstract with insect oil on burlap Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate.

Lot: 245 - Mae Alice Engron, Indiana (1933-2007), abstract, oil on canvas, 56"H x 40"W (sight), 60"H x 42 1/2"W (frame)

Mae Alice Engron Indiana, (1933-2007) abstract oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate.

Lot: 246 - Mae Engron, Indiana (1933-2007), abstract floral, oil on canvas with silver metallic collage, 42"H x 42"W

Mae Engron Indiana, (1933-2007) abstract floral oil on canvas with silver metallic collage Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate.

Lot: 247 - Mae Alice Engron, Indiana (1933-2007), abstract, oil on canvas, 53 1/2"H x 69"W (sight), 56 1/2"H x 72"W (frame)

Mae Alice Engron Indiana, (1933-2007) abstract oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate.

Lot: 248 - Mae Alice Engron, Indiana (1933-2007), abstract, oil on canvas, 35 1/4"H x 38 1/2"W (sight), 37 3/4"H x 41"W (frame)

Mae Alice Engron Indiana, (1933-2007) abstract oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate.

Lot: 249 - Christo and Jeanne-Claude, (1935-2020; 1935-2009), The Umbrellas Japan-USA, 1991, Yellow Umbrellas Wrap Project, photo litho, 26 ¼”H x 38 ½”W x 1 ½”D (frame), 25"H x 37 1/4"W (poster)

Christo and Jeanne-Claude (1935-2020; 1935-2009) The Umbrellas Japan-USA, 1991, Yellow Umbrellas Wrap Project photo litho signed in crayon upper right.

Lot: 250 - Christo, The Umbrellas, offset lithograph, 19 5/8" x 39". Frame, 21”H x 40 ½”W x 1 ½”D

Christo The Umbrellas offset lithograph signed upper left.

Lot: 251 - Christo, Yellow Umbrellas, offset lithograph, 26 ½”H x 39”W x 1 ½”D (frame), 24 3/4"H x 37"W (sight)

Christo Yellow Umbrellas offset lithograph signed upper left.

Lot: 252 - Christo, Blue Umbrellas, offset lithograph, 26 ½”H x 38 ½”W x 1 ½”D (frame), 24 3/4"H x 37"W (sight)

Christo Blue Umbrellas offset lithograph signed upper right.

Lot: 253 - Christo, Blue Umbrellas, offset lithograph, 25”H x 40”W x 1 ½”D (frame), 23 3/4"H x 38 1/2"W (sight)

Christo Blue Umbrellas offset lithograph signed upper right.

Lot: 254 - Christo, Blue Umbrellas, offset lithograph, 26 ½”H x 38 ½”W x 1 ½”D (frame), 24 3/4"H x 37"W (sight)

Christo Blue Umbrellas offset lithograph signed upper right.

Lot: 255 - Christo, (1935-2020), Reichstag Wrap Project for Berlin, 1992, color print on wove paper, 27”H x 34”W x 1 ½”D (frame), 25 1/4"H x 32"W (poster)

Christo (1935-2020) Reichstag Wrap Project for Berlin, 1992 color print on wove paper signed lower right in blue. Schumacher Editions, Dusseldorf

Lot: 256 - Christo Pont Neuf Wrapped poster, 1985 22"H x 17"W

Christo Pont Neuf Wrapped poster, 1985 Signed in the print lower right.

Lot: 257 - Kiki Kogelnik, New York / Austria, France (1935 - 1997), Bastard, mixed media on board, 5"H x 4"W (sight), 8 1/2"H x 7 1/2"W (frame)

Kiki Kogelnik New York / Austria, France, (1935 - 1997) Bastard mixed media on board Unsigned. Biography from the Archives of askART: Kiki Kogelnik was born in 1935 in Bleiburg, a small city in the state of Carinthia in Austria. After her studies at the Fine Arts Academy of Vienna, she moved to Paris in 1959 and later to New York in 1961. Since the mid-1950s, she has been part of a group of avant-garde artists who gravitated around the figure of Otto Mauer. Her early works were abstract but later her style was characterized by a re-discovery of the human figure and the use of very brilliant colors, displaying the strong influence of Pop Art on her work. In addition to large-size pictorial works, Kiki Kogelnik created a powerful group of installations and sculptures in ceramics and in glass. In particular, she began to experiment with the use of Murano glass in 1994, and created the highly regarded "Venetian Heads". Kiki Kogelnik started from the assumption that contemporary art has an artificial nature, the result of the great changes that profoundly modified man's condition in the 20th century. The loss of traditions and values and the increasingly oppressive domination of technology and mechanical processes have impoverished humanity and alienated individuals. In this sense, and with these thoughts, today's art must express all this and, specifically, our artificiality. Society's new idols are unmasked by artists who unveil these anemic and inexpressive faces, which are far from real life. Through her works, Kogelnick depicts our time with a bitter irony and forces the observer to confront this reality. Kiki Kogelnik died in 1997 in Vienna after having reached great fame and recognition in the world of art. Source: Berengo Fine Arts, www.berengo.com

Lot: 258 - Peter Paone, New York (b. 1936), The Green Boot, serigraph, 22 1/4"H x 30"W

Peter Paone New York, (b. 1936) The Green Boot serigraph Pencil signed lower right, numbered 16/200 lower left. Biography from the Archives of askART: Peter Paone was born in Philadelphia and educated at the Philadelphia College of Art. He has taught at Pratt Institute in New York, The National Academy of Design in New York and since 1978 The Pennsylvania Academy of the Fine Arts in Philadelphia. The artist has received a number of grants and awards such as two Louis Comfort Tiffany Foundation Grants, a Pennsylvania Council for the Arts Grant, A Mid- Atlantic Foundation grant, the first Print Club Award of Merit, The 172nd Annual Painting Prize from The National Academy of Design and three years in London on a Guggenheim Foundation Fellowship. His work has been featured in fifty two one person exhibitions in New York, Houston, Fort Worth, Philadelphia, as well as in London, Vienna and Germany. Since 1960, his work has joined that of other artists in sixty national and international group exhibitions. A selected list of public collections in which paintings, drawings and prints are represented include The Museum of Modern Art, in New York, The Victoria and Albert Museum and The British Museum, in London England, The National Gallery of Art and the Library of Congress, in Washington, DC, The Philadelphia Museum of Art, The Art Institute of Chicago, The National Academy of Design, Yale University Art Gallery, The Jersey City Museum, The Arkansas Art Center and The National Portrait Gallery. He has been affiliated with the exhibitions committee of the National Academy of Design, the Visual Arts panel of The Pennsylvania Council for the Arts and is a board member of the Appraisers of Fine Arts Society and a member of The National Academy of Design. His most recent one person museum exhibitions include, "Poets" in conjunction with his photography collection " The Artist Revealed" at the National Academy of Design, "The Italians" at The Jersey City Museum, "Imaginary Watercolors" at the James A. Michener Museum. He is also listed in:? Who's Who in America, Who's Who in American Art,? Archives of American Art, Smithsonian Institute and Google online Source: "Peter Paone: About", http://www.peterpaone.com/about.php

Lot: 259 - Peggy Hopper, Hawaii, California (b. 1936), The New Art Fair poster, 1982, offset lithograph, 40 1/4"H x 30 1/4"W x 1"D (frame), 33 1/2"H x 23 1/2"W (sight)

Peggy Hopper Hawaii, California, (b. 1936) The New Art Fair poster, 1982 offset lithograph From the Sheraton Center, NY. Biography from the Archives of askART: Born in Oakland, California, Pegge Hopper moved to Hawaii in 1963 and took a job as an art director with an advertising agency. In 1970, she began a series of paintings of Island women, and she has exhibited these paintings in one-person shows in Hawaii as well as Chicago, Los Angeles, and Seattle. She was born in Oakland, California, and studied at the Art Center College of Design in Pasadena, California. Her first job was with Raymond Loewy Associates in New York, where she designed murals for department stores. This was followed by a year of travel through Europe. In Milan, Italy she worked for La Rinascente for two years designing posters and graphics. Her work is represented in many private and public collections including the permanent collections of the Hawaii State Foundation on Culture and the Arts, The Honolulu Advertiser and Contemporary Arts Center in Hawaii, American Hawaii Cruise Lines, the Bishop Museum, the Honolulu International Airport and the Pacific Club. Source: Website of the artist

Lot: 260 - Martha Slaymaker, Indiana, New Mexico (1935 - 1999), Shapath Baal Tablet, 1966/67, mixed media bas relief sculpture, 20 5/8"H x 14 3/4"W, 22 3/8"H x 16 1/2"W (frame)

Martha Slaymaker Indiana, New Mexico, (1935 - 1999) Shapath Baal Tablet, 1966/67 mixed media bas relief sculpture Signed, titled, and dated verso. Biography from Wickliff & Associates Auctioneers, Inc: Born in Saratoga, Indiana in 1935, Martha Slaymaker, a painter, printmaker and teacher, spent a great deal of her childhood residing in Indiana then moved to Albuquerque, New Mexico in 1976, where she died in 1999 following a long battle with cancer. Slaymaker received her formal training at Edinboro College, PA; and also studied at Ohio State University, Columbus, Ohio and John Herron School of Art, Indiana University, Indiana. She was featured in Who's Who in American Art, Who's Who in the West and International Who's Who of Professional Women. She had many solo and group exhibitions in the United States and internationally, and her work is displayed in both private and public collections, both nationally and internationally. Slaymaker was also featured in the Hoosier Salon in the 1960s and 1970s, with prizes awarded (listed below). She was quoted about her work, "Obscured layers of information below the earth's service relate to existing information remaining on its surface. I see a relationship between the archaeology of my own memories, both conscious and unconscious." Many medical facilities, including the Mayo Clinic, displayed her art given the healing essence of her work. Sources: Judith Vale Newton and Carol Weiss, A Grand Tradition: The Art and Artists of the Hoosier Salon, 1925-1990, Hoosier Salon Patrons Association, Indianapolis, IN 1993 Gallery of Fine Art, Editions Limited, Indianapolis, IN Editions Limited Gallery of Fine Art, ARTlook Indianapolis, publication of J. M. Mallon Galleries, Indianapolis, IN, winter 1993

Lot: 261 - Kay Arlene (Ridenour) Wilson, Ohio (1937 - 2007), abstract, oil on board, 10 1/4"H x 13 1/4"W (sight)

Kay Arlene (Ridenour) Wilson Ohio, (1937 - 2007) abstract oil on board Signed lower right. Painted with heavy impasto. Biography from the Archives of askART: The following is submitted by Jennifer Neff, June 2005, who is an associate of the artist. To career artist KAY WILSON, a day without art is like a day without sunshine. She, and her husband Dave, live in Canfield, Ohio on a

Lot: 262 - David K Hockensmith, American (20th Century), surrealist figure with flags, 1970, oil on board, 28 ½”H x 40 1/2”W x 2 ¾”D (frame), 27 3/4"H x 39 1/2"W (sight)

David K Hockensmith American, (20th Century) surrealist figure with flags, 1970 oil on board Signed lower left. flags

Lot: 263 - Peter Max, American (b.1937), Profile of a Lady with Flowers, 2004, Silkscreen & acrylic on paper, 18”H x 15 ¾”W x 2”D (frame), 8"H x 6"W (paper)

Peter Max American, (b.1937) Profile of a Lady with Flowers, 2004 Silkscreen & acrylic on paper Signed. Exhibited: Fort Wayne Museum of Art. Biography from American Design Ltd.: Peter Max was raised in Shanghai, China where he spent the first 10 years of his life. Young Max formed lasting impressions of Flash Gordon, Capitan Marvel, jazz, creativity, and freedom from American comic books, radio broadcasts, and movies. Max and his parents traveled through the Tibetan mountains, India, Africa and Israel where Max first studied with a Viennese fauve painter. It was in Israel that Max developed a keen interest in astronomy, a subject that would later impact his artwork. In 1953, Max and his family moved to the United States, settling in New York City. After completing high school, Max studied painting at the Art Students League. He was fascinated with commercial illustration and the graphic arts, and won awards for his album covers and book jackets in his unique style. During the 1960s, Max worked in his psychedelic photo collage period, which later gave way to his "cosmic" 60s style with its distinctive line work and bold color combinations. Inspired by his meditative, spiritual teachings, Max's cosmic art captured the imagination of a generation and launched Max into fame and fortune. During the 1970s, Max dropped his commercial work and pursued canvas painting in earnest. For the 1976 Bicentennial, Max created the art book Peter Max Paints America, and began his annual tradition of painting the Statue of Liberty. A lover of music, Max has been designated the Official Artist for the Grammy's, the New Orleans Jazz Festival and the Woodstock Music Festival.

Lot: 264 - Peter Max, American (b.1937), “Heart”, 2009, original mixed media overpaint on paper, 25 ¼”H x 22 ¾”W x 1”D (frame), 11"H x 8"W (piece)

Peter Max American, (b.1937) "Heart", 2009 original mixed media overpaint on paper Signed to lower right by artist. Stamped to the verso. Biography from American Design Ltd.: Peter Max was raised in Shanghai, China where he spent the first 10 years of his life. Young Max formed lasting impressions of Flash Gordon, Capitan Marvel, jazz, creativity, and freedom from American comic books, radio broadcasts, and movies. Max and his parents traveled through the Tibetan mountains, India, Africa and Israel where Max first studied with a Viennese fauve painter. It was in Israel that Max developed a keen interest in astronomy, a subject that would later impact his artwork. In 1953, Max and his family moved to the United States, settling in New York City. After completing high school, Max studied painting at the Art Students League. He was fascinated with commercial illustration and the graphic arts, and won awards for his album covers and book jackets in his unique style. During the 1960s, Max worked in his psychedelic photo collage period, which later gave way to his "cosmic" 60s style with its distinctive line work and bold color combinations. Inspired by his meditative, spiritual teachings, Max's cosmic art captured the imagination of a generation and launched Max into fame and fortune. During the 1970s, Max dropped his commercial work and pursued canvas painting in earnest. For the 1976 Bicentennial, Max created the art book Peter Max Paints America, and began his annual tradition of painting the Statue of Liberty. A lover of music, Max has been designated the Official Artist for the Grammy's, the New Orleans Jazz Festival and the Woodstock Music Festival.

Lot: 265 - Ed McGowin, American (b. 1938), Divorce, 1980, acrylic, airbrush, and collage on paper, 22"H x 30"W

Ed McGowin American, (b. 1938) Divorce, 1980 acrylic, airbrush, and collage on paper Titled and dated lower right. Exhibited: Iolas Gallery, NY. Biography from Greg Thompson Fine Art: Ed McGowin was born in Hattiesburg, Mississippi and now lives in New York with his wife Claudia DeMonte who is also a fine artist. McGowin received his B.A. at the University of Southern Mississippi and his M.A. from the University of Alabama. He has been a practicing fine artist for over four decades. McGowin's tongue in cheek views on life, the human experience and storytelling come from his rich Southern heritage and are reflected in his dynamic artwork which has as many dimensions as his multiple names. From 1970 -1972 McGowin legally changed his name twelve times in a concrete and metaphorical way to "break out" of the common aesthetic rut which so many artists can fall prey. Changing his name(s) gave him the freedom to pursue his artistic aspirations along many avenues, creating a spherical exploration of his talents and muses rather than the traditional linear one. Under the names: Alava Isaiah Fost, Lawrence Steven Orlean, Irby Benjamin Roy, Nathan Ellis McDuff, Euri Ignantius Everpure, Isaac Noel Anderson, Nicholas Gregory Nazianzen, Thorton Modestus Dossett, Ingram Andrew Young, Melvill Douglas O'Connor, Edward Everett Updike and William Edward McGowin he (they) have created a myriad of penetrating two-dimensional, three-dimensional and multi-dimensional work in a variety of media and aesthetic which has found its way into some of the most important public and private collections in the United States.

Lot: 266 - Keith Godard, British (1938-2020), Electrostatic USA, 1968, lithograph, 23"H x 17 1/4"W

Keith Godard British, (1938-2020) Electrostatic USA, 1968 lithograph Signed and dated lower right, titled lower left. Biography from CooperHewitt.org: Keith Godard was playful, funny, irreverent, and smart. Decked out in dapper bow ties and bright red shoes, he brought bubbles of joy to every occasion. He and Studio Works, the company he founded in 1986, contributed mightily to life in New York City. His works are preserved in many museum collections, including Cooper Hewitt, Smithsonian Design Museum. He studied graphic design at the London College of Printing and Graphics Arts before crossing the pond to work with Paul Rand and others at Yale University School of Art and Architecture, where he earned an MFA in Graphic Design. The Yale graphic design program was known for its rigorous adaptation of European modernism; Godard's 1968 poster for the Yale Film Festival shows his mastery of clean structural design solutions. It also shows his sense of humor, as he builds a giant face from a texture of repeated stills. After grad school, Godard moved to New York and immersed himself in the city's vibrant design scene. He collaborated with many museums and cultural institutions, including Cooper Hewitt, which moved from Cooper Union to the Carnegie Mansion on 91st Street in 1970. Cooper Hewitt collaborated with Godard to organize Immovable Objects in 1975, an outdoor exhibition located in the streets of Lower Manhattan.

Lot: 267 - Agnes Denes, New York / Hungary (b. 1938), Study of Distortions-Isometric Systems in Isotropic Space, 1973/74, 9 prints portfolio, 14" x 10" sight. 15 1/2" X 11 1/4" box.

Agnes Denes New York / Hungary, (b. 1938) Study of Distortions-Isometric Systems in Isotropic Space, 1973/74 9 prints portfolio Each numbered lower left, signed and dated lower right. Biography from the Archives of askART: Conceptual artist Agnes Denes, born in 1938, draws from science and philosophy in her art. She was educated at the New School for Social Research and Columbia

Lot: 268 - Doris Vlasek-Hails, American 1938-2004, abstract, 1971, opaque watercolor on paper, 13 5/8"H x 11"W, 25 3/4"H x 19 1/2"W (mat)

Doris Vlasek-Hails American, 1938-2004 abstract, 1971 opaque watercolor on paper Signed and dated lower middle. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 269 - Doris Vlasek-Hails, American 1938-2004, abstract, 1970s, opaque watercolor and collage on board, 17"H x 9"W, 23 3/4"H x 15 3/4"W (mat)

Doris Vlasek-Hails American, 1938-2004 abstract, 1970s opaque watercolor and collage on board Signed upper right. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 270 - Doris Vlasek-Hails, American 1938-2004, abstract, watercolor and acrylic on paper, 17"H x 23"W, (sight), 23 7/8"H x 30"W (mat)

Doris Vlasek-Hails American, 1938-2004 abstract watercolor and acrylic on paper Unsigned. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 271 - Doris Vlasek-Hails, American 1938-2004, abstract, opaque watercolor and collage on board, 12 5/8"H x 18 7/8"W, 24 1/4"H x 30 1/4"W (mat)

Doris Vlasek-Hails American, 1938-2004 abstract opaque watercolor and collage on board Unsigned. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 272 - Doris Vlasek-Hails, American 1938-2004, abstract, 1970s, opaque watercolor and collage on board, 11 7/8"H x 19 7/8"W, 24"H x 30 5/8"W (mat)

Doris Vlasek-Hails American, 1938-2004 abstract, 1970s opaque watercolor and collage on board Unsigned. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 273 - Doris Vlasek-Hails, American 1938-2004, abstract, opaque watercolor and collage on board, 10 3/8"H x 21 5/8"W (sight), 18 5/8"H x 29 7/8"W

Doris Vlasek-Hails American, 1938-2004 abstract opaque watercolor and collage on board Unsigned. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 274 - Doris Vlasek-Hails, American 1938-2004, abstract, 1989, opaque watercolor on paper, 9 5/8"H x 13 1/4"W (sight), 19 1/8"H x 24 3/8"W (mat)

Doris Vlasek-Hails American, 1938-2004 abstract, 1989 opaque watercolor on paper Signed and dated lower right. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 275 - Doris Vlasek-Hails, American (1938-2004), abstract, opaque watercolor on paper, 10 1/2"H x 14 1/2"W (sight), 19"H x 23"W (mat)

Doris Vlasek-Hails American, (1938-2004) abstract opaque watercolor on paper Unsigned. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 276 - Doris Vlasek-Hails, American (1938-2004), abstract, 1992, opaque watercolor on board, 11"H x 11 1/2"W, 25"H x 20"W (mat)

Doris Vlasek-Hails American, (1938-2004) abstract, 1992 opaque watercolor on board Signed and dated lower left. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 277 - Doris Vlasek-Hails, American (1938-2004), Estuary, 1992, opaque watercolor and collage on board, 17"H x 21"W

Doris Vlasek-Hails American, (1938-2004) Estuary, 1992 opaque watercolor and collage on board Signed lower left, titled and dated lower middle. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style.

Lot: 278 - Doris Vlasek-Hails, American (1938-2004), abstract figural, 1960s, watercolor, acrylic, and collage on paper, 12 1/8"H x 16 1/8"W, 20"H x 26 1/8"W (mat)

Doris Vlasek-Hails American, (1938-2004) abstract figural, 1960s watercolor, acrylic, and collage on paper Signed verso. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style. Vlasek-Hails moved from Chicago to Indianapolis and became a professor of art at the John Herron Art Institute. She had several shows in Indianapolis (1950s-1990s) including at the Indianapolis State Museum and the Herron Art Institute, as well as participating in exhibits in Los Angeles and Paris. She worked in many mediums, including oil, acrylic, collage and ceramic.

Lot: 279 - Doris Vlasek-Hails, American 1938-2004, Doris Vlasek, 1992, watercolor and acrylic on paper, 9 1/4"H x 6 3/4"W, 26 1/4"H x 20 1/8"W (mat)

Doris Vlasek-Hails American, 1938-2004 Doris Vlasek, 1992 watercolor and acrylic on paper Signed and dated lower left. Biography from Treadway: Doris Vlasek-Hails was born in Chicago in 1938, a year after Moholy-Nagy opened the New Bauhaus in the Prairie Ave mansion architect Richard Hunt had designed for Chicago department store magnate, Marshall Field. This is significant, because it confirmed that Chicago was an early center of abstract painting theory in the United States. Although Vlasek-Hails received her BFA from the School of the Art Institute of Chicago and not the Institute of Design, the influence of the early abstract painters and modernists working in this city greatly influenced her style.

Lot: 280 - Glenna Maxey Goodacre, New Mexico / Texas (1939-2020), untitled, bust of little girl with pigtails, 1991, patinated bronze, green marble base, 20" x 13" x 10"

Glenna Maxey Goodacre New Mexico / Texas, (1939-2020) untitled, bust of little girl with pigtails, 1991 patinated bronze, green marble base inscribed signature, numbered 12/35, and dated to back. Biography from the Archives of askART: With a career spanning nearly five decades, Glenna Goodacre has become well-known for her bronze sculptures, specializing in sensitive portraits of children in action. Another subject matter is American Indians including the New Mexico Pueblo Indians exemplified by her depiction of a sacred ceremony, The Basket Dance. Likely her most important commission is the women's memorial in Washington D.C. commemorating the women who served in the Vietnam War. Another prestigious work, "After the Ride," a seven-foot high statue of President Ronald Reagan, was unveiled in Fall, 1998 at the Reagan Library in Southern California. She was born in Texas, graduated from Colorado College, and then studied at the Art Students League in New York. From 1983, her home has been in Santa Fe, New Mexico. She has won numerous awards from the National Sculpture Society and Allied Artists of America as well as the Gold Medal from the National Academy of Design of which she is an Associate member. In 1993, she was awarded the Knickerkbocker Artists' Gold Medal for Distinguished Achievement in American Art. Sources include: Art of the West Southwest Art Donald Martin Reynolds, Masters of American Sculpture

Lot: 281 - Attr. to Michael Smither, New Zealand (b.1939), abstract forms, 1957, gouache on paper, 17"H x 22 1/2"W (sight)

Attr. to Michael Smither New Zealand, (b.1939) abstract forms, 1957 gouache on paper Signed with initials MDS in pencil lower right. Signed, titled, dated and inscribed verso.

Lot: 282 - Junji Yamashita, France (b. 1940), Still Life with Fish, 1950s, watercolor on paper, 13"H x 21"W (sight)

Junji Yamashita France, (b. 1940) Still Life with Fish, 1950s watercolor on paper Signed lower right.

Lot: 283 - John Spaulding, Indiana (1942 - 2004), model oil derrick, steel tower sculpture, 31"H x 6"W x 6"D

John Spaulding Indiana, (1942 - 2004) model oil derrick steel tower sculpture Signed. Biography: John A. Spaulding (October 18, 1942 – July 10, 2004) was an American artist and sculptor from Indianapolis, Indiana. He was born in Lockefield Gardens, an Indianapolis public housing project on Indiana Avenue, which was known for its jazz clubs.[1] Two of Spaulding's sculptures, Jammin' on the Avenue and Untitled (Jazz Musicians), are located near his birthplace and celebrate the area's musical heritage. Spaulding was the fifth of seven children. He attended Indianapolis Public Schools 24 and 26 and Arsenal Technical High School. He was a self-taught welder. Spaulding worked part-time on his art, while working as a metal-joining specialist in the aerospace industry in California in the 1960s. He relocated to New York City in 1978 and continued to work on his art. Spaulding's work is internationally recognized, with pieces on display in several countries including Brazil, Japan, France, and England. He had studios for creating his works in California, New York, Rio de Janeiro, and Indianapolis. His sculptures have been inspired by nature and his African American heritage. He also created several large abstracts. Spaulding's work is included in private and public collections such as Black Titan at the Indianapolis Art Center's ArtsPark. The artist died on July 10, 2004, in Phoenix, Arizona.

Lot: 284 - Terry Allen, New Mexico, Kansas (b. 1943), Christ Over Tourist, color lithograph, 8 1/2"H x 11 1/8"W

Terry Allen New Mexico, Kansas, (b. 1943) Christ Over Tourist color lithograph Unsigned. Biography from Stuart Collection: Terry Allen is a multidisciplinary artist in the truest sense of the term. In addition to his indoor installation sculptural work- which is emphatically mixed-media- and his paintings, writings and drawings, Allen is also a songwriter, composer, pianist, and lead

Lot: 285 - Joan Witek, New York (b. 1943), abstract black, monoprint, 20”H x 15”W

Joan Witek New York, (b. 1943) abstract black monoprint Signed with initials lower left. Signed and numbered verso. JOAN WITEK (b.1943) has been probing the complexities, meanings, and infinite variety of the color black for her entire artistic life. While appearing to be simple and easily grasped there is an ongoing language of proportion and meaning in this resolve to abstraction. Black is usually considered the absence of color: it is severe, rigorous, associated with death, or depression or repression. But as Lilly Wei has written: Witek plays these oppositions in her work: black being ascetic and alluring, meditative and expressive, flawless and flawed, fierce and demure, a distinct unequivocal presence, yet subtle, elusive. Recent solo exhibitions include Museum Wilhelm Morgner, Soest, Germany (2021); Minus Space, Brooklyn (2020); Jason McCoy Gallery, New York ('15); Outlet Fine Art, Brooklyn ('14); Kunstmuseum Wilhelm-Morgner-Haus, Soest, Germany ('13); Drawn / Taped / Burned: Abstraction on Paper, Katonah Museum of Art ('11); Black and White, Gallerie Weinberger, Copenhagen, Denmark ('10); Sammlung Schroth, Kloster Wedinghausen, Arnsberg, Germany ('12, '11), Gallery Niklas von Bartha, London ('09). Her work can be found in many public collections including the Albright-Knox Art Gallery (NY), Arkansas Arts Center (AR), Carnegie Museum of Art (PA), Fogg Art Museum at Harvard (MA), Metropolitan Museum of Art (NY), Museum of Modern Art (NY), San Francisco Museum of Modern Art (CA), and the Yale University Art Gallery (CT) among others.

Lot: 286 - Stephen Stoller, New York (b. 1945), abstract, 1992, oil on canvas, 14 3/4"H x 19 3/4"W (sight), 22 1/2"H x 27 1/4"W (frame)

Stephen Stoller New York, (b. 1945) abstract, 1992 oil on canvas Signed lower left, dated verso. Biography from the Archives of askART: Stephen I. Stoller is an American oil painter and sculptor. He married poet Francy Stoller in 1969. He has six children: Judah Pablo, Ben, Abraham, Danielle Love, Navahjo, and Moses. He currently resides in New York City and Whitehall, New York. Stoller worked and learned his art on the streets of New York and other cities around the world. His early studio works were exhibited on Madison Avenue and other mainstream galleries in New York City. In 1982, Stoller defined himself a street painter. Stephen renders the figurative with activity and communication in the urban setting. He works using the live model and architecture as a basis for his work. His style is a definite and immediate application that drives at the nature and soul of the composition. Stoller's work has been acquired by major institutions in the Midwest. Two canvases were chosen for museum exhibition at the High Museum, "Georgia Artists." Stoller has had numerous one person shows throughout his forty year career. Since 1997, Stoller has established himself as a leading street painter in New York City after spending 15 years in Indianapolis, Indiana. His most recent major exhibition was at Art Expo, New York, Javits Center, Feb 2002. In 2008, Stoller had a painting admitted to the permanent collection at the Indiana State Museum (Indianapolis). Steve Stoller under his pseudonym (John Serpent) wrote Memoirs Of An Unknown Artist in 2009. His new book The Poet should be in stores in the first few months of 2010. Information provided by the artist.

Lot: 287 - Marcia Myers, Pennsylvania (1949 - 2008), Scavi LXXI, 1998 (Triptych), fresco linen, 80"H x 66"W

Marcia Myers Pennsylvania, (1949 - 2008) Scavi LXXI, 1998 (Triptych) fresco linen Signed and labeled verso. Provenance: Allene Lapides Gallery, NM

Lot: 288 - Stephen Hansen, American (b. 1950), Man on one Finger, Paper Mache, 96 1/2"H x 35"W x 15 3/4"D

Stephen Hansen American, (b. 1950) Man on one Finger Paper Mache Donation Box, life size! Biography from the Archives of askART Artist Statement; As an artist I am not an explorer of the human condition, so much as a hapless tourist, making snapshots of whatever strikes my fancy. I work primarily in paper mache, the appeal of which is twofold. First, it is fast enough that I can try out ideas without any sense of commitment. Secondly, it is a material so inherently humble that I can claim to make "cultural icons" or "distilled social observations" without feeling too pretentious. Stylistically, I think of my work as lifelike rather than realistic, a choice made out of a desire to represent ideas rather than individuals. I make sculpture with the idea that it should both attract and communicate, towards that end, I try to make art that is intellectually accessible and aesthetically seductive. I approach my work day as though I were the director of a small reparatory company, with a group of actors that I costume and coerce into the characters of the story I want to tell. They tend toward over acting. Artist Statement ll You should never trust an artist who makes a statement, except under duress. A Seattle native, Stephen Hansen has been working as a professional artist since 1968. While best known for his work in the unusual medium of paper mache, he also works in wood, bronze, steel, stone and resin among other materials. Hansen has had one-man shows in commercial galleries and art museums in Chicago, Detroit, Los Angeles, New York, San Francisco, Santa Fe, Washington DC, Naples, Caracas, and Sri Lanka. His work is included in many corporate, government ( including the Smithsonian ), and private collections in the US, Europe, South America and Asia. In 2009 his work was added to the permanent fine art collection of The Federal Reserve Board in Washington DC, and he received the 2009 New Mexico "Governor's Award for Excellence In The Arts". He presently divides his life between New Mexico and Michigan. He is professionally committed to the notion that art can be serious without being somber. Sources: Website of the Artist Xanadu Gallery

Lot: 289 - Gary Komarin, New York, Connecticut (b. 1951), abstract, acrylic on paper, 30”H x 22”W

Gary Komarin New York, Connecticut, (b. 1951) abstract acrylic on paper Signed lower left. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston

Lot: 290 - Gary Komarin, New York, Conneticut (b. 1951), abstract, acrylic on paper, 30”H x 22”W

Gary Komarin New York, Conneticut, (b. 1951) abstract acrylic on paper Signed upper left. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with

Lot: 291 - Gary Komarin, New York, Connecticut (b. 1951), abstract, 1997, acrylic on paper, 17”H x 22”W

Gary Komarin New York, Connecticut, (b. 1951) abstract, 1997 acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip

Lot: 292 - Gary Komarin, New York, Connecticut (b. 1951), abstract, 1997, acrylic on paper, 22”H x 17”W

Gary Komarin New York, Connecticut, (b. 1951) abstract, 1997 acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip

Lot: 293 - Karel Anthony Nel, South Africa (B. 1955), abstract sculpture, steel, brass, and ferrous metal, 43" x 7" x 12"

Karel Anthony Nel South Africa, (B. 1955) abstract sculpture steel, brass, and ferrous metal Biography from Bonhams: Born in 1955, Johannesburg-based Karel Nel began his career studying fine art at the University of the Witwatersrand and St Martins. Alongside winning numerous prestigious art awards, his works are included in several national and international collections, including the Smithsonian Institute National Museum of African Art. Nel's work is characterised by the pursuit of connectedness, exploring, as Esmé Berman articulates, the "incandescent moment when we are aware of the interlinkedness of everything", particularly the nexus of art and science. Nel received a Fulbright Placement to the University of California at Berkeley in the late 1980s. Here he continued his investigation into contemporary physics, undertaking works such as the current lot, Circuit/Accelerator, which was completed between July 1988 and May 1989. His more recent inclusion as artist-in-residence in the COSMOS project (the cosmic evolution survey) develops similar concerns. Nel's works are stylistically typified by an additive process whereby form is gradually built through a layering of gestural marks, these marks being utilised, as Rory Doepel reveals, "as both code and pattern". For Nel, the artist is a conduit for intellectual and intuitive information from the outside world, from nuclear physics to esoteric mysticism, which combine with sensory and aesthetic qualities to transcend any particular context. Circuit/Accelerator explores the wave and particle theory of light. The dots in the work are representations of particles. Many of the dots have tails, evoking the sense of wave and movement in particles. The work was strongly informed by Nel's interest in experiments attempting to accelerate particles beyond the speed of light. In addition, the dot pattern introduces an intentional ambiguity into Nel's works, where the dots could be read as hidden images revealed through "connecting" the dots. Recurring motifs in Nel's work reference chaos theories and the intersection of art and physics: these motifs manifest as circuit diagrams, rotating cones, electrical circuits and artificial intelligence coding systems. These forms defy gravity, emerging across the picture plane in chaotic order, such that the resulting picture has no singular viewpoint. Concerned with theories of perception, Nel acknowledges that the spectator takes on a vital role in constructing meaning in his works and that his works are incomplete without the participation of the viewer. BIBLIOGRAPHY E. Berman, Painting in South Africa, (Johannesburg, 1993), p.341 R. Doepel, Karel Nel: Transforming Symbols, (Johannesburg, 1993), p.2

Lot: 294 - Frank Coronado, Dominican Republic. (b,1955), abstract figures, pair of hand-carved and painted wood sculptures, 16 3/4"H x 3 1/2"W (largest)

Frank Coronado Dominican Republic., (b,1955) abstract figures pair of hand-carved and painted wood sculptures

Lot: 295 - Carl Pope, Indiana, New York (b. 1961), I Put That Thang Down, 2005 / Flip It And Reverse It!, 2005, 2 letterpress posters, 19"H x 14"W

Carl Pope Indiana, New York, (b. 1961) I Put That Thang Down, 2005 / Flip It And Reverse It!, 2005 2 letterpress posters Signed and dated lower left.

Lot: 296 - Carl Pope, Indiana, New York (b. 1961), He She Me / About A Hot Mess! / Bark Like A Cat!, 3 York Show print posters, 19"H x 14"W

Carl Pope Indiana, New York, (b. 1961) He She Me / About A Hot Mess! / Bark Like A Cat! 3 York Show print posters 2 signed lower right.

Lot: 297 - Carl Pope, Indiana, New York (b. 1961), I Will Ickkay Oyay Assay & Hentay I'll Fuck It! / Mother / Tragedy Over Time Equals Comedy!, 3 York Show print posters, 19"H x 14"W

Carl Pope Indiana, New York, (b. 1961) I Will Ickkay Oyay Assay & Hentay I'll Fuck It! / Mother / Tragedy Over Time Equals Comedy! 3 York Show print posters One signed lower right.

Lot: 298 - Carl Pope, Indiana, New York (b. 1961), He She Me / What Did U Think & What Did U Do? / In Their Minds The Unknown Is Great!, 3 letterpress posters, 14"H x 19"W

Carl Pope Indiana, New York, (b. 1961) He She Me / What Did U Think & What Did U Do? / In Their Minds The Unknown Is Great! 3 letterpress posters One signed lower right.

Lot: 299 - Paul Valadez, American (b.1965), Taco Lover, 2011, oil on board, 19”H x 15”W x 1/8”D

Paul Valadez American, (b.1965) Taco Lover, 2011 oil on board signed and dated verso. Paul Valadez grew up in Stockton, California and moved to San Francisco to pursue an art career. He earned his bachelor's degree in interdisciplinary art from the San Francisco Art Institute and his master's in studio art from University of North Carolina, Chapel Hill where he was awarded a Weiss Fellowship for Urban Livability. Valadez is a professor in the Art department at the University of ?Texas, Rio Grande Valley, located ?at the U.S. Mexican border.

Lot: 300 - Paul Valadez, American (b.1965), Taco, 2011, oil on board, 19” x 15” x 1/8”

Paul Valadez American, (b.1965) Taco, 2011 oil on board signed and dated verso. Paul Valadez grew up in Stockton, California and moved to San Francisco to pursue an art career. He earned his bachelor's degree in interdisciplinary art from the San Francisco Art Institute and his master's in studio art from University of North Carolina, Chapel Hill where he was awarded a Weiss Fellowship for Urban Livability. Valadez is a professor in the Art department at the University of ?Texas, Rio Grande Valley, located ?at the U.S. Mexican border.

Lot: 301 - Jess Collins, American (20th/21st century), But Don't Mind me Cause I Ain't Nothin but a Dream, 1970, mixed media printed paper collage, 14 1/2"H x 9 1/4"W (sight), 21"H x 15 1/2"W (frame)

Jess Collins American, (20th/21st century) But Don't Mind me Cause I Ain't Nothin but a Dream, 1970 mixed media printed paper collage Signed and dated lower left. Biography from the Archives of askART: The artist Jess was born Burgess Collins in 1923 in Long Beach California. Jess initially was educated as a chemist and in his career worked on the production of plutonium for the Manhattan Project. In 1949 he abandoned his scientific career and moved to San Francisco where he enrolled in the California School of Fine Arts. Burgess Collins then changed his name to "Jess." n 1951 Jess met poet, Robert Duncan, and began a relationship that lasted until Duncan's death in 1988. Duncan and Jess worked together to expand and refine a study of world literature and art focused in myths, symbols and archetypes. The couple was active in the Bay Area poetry and art scene. They were good friends with Jay Spicer, Helen Adam, Wallace Berman, Patricia Jordan, Jay DeFeo and Michael McClure. With painter Harry Jacobus the pair ran the King Ubu Gallery in 1952-1953. Jess created collages to make political and social commentary as well as narrative landscapes. His strongest group of work was Translations (1959-1976) which consisted of 32 paintings of odd images schematically outlined and rendered in a paint by number style canvas. Jess's final work was a six by five foot drawing titled, Narkissos a tableau of symbolic imagery from Greek myths. Jess died January 2, 2004 from natural causes. Source: Michael Duncan, Art in America, March 2004

Lot: 302 - Theresa Thompson, American (21st Century), “Redemption”, 2019, Digital Photo in Antique Frame, 20”W x 25”H x 7”D

Theresa Thompson American, (21st Century) "Redemption", 2019 Digital Photo in Antique Frame Fine art photography.

Lot: 303 - Kristin Cammermeyer, American (b.1974), Color Boards No. 1, 2012, House paint, acrylic, & spray paint on wood, 79 1/4"H x 24 1/4"W (largest)

Kristin Cammermeyer American, (b.1974) Color Boards No. 1, 2012 House paint, acrylic, & spray paint on wood Kristin Cammermeyer is a multi-media artist currently based in Los Angeles. In 2013 she was Artist-in-Residence at Recology, the waste management facility in San Francisco. Since Kristin's time there the main objective in her practice is to assist underutilized materials in transcending obsolescence by extending and redefining the use for this surplus. Cammermeyer generates video works in tandem with ephemeral installations as a device to direct her actions and further transform post-consumer waste materials. Kristin is interested in subverting one's expectations and transforming discarded materials as a means to reconcile her concerns regarding the overabundance of waste generated within our consumer driven economy. Kristin Cammermeyer received an MFA from Cranbrook Academy of Art and has been awarded grants from the Foundation for Contemporary Arts, Harpo Foundation, and the Toby Fund. Recent exhibitions include 1708 Gallery, Richmond (2018), the Brand Library Art Gallery, Glendale (2018), I-Park Site Responsive Biennale, East Haddam (2017), Elephant Art Space, Los Angeles (2016), Klowden Mann Gallery, Los Angeles (2015). She has held residencies at the Banff Art Centre (2019), MacDowell Colony (2013), Recology SF (2013), Oxbow (2011) and Vermont Studio Center (2011). Her work is in the collections of the The Broad Foundation, Fort Wayne Museum of Art, Recology SF, and the Los Angeles Contemporary Archive. An ongoing project, Be Still Life, was started by Kristin and fellow artist Anna Breininger in 2018 as an alternative form of social engagement amongst artists. Sessions are spent drawing together from a tableau collaboratively arranged. The process of connecting through drawing is not only meditative and nourishing, but also political. Be Still Life Drawing Sessions have expanded to larger audiences at venues including the 2020 Spring Break Art Show Los Angeles, 2019 Joshua Treenial and Other Places Art Fair 2019 & 2020, among others.

Lot: 304 - Mark Dunihue McKenzie, American (b. 1977), figural abstract, 1999, oil on canvas, 36"H x 23"W

Mark Dunihue McKenzie American, (b. 1977) figural abstract, 1999 oil on canvas Signed and dated verso. Mac Blackout (born Mark Dunihue McKenzie on June 17, 1977) is an American visual artist and musician based in Chicago. The founding member of The Functional Blackouts, Daily Void, Mickey, New Rose Alliance, and Armageddon Experimental Band, he's also known as a prolific solo recording artist. His projects have been released by Sacred Bones, HoZac, FDH, Pelican Pow Wow, Trouble In Mind, and many other prominent independent record labels (see discography). These genre defying recordings range from experimental improvisations to lo fi punk and glam anthems. Mac was born in Bedford, Indiana, later attending college at the Herron School of Art in Indianapolis, Indiana where he graduated with a BFA in 1999. During his high school and college years he became a well known street artist in the midwest underground. In 1999 he moved to Chicago, Illinois channeling his creative energies into music and the music related art of posters and album covers. From 2000 to present day he has formed several bands releasing more than 10 full length albums as well as a slew of singles. He continues to create music with the avant garde multimedia project, Armageddon Experimental Band and recently released "Love Profess", his first solo album in seven years on Trouble In Mind Records. Mac is currently a muralist and multimedia artist creating large scale public works with a studio focus in painting, drawing, sculpture and mixed media art.

Lot: 305 - Terry Pulley, American (21st Century), Untitled Screen, 2017, Oil on four folded door panels, 80”H x 58”W x 2”D (unfolded)

Terry Pulley American, (21st Century) Untitled Screen, 2017 Oil on four folded door panels Signed. Biography from the Fort Wayne Museum of Art: Having long declared himself a painter of landscapes and still lifes, Pulley unveils a new series of abstract paintings that opens a new chapter for the Wabash, Ind.-based painter. Pulley's career as a contemporary Hoosier Impressionist has made him a prolific creator of dynamically layered still lifes and landscapes inspired by the beauty of Northern Indiana. He has said that color, rhythmic patterns of light and shade fill his canvases. Not to be chained by the restrictions of realism, his focus has been more on his inward expression of a subject than trying to capture its exact representation.

Lot: 306 - Justin Henry Miller, American (20th Century), Bariatric Backfire, oil on canvas, 12"H x 10"W x 2"D (frame), 10"H x 8"W (painting)

Justin Henry Miller American, (20th Century) Bariatric Backfire oil on canvas signed, titled, and dated 2006 verso. Miller is a Professor and Area Head of Painting in the Department of Art and Design at Southeast Missouri State University. He received his MFA from the University of Notre Dame and both his MA and BA from Eastern Illinois University. Justin Henry Miller is a painter residing currently in Cape Girardeau, MO

Lot: 307 - Justin Henry Miller, American (20th Century), "Dream Catcher", Painting, 14"H x 11"W x 3/4"D

Justin Henry Miller American, (20th Century) "Dream Catcher" Painting 2006, Signed to the verso. Miller is a Professor and Area Head of Painting in the Department of Art and Design at Southeast Missouri State University. He received his MFA from the University of Notre Dame and both his MA and BA from Eastern Illinois University. Justin Henry Miller is a painter residing currently in Cape Girardeau, MO.

Lot: 308 - Justin Henry Miller, American (b. 1980), Cluster Fuct!, 2010, oil on panel, 33”H x 27”W x 3”D

Justin Henry Miller American, (b. 1980) Cluster Fuct!, 2010 oil on panel Signed, titled, and dated verso. Biography from WideWalls.Ch: Justin Henry Miller is an American artist, who got his education at Eastern Illinois University, where he graduated in 2002. He received a BA in Art Education, and an MA in painting and drawing in 2003, also at Eastern Illinois University. MFA in painting he received in 2006, at the University of Notre Dame. He is famous for his use of found photographs on which he adds elements.

Lot: 309 - Mark Pack, American (21st century), Rock & Bird, mixed media carved enamel paint layers on canvas, 21"H x 21 1/4"W (sight), 23"H x 23 1/2"W (frame)

Mark Pack American, (21st century) Rock & Bird mixed media carved enamel paint layers on canvas Signed verso. Biography from HouskaGallery.com: Mark Pack defines his artistic process as one of cultivation rather than manufacture. He seeks to explore the ways we relate to nature. This alliance manifests itself through painting, sculpture, and installation. In this materialization, he is discussing the duality between chaos and control and the way we examine nature and take part in it. Pack received his BFA in Painting from Northern Illinois University in 2001, and his MFA in Painting from Rhode Island School of Design in 2004, graduating with honors. Since then, he has been in numerous juried, solo, and group exhibitions. His work is also in numerous private and public collections.

Lot: 310 - Michael Porten, American (b. 1982), Need, 2013, acrylic and oil on wood, 36 ½”H x 36 ½”W x 2 ½”D

Michael Porten American, (b. 1982) Need, 2013 acrylic and oil on wood Signed, titled, and dated verso. Biography from SpaldingNixFineArt.com: Michael Porten is an interdisciplinary artist based in Savannah, Georgia, where he received a BFA in illustration & an MFA in painting from The Savannah College of Art & Design. His inspiration is often drawn from contemporary pop culture and iconography, focusing on "the synchronicity of seemingly disparate content and contexts," and his points of reference range from Vonnegut to Voltaire. Michael's work is about exhausting the possible. His process consists of taking an idea and exploring its variations & combinations in sketches & on his computer, then pushing it through as many physical, painted, printed or sculpted variations as necessary until it reaches a state of maximum aesthetic density. His work has been exhibited in galleries in the U.S. & abroad & has been discussed in publications such as New American Paintings, Oxford American Magazine & the Metropolis Magazine online edition.

Lot: 311 - Michael Porten, American (b. 1982), Vice, 2013, acrylic and oil on wood., 37”H x 37”W x 2 ½”D

Michael Porten American, (b. 1982) Vice, 2013 acrylic and oil on wood. Signed, titled, and dated verso. Biography from SpaldingNixFineArt.com: Michael Porten is an interdisciplinary artist based in Savannah, Georgia, where he received a BFA in illustration & an MFA in painting from The Savannah College of Art & Design. His inspiration is often drawn from contemporary pop culture and iconography, focusing on "the synchronicity of seemingly disparate content and contexts," and his points of reference range from Vonnegut to Voltaire. Michael's work is about exhausting the possible. His process consists of taking an idea and exploring its variations & combinations in sketches & on his computer, then pushing it through as many physical, painted, printed or sculpted variations as necessary until it reaches a state of maximum aesthetic density. His work has been exhibited in galleries in the U.S. & abroad & has been discussed in publications such as New American Paintings, Oxford American Magazine & the Metropolis Magazine online edition.

Lot: 312 - Josef Zimmerman, American (21st Century), Time is the Only Commodity You Can Not Get Back, 2017, Metal, plastic, acrylic, LED lights, 29 ½”H x 23 ½”W x 3 ½”D

Josef Zimmerman American, (21st Century) Time is the Only Commodity You Can Not Get Back, 2017 Metal, plastic, acrylic, LED lights Signed verso. Exhibited: Fort Wayne Museum of Art. Biography from JosefZimmerman.com: A Fort Wayne native, he has been active in the local art scene since his return from Chicago in 2004. Since that time he has participated in numerous Fort Wayne Gallery exhibitions, including: Henry's, Dash In, Fort Wayne Museum of Art, Artlink and sanctioned/unsanctioned public street art. Josef Zimmerman has been working in and around the art world for the last decade. As an artist, installer, and curator, Josef has worked to bring new artists together and showcase them in museums and galleries. Josef is currently the Head Adjunct Curator of New Contemporary Art at the Fort Wayne Museum of Art as well as an independent curator for galleries around the nation.

Lot: 313 - Justin Diggle, American (21st Century), Controlling Identity, 2014, Etching, 46 ½”H x 32 ¼”W x 1 ¼”D (frame)

Justin Diggle American, (21st Century) Controlling Identity, 2014 Etching 10/16 edition.

Lot: 314 - Alex Ziv, American (b.1988), The Colossus of Roads, 2013, Pen, Ink, Paper, 33”H x 25”W x 1”D (frame), 28"H x 21"W

Alex Ziv American, (b.1988) The Colossus of Roads, 2013 Pen, Ink, Paper ABOUT Alexander Ziv b. San Francisco, CA, 1988. Currently residing in Nevada County, CA. My recent works, composed of gouache on paper, explore to extract my own ever developing definition of "American identity". While attempting to define a broad sense of identity is nearly improbable due to America's constantly shifting cultural landscape, by exploring moments of recent and historical American events through a tailored visual language, I create and constantly recreate my own identity as a pathway to understanding the current. I hope to enhance and highlight topics of historical and societal turbulence that effect the individual, and therefore society on a larger scale. My work attempts to function metonymically by associating visually graphic insignias, cultural identifiers, traces of my surroundings, and encounters without elaborating on the relation between them to create views of a vantage driven American narrative based on identity and heritage. These identifiers orbit and utilize topics of race, gender, the authoritative voice, escapism into the western American landscape, idealism and the attempt to belong as vehicles to further dissect identity.

Lot: 315 - Alex Ziv, American 1988 -, Americana, 2012, Pen & Ink on Paper, 35”H x 27”W x 1 ¼”D (frame), 30"H x 23"W (paper)

Alex Ziv American, 1988 - Americana, 2012 Pen & Ink on Paper ABOUT Alexander Ziv b. San Francisco, CA, 1988. Currently residing in Nevada County, CA. My recent works, composed of gouache on paper, explore to extract my own ever developing definition of "American identity". While attempting to define a broad sense of identity is nearly improbable due to America's constantly shifting cultural landscape, by exploring moments of recent and historical American events through a tailored visual language, I create and constantly recreate my own identity as a pathway to understanding the current. I hope to enhance and highlight topics of historical and societal turbulence that effect the individual, and therefore society on a larger scale. My work attempts to function metonymically by associating visually graphic insignias, cultural identifiers, traces of my surroundings, and encounters without elaborating on the relation between them to create views of a vantage driven American narrative based on identity and heritage. These identifiers orbit and utilize topics of race, gender, the authoritative voice, escapism into the western American landscape, idealism and the attempt to belong as vehicles to further dissect identity.

Lot: 316 - Zach Gold, American (21st Century), Kurt, 2002, Digital C-print mounted on aluminum, 60 ¼”W x 48”H x 1”D

Zach Gold American, (21st Century) Kurt, 2002 Digital C-print mounted on aluminum Signed, titled, dated and #1/7 to verso. Biography: Zach Gold was one of the first artists in the world to successfully blend the subtle complexities of both camera and computer to produce photorealistic digital art. Shortly after he began shooting he was selected by the New York Art Directors Club as one of the top 100 artists in New York City under 35 years old. Articles about his groundbreaking work have been featured in China Vogue, Harpers Bazaar Art, Vogue.com, French Photo and many others. About a recent fashion film Zach directed Vogue had this to say "The movie could be the beginning of a whole new genre of entertainment; fashion cinema". Introducing him as "one of the leaders in creative image making," Peter Jennings presented Zach with the International Center of Photography's "Young Photographer of the Year". Other award recipients that evening included Helmut Newton and Robert Frank. Zach's work was then exhibited during New York's annual fashion shows, where he was named "one of the ten photographers changing photography."

Lot: 317 - Gabriele Viertel, Eindhoven, Netherlands (b.1969), Red Furie, C-print, 2013, 40 ¼”H x 40 ¼”W x 1”D

Gabriele Viertel Eindhoven, Netherlands, (b.1969) Red Furie C-print, 2013 Signed to verso. Biography: Gabriele Viertel's work focuses on the human figure mostly merged with the natural element of water. Consciously she leaves the path of traditional photography with her artistic vision by creating contemporary images which seem to balance a tightrope between painting and photography, leading into a dream- like, surreal atmosphere of longings, fears and infinite evanescence, Over the last years she was honoured many times for her photographic work. She is the recipient of many awards including the silver medal of Prix de la Photographie Paris, the gold medal of the Color Award and the platinum medal of the Graphis NY Award. Gabriele Viertel has been invited to international exhibitions such as the 'Nation, Best of Contemporary Photography' of the Fort Wayne Museum of Art, Indiana USA in 2015, 3rd Biennial of Documentary and Fine Art Photography Heritage Municipal Museum Malaga Spain in 2014, Berlin Foto Biennal Germany in 2016, NordArt Schleswig-Holstein Germany in 2016 and the two-artist exhibition in 2017 ' Visions de Corps' of the Centre Charles Peguy , Musee D'Orleans France. ? Works are held in collections of public institutes including the Musée des Beaux-arts Orleans, FR, the University of Art Codarts Rotterdam,NL, the Fort Wayne Museum of Art Indiana, USA, the Dr. Belbe Collection Stade as well as in private collections. ? ? Originally from Germany Gabriele studied mechanical engineering and design in Cologne. During this time she worked as a model to fund the studie. After graduation as a technician she decided to pursue the career in front of the camera and on the catwalk. It was followed about a decade working in the international fashion industry for designers such as Dior, Wolfgang Joop and Karl Lagerfeld. In 2011, she devoted herself to photography as freelance artist and presented her work to the public for the first time in 2013. This did not go unnoticed and was followed by numerous publications worldwide, among others repeatedly featured in the art blog of the San Francisco Museum of Modern Art. Gabriele Viertel lives and works in the Netherlands.

Lot: 318 - Gabriele Viertel, Eindhoven, Netherlands (b.1969), Storm, 2014, C-print, 40 ¼”H x 40 ¼”W x 1”D

Gabriele Viertel Eindhoven, Netherlands, (b.1969) Storm, 2014 C-print Label to the verso. Pencil Signature and title to verso. Nick to bottom left. Biography: Gabriele Viertel's work focuses on the human figure mostly merged with the natural element of water. Consciously she leaves the path of traditional photography with her artistic vision by creating contemporary images which seem to balance a tightrope between painting and photography, leading into a dream- like, surreal atmosphere of longings, fears and infinite evanescence, Over the last years she was honoured many times for her photographic work. She is the recipient of many awards including the silver medal of Prix de la Photographie Paris, the gold medal of the Color Award and the platinum medal of the Graphis NY Award. Gabriele Viertel has been invited to international exhibitions such as the 'Nation, Best of Contemporary Photography' of the Fort Wayne Museum of Art, Indiana USA in 2015, 3rd Biennial of Documentary and Fine Art Photography Heritage Municipal Museum Malaga Spain in 2014, Berlin Foto Biennal Germany in 2016, NordArt Schleswig-Holstein Germany in 2016 and the two-artist exhibition in 2017 ' Visions de Corps' of the Centre Charles Peguy , Musee D'Orleans France. ? Works are held in collections of public institutes including the Musée des Beaux-arts Orleans, FR, the University of Art Codarts Rotterdam,NL, the Fort Wayne Museum of Art Indiana, USA, the Dr. Belbe Collection Stade as well as in private collections. ? ? Originally from Germany Gabriele studied mechanical engineering and design in Cologne. During this time she worked as a model to fund the studie. After graduation as a technician she decided to pursue the career in front of the camera and on the catwalk. It was followed about a decade working in the international fashion industry for designers such as Dior, Wolfgang Joop and Karl Lagerfeld. In 2011, she devoted herself to photography as freelance artist and presented her work to the public for the first time in 2013. This did not go unnoticed and was followed by numerous publications worldwide, among others repeatedly featured in the art blog of the San Francisco Museum of Modern Art. Gabriele Viertel lives and works in the Netherlands.

Lot: 319 - Pete McCutchen, American (b.1964), Yellowstone Thermal Zone 13, 2014, Archival Pigment Print, 29 3/4"H x 60”W x 4”D

Pete McCutchen American, (b.1964) Yellowstone Thermal Zone 13, 2014 Archival Pigment Print Biography: I'm a full-time fine art photographer currently residing in Arlington, Virginia. I'm a juried artist at the Torpedo Factory Art Center, and a member of the Touchstone Gallery, the Washington, D.C., area's premier artist-owned gallery. My work has appeared in more than fifty juried shows. When not out shooting or riding a roller coaster, I can be found at the Torpedo Factory, where I share Studio 330. My subjects are an eclectic mix, including the architecture of Las Vegas, roller coasters, and rusted metal objects. Although I began life as a black and white photographer, my color work is now what I'm known for. It's fair to say that I'm not afraid of color.