Auction Information

20th & 21st Century Fine Art: Incl. Washington

Tue Apr 23 - 10:00AM


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  • JACQUES MARTIN-FERRIERES, FRENCH

    JACQUES MARTIN-FERRIERES, FRENCH

  • ALPHONSE LEON QUIZET, FRENCH 1885-1956,

    ALPHONSE LEON QUIZET, FRENCH 1885-1956,

  • MICHEL DELACROIX, FRENCH 1933-, SCENE DE

    MICHEL DELACROIX, FRENCH 1933-, SCENE DE

  • SOLANGE BERTRAND, FRENCH 1913-2011,

    SOLANGE BERTRAND, FRENCH 1913-2011,

Lot: 1 - JACQUES MARTIN-FERRIERES, FRENCH 1893-1972, BOUQUET D'ANEMONES DANS UN VASE EN VERRE SUR UN TAPIS DE TABLE ROUGE, Oil on canvas, 21 3/4 x 18 in. (55.2 x 45.7 cm.), Frame: 29 x 26 in. (73.7 x 66 cm.)

JACQUES MARTIN-FERRIERES FRENCH, 1893-1972 BOUQUET D'ANEMONES DANS UN VASE EN VERRE SUR UN TAPIS DE TABLE ROUGE Oil on canvas Lower left signed: Martin Ferrieres; verso numbered on stretcher: D613 and 174Fl Catalogue raisonne: According to Mme. Marie-Anne Destrebecq-Martin, this painting is described in the artist's records as: 174 fl. -- "Bouquet d'anémones [dans un vase en verre sur un tapis de table rouge]."

Lot: 2 - ALPHONSE LEON QUIZET, FRENCH 1885-1956, AUTUMN STROLL, MONTMARTRE, Oil on canvas, 15 1/2 x 18 in. (39.4 x 45.7 cm.), Frame: 23 x 26 in. (58.4 x 66 cm.)

ALPHONSE LEON QUIZET FRENCH, 1885-1956 AUTUMN STROLL, MONTMARTRE Oil on canvas Lower right signed: Quizet; verso labels

Lot: 3 - MICHEL DELACROIX, FRENCH 1933-, SCENE DE RUE DANS UN PAYS LIBRE, Oil on canvas, 23 1/2 x 28 7/8 in. (59.7 x 73.3 cm.), Frame: 36 x 31 in. (91.4 x 78.7 cm.)

MICHEL DELACROIX FRENCH, 1933- SCENE DE RUE DANS UN PAYS LIBRE Oil on canvas Lower right signed: Michel Delacroix; verso inscribed on canvas: Michel / Delacroix / Paris; verso signed and titled on stretcher: Michel Delacroix / Paris 14e / Scene de rue dans un pays libre; verso label: DON HARTMAN FRAMING / Monterey, CA

Lot: 4 - SOLANGE BERTRAND, FRENCH 1913-2011, VENICE, 1955, Watercolor on paper, Sight: 10 x 14 in. (25.4 x 35.6 cm.), Frame: 16 x 19 1/2 in. (40.6 x 49.5 cm.)

SOLANGE BERTRAND FRENCH, 1913-2011 VENICE, 1955 Watercolor on paper Lower left signed and dated: Solange Bertrand, 55

Lot: 5 - CHARLES MCCALL, BRITISH 1907-1989, SUMMER INTERIOR, 1968, Oil on canvas, 24 x 20 in. (61 x 50.8 cm.), Frame: 29 1/2 x 25 1/2 in. (74.9 x 64.8 cm.)

CHARLES MCCALL BRITISH, 1907-1989 SUMMER INTERIOR, 1968 Oil on canvas Upper right signed and dated: McCall '69; verso label: Summer Interior / by / Charles McCall R.O.I.

Lot: 6 - JOHN HITCHENS, BRITISH 1940-, HILLS AND COMING RAIN, 1964, Oil on board, 14 x 30 in. (35.6 x 76.2 cm.), Frame: 17 1/2 x 33 1/2 in. (44.5 x 85.1 cm.)

JOHN HITCHENS BRITISH, 1940- HILLS AND COMING RAIN, 1964 Oil on board Lower left signed and dated: John Hitchens 1964; verso inscribed: "HILLS AND COMING RAIN" / John Hitchens / Greenleaves Petworth, Sussex / 14" x 30" 1964 / Please keep under glass

Lot: 7 - ADRIAN WISZNIEWSKI, BRITISH 1958-, BYRON AND ANNABELLA, 1969, Oil on canvas, 10 x 12 in. (25.4 x 30.5 cm.), Frame: 17 x 19 in. (43.2 x 48.3 cm.)

ADRIAN WISZNIEWSKI BRITISH, 1958- BYRON AND ANNABELLA, 1969 Oil on canvas Verso signed and dated on canvas: a. Wiszniewski / 69

Lot: 8 - ALBERT REICH, GERMAN 1881-1942, ALPINE FOREST, Oil on board, 18 3/4 x 14 1/2 in. (47.6 x 36.8 cm.), Frame: 26 x 23 1/2 in. (66 x 59.7 cm.)

ALBERT REICH GERMAN, 1881-1942 ALPINE FOREST Oil on board Lower left signed: A. Reich

Lot: 9 - ALBERT REICH, GERMAN 1881-1942, BRENNER PASS, DOLOMITES, Oil on board, 19 5/8 x 17 3/8 in. (49.8 x 44.1 cm.), Frame: 24 x 20 in. (61 x 50.8 cm.)

ALBERT REICH GERMAN, 1881-1942 BRENNER PASS, DOLOMITES Oil on board Lower right signed: A. Reich

Lot: 10 - CARL AUGUST STREEFKERK, DUTCH 1884-1968, AMBUSH BY THE CANAL, CIRCA 1960, Oil on canvas, 23 3/4 x 31 in. (60.3 x 78.7 cm.), Frame: 31 1/2 x 40 in. (80 x 101.6 cm.)

CARL AUGUST STREEFKERK DUTCH, 1884-1968 AMBUSH BY THE CANAL, CIRCA 1960 Oil on canvas Lower left signed: C A.Streefkerk

Lot: 11 - JUAN BAYON (JEAN) SALADO (SALABET), SPANISH 1913-1995, PARIS, Oil on canvas, 24 x 29 in. (61 x 73.7 cm.), Frame: 30 x 36 in. (76.2 x 91.4 cm.)

JUAN BAYON (JEAN) SALADO (SALABET) SPANISH, 1913-1995 PARIS Oil on canvas Lower left signed: J. Salabet / Paris

Lot: 12 - MARCELLO MUCCINI, ITALIAN 1926-1978, VIEW OF ROME, Oil on canvas, 23 3/4 x 35 1/2 in. (60.3 x 90.2 cm.), Frame: 29 x 40 1/2 in. (73.7 x 102.9 cm.)

MARCELLO MUCCINI ITALIAN, 1926-1978 VIEW OF ROME Oil on canvas Lower right signed: Muccini

Lot: 13 - VILMOS ABA-NOVAK, HUNGARIAN 1894-1941, CIRCUS SCENE, Oil on masonite, 24 x 30 in. (61 x 76.2 cm.), Frame: 30 3/4 x 36 3/4 in. (78.1 x 93.3 cm.)

VILMOS ABA-NOVAK HUNGARIAN, 1894-1941 CIRCUS SCENE Oil on masonite Lower left signed: ABA-NOVÁK

Lot: 14 - JOSEPH SOLMAN, BELARUSIAN/AMERICAN, NEW YORK 1909-2008, DAY SHIFT, 1960, Pencil and gouache on newspaper laid on wove paper, Sight: 14 x 10 in. (35.6 x 25.4 cm.), Frame: 21 x 17 in. (53.3 x 43.2 cm.)

JOSEPH SOLMAN BELARUSIAN/AMERICAN, NEW YORK, 1909-2008 DAY SHIFT, 1960 Pencil and gouache on newspaper laid on wove paper Lower left signed: J. Solman; verso label: Robert Brown Gallery Catalogue note: Born in Vitebsk, present-day Belarus, Joseph Solman's family immigrated to New York in 1912. After studying at the National Academy of Design, Solman held his first one-man-show at the Contemporary Arts Gallery, New York City, in 1934. Solman was a member of the seminal Expressionist artists group the Ten, along with Mark Rothko, Adolph Gottlieb and Ilya Bolotowsky. Solman is best known for his series of "subway gouaches," capturing busy commuters traveling to-and-from work via New York City's public transportation system. His work can be found in the permanent collections of the Whitney Museum of American Art (New York), Brooklyn Museum (New York), Museum of Fine Arts (Boston) and the Hirschhorn Museum and Sculpture Garden (Washington, D.C.).

Lot: 15 - GLENN O. COLEMAN (AMERICAN, 1887-1932) WASHINGTON SQUARE AND FIFTH AVENUE, NEW YORK, CA. 1930 Oil on canvas: 16 1/2 x 22 in.

GLENN O. COLEMAN AMERICAN, NEW YORK, OHIO, 1887-1932 WASHINGTON SQUARE AND FIFTH AVENUE, NEW YORK, C. 1930 Oil on canvas Framed; lower right signed: Coleman; verso: ACA Galleries label Catalogue note: Painter and printmaker Glenn O. Coleman (1887-1932) grew up in Indianapolis. He attended the Industrial Training School before working as a newspaper artist for the Indianapolis Press. In 1905, he moved to New York, where he studied art and illustration under William Merritt Chase and Robert Henri. Coleman was considered an artist of the "Ashcan School" due to his artistic focus on gray, working class life in New York. His series entitled Undercurrents of New York Life was published by The Craftsman in 1909. Coleman's paintings and prints attempted to capture the contemporary, fleeting scenes of street life in New York City and appeared in the Whitney Museum of American Art and the Brooklyn Museum. He was a MacDowell Fellow in 1917. Source: MacDowell (https://www.macdowell.org/artists/glenn-coleman)

Lot: 16 - WALDO PEIRCE, AMERICAN, NEW YORK, MAINE, MASSACHUSETTS 1884-1970, THE PAPAL BLESSING, VENICE, 1956, Oil on canvas, 24 x 20 in. (61 x 50.8 cm.), Frame: 29 x 25 in. (73.7 x 63.5 cm.)

WALDO PEIRCE AMERICAN, NEW YORK, MAINE, MASSACHUSETTS, 1884-1970 THE PAPAL BLESSING, VENICE, 1956 Oil on canvas Lower left initialed and dated: WP 56 Catalogue note: Waldo Peirce was born in Bangor, Maine, and studied at Harvard University, the Art Students League in New York and the Academie Julian in Paris. A part of the expatriate group of artists and writers known as the "lost generation," Peirce toured Spain with longtime friend Ernest Hemingway and lived an adventurous, bohemian lifestyle. His work can be found in the collections of the Whitney Museum of American Art (New York, NY), the Brooklyn Museum of Art (Brooklyn, NY) and the Pennsylvania Academy of Fine Arts (Philadelphia, PA), among others.

Lot: 17 - PAUL CHIDLAW, AMERICAN, CINCINNATI, OHIO 1900-1989, VIEW ACROSS THE RIVER, Oil on masonite, 23 1/2 x 31 in. (59.7 x 78.7 cm.), Frame: 28 x 35 1/2 in. (71.1 x 90.2 cm.)

PAUL CHIDLAW AMERICAN, CINCINNATI, OHIO, 1900-1989 VIEW ACROSS THE RIVER Oil on masonite Lower right signed: Chidlaw Catalogue note: Born in Cleves, Ohio, Paul Chidlaw studied at the Art Academy of Cincinnati before traveling to France to continue his studies at L'Ecole des Beaux-Arts in Fontainebleu. Finding academic training restrictive, Chidlaw returned to Cincinnati in the 1930s, where he would live and work for the rest of his life. Chidlaw taught painting at the Art Academy of Cincinnati from 1946 to 1963 and exhibited his work at Edgecliff College (now Xavier University), A.B. Clossons Gallery and Miami University Art Museum (Oxford, OH). His work was also featured in exhibitions at the Corcoran Museum of Art (Washington, D.C.) and Midtown Gallery (New York, NY), among others. An abstract artist, Chidlaw was quoted in a 1985 exhibition catalogue as saying: "If you see it, it's there. I like to leave something for the viewer to do because I don't believe that it's right for anyone to take your imagination completely away from you." A gallery at the Art Academy of Cincinnati is named in his honor.

Lot: 18 - MORRIS SHULMAN, AMERICAN, NEW YORK, MAINE 1912-1978, TREE + ROOF, Oil on board, 28 1/2 x 21 in. (72.4 x 53.3 cm.), Frame: 30 1/2 x 22 3/4 in. (77.5 x 57.8 cm.)

MORRIS SHULMAN AMERICAN, NEW YORK, MAINE, 1912-1978 TREE + ROOF Oil on board Upper right signed and dated: Shulman 11-7; verso inscribed on board: Morris Shulman / "Tree + Roof" 29 x 21 / Gouache / WCInv#127 Catalogue note: [Morris] Shulman spent his childhood in Hartford, CT after moving there from Savannah, GA when he was two. He began his art studies at the Goodwill Boys Club in painting and sketching classes. At the age of 17, he moved to New York City and attended the National Academy of Design from 1931-1934. He studied at the Siqueiros Fresco Workshop from 1935-1936 and the following year he was Fresco's assistant at Bellevue Hospital. Shulman's first significant exhibition, "American Art Today" was at the 1939 World's Fair in New York. After three years in the Navy during WWII, Shulman attended the Arts Students League, followed by a year studying at the Hofmann School of Art. He finished his official schooling at The New School for Social Research in New York in 1950. That same year he received his first watercolor award, exhibiting at the Biennial Exhibition at the Brooklyn Museum. Shulman taught at numerous prestigious schools. In New York, he taught at the Brooklyn Museum Art School, the School of Visual Arts, The Cooper Union, and the New School for Social Research. He also taught at the Philadelphia College of Art in Pennsylvania and The Skowhegan Art School in Maine. His work appeared in numerous exhibitions. Two of the more significant exhibitions were "Painting in Maine" in 1964 at Colby College and an exhibition at Parson's School of Design in 1977 at the New York WPA Artists Exhibition. Source: Monhegan Museum (https://monheganmuseum.org/postwarmodernism/morris-shulman/)

Lot: 19 - MORRIS SHULMAN, AMERICAN, NEW YORK 1912-1978, UNTITLED, 1950, Gouache on board, 24 x 30 in. (61 x 76.2 cm.), Frame: 25 1/2 x 31 1/2 in. (64.8 x 80 cm.)

MORRIS SHULMAN AMERICAN, NEW YORK, 1912-1978 UNTITLED, 1950 Gouache on board Lower right signed and dated: M Shulman 1950 Catalogue note: [Morris] Shulman spent his childhood in Hartford, CT after moving there from Savannah, GA when he was two. He began his art studies at the Goodwill Boys Club in painting and sketching classes. At the age of 17, he moved to New York City and attended the National Academy of Design from 1931-1934. He studied at the Siqueiros Fresco Workshop from 1935-1936 and the following year he was Fresco's assistant at Bellevue Hospital. Shulman's first significant exhibition, "American Art Today" was at the 1939 World's Fair in New York. After three years in the Navy during WWII, Shulman attended the Arts Students League, followed by a year studying at the Hofmann School of Art. He finished his official schooling at The New School for Social Research in New York in 1950. That same year he received his first watercolor award, exhibiting at the Biennial Exhibition at the Brooklyn Museum. Shulman taught at numerous prestigious schools. In New York, he taught at the Brooklyn Museum Art School, the School of Visual Arts, The Cooper Union, and the New School for Social Research. He also taught at the Philadelphia College of Art in Pennsylvania and The Skowhegan Art School in Maine. His work appeared in numerous exhibitions. Two of the more significant exhibitions were "Painting in Maine" in 1964 at Colby College and an exhibition at Parson's School of Design in 1977 at the New York WPA Artists Exhibition. Source: Monhegan Museum (https://monheganmuseum.org/postwarmodernism/morris-shulman/)

Lot: 20 - WILLIAM REDD TAYLOR, AMERICAN, VIRGINIA 1938-2018, DUCKS FLYING OVER THE WATER, 1976, Watercolor, Sight: 13 3/4 x 20 1/2 in. (34.9 x 52.1 cm.), Frame: 21 1/2 x 28 3/4 in. (54.6 x 73 cm.)

WILLIAM REDD TAYLOR AMERICAN, VIRGINIA, 1938-2018 DUCKS FLYING OVER THE WATER, 1976 Watercolor Lower left signed and dated: Wm Redd Taylor '76 Catalogue note: Born in Richmond, William Redd Taylor specialized in waterfowl scenes. He won Best-in-Show at numerous waterfowl competitions in the mid-Atlantic area, and was selected as the Ducks Unlimited Artist of the Year in 1985. His work has been exhibited at the Virginia Museum of Fine Arts (Richmond, VA), among others.

Lot: 21 - BYRON BROWNE, AMERICAN, NEW YORK 1907-1961, CLOWN, 1961, Oil on masonite, 18 x 14 in. (45.7 x 35.6 cm.), Frame: 23 1/2 x 19 1/2 in. (59.7 x 49.5 cm.)

BYRON BROWNE AMERICAN, NEW YORK, 1907-1961 CLOWN, 1961 Oil on masonite Lower right signed: Byron Browne; verso inscribed on panel: Byron Browne / 1961 / CLOWN / 18" X 14" / N.Y.C.; verso label: Harmon-Meek Gallery Catalogue note: Byron Browne was a founding member of American Abstract Artists, a group formed in New York in 1936 dedicated to the promotion of abstract art in the United States. Browne's style of "synthetic cubism" was influenced by his friends and peers, such as Milton Avery, Willem de Kooning and John Graham. Browne's paintings can be found in the permanent collections of the Whitney Museum of American Art (New York) and the Smithsonian American Art Museum (Washington, D.C.), among others.

Lot: 22 - ROBERT VICKREY, AMERICAN, MASSACHUSETTS 1926-2011, COPS, 1988, Oil on canvas, 32 x 48 in. (81.3 x 121.9 cm.), Frame: 40 x 56 in. (101.6 x 142.2 cm.)

ROBERT VICKREY AMERICAN, MASSACHUSETTS, 1926-2011 COPS, 1988 Oil on canvas Lower right signed and dated: Robert Vickrey '88; verso Kennedy Galleries, inc. label: # 45105 Catalogue note: [Robert] Vickrey attended Wesleyan University and completed a B.A. degree at Yale in 1947. The following winter he took classes with Kenneth Hayes Miller and Reginald Marsh at the Art Students League, then returned to Yale for a B.F.A. degree. The 1950s were successful years for Vickrey. In addition to painting, he made experimental films, and in 1957 began traveling around the world for Time magazine, doing sketches of movie stars and royalty. In his work Vickrey assumes the viewpoint of the realistic observer, but calls himself "anti-romantic," and says that to the careful viewer his paintings "always [convey] a sense of danger." He paints meticulously detailed images using egg tempera, but the contrived arrangements of figures and austere landscape elements reflect Vickrey's interest in transforming outmoded social and cultural symbols into forms that menace the individual. A memorial statue shrouded by drapery, for example, becomes "a corrupt beast of war." Source: Virginia M. Mecklenburg Modern American Realism: The Sara Roby Foundation Collection (Washington, D.C.: Smithsonian Institution Press for the National Museum of American Art, 1987) (via: https://americanart.si.edu/artist/robert-vickrey-5148)

Lot: 23 - JACK WHITNEY CLIFTON, AMERICAN, VIRGINIA 1912-1990, MY EYES, Oil on artist's board, 20 x 16 in. (50.8 x 40.6 cm.), Frame: 31 x 27 in. (78.7 x 68.6 cm.)

JACK WHITNEY CLIFTON AMERICAN, VIRGINIA, 1912-1990 MY EYES Oil on artist's board Lower right signed: Clifton Catalogue note: Jack Whitney Clifton was born in Norfolk and raised in Newport News, Virginia. He studied at the Pennsylvania Academy of Fine Arts, and exhibited at the Virginia Museum of Fine Arts (Richmond, VA) and the Charles H. Taylor Arts Center (Hampton, VA). His work is in the permanent collection of the Chrysler Museum of Art (Norfolk, VA).

Lot: 24 - JOSEPH STELLA, AMERICAN, NEW YORK, ITALY 1877-1946, TREE TRUNK, Colored pencil and graphite on paper, Sight: 13 x 9 in. (33 x 22.9 cm.), Frame: 19 1/4 x 14 3/4 in. (48.9 x 37.5 cm.)

JOSEPH STELLA AMERICAN, NEW YORK, ITALY, 1877-1946 TREE TRUNK Colored pencil and graphite on paper Catalogue note: Born in Italy, Joseph Stella immigrated to New York City in 1896. He studied at the Art Students League under William Merritt Chase. Although best-known for his paintings of the Brooklyn Bridge and New York urbanism, Stella also had a lifelong fascination with drawing and painting the natural world. In a 1983 article for The Bulletin of the Cleveland Museum of Art, Jane Glaubinger writes that Stella's drawings demonstrate "a keen sensibility for composition, and an eye for deft balance. ... By means of a very formal composition, Stella has translated the forms of nature into the forms of art." In 2023, Stella's nature-based works were the subject of a major traveling exhibition presented by the Brandywine Museum of Art. His paintings and drawings can be found in the permanent collections of the Museum of Modern Art (New York, NY), the Whitney Museum of American Art (New York, NY), the Museum of Fine Arts (Boston, MA) and the Hirshhorn Museum and Sculpture Gallery (Washington, D.C.), among others.

Lot: 25 - JOSEPH STELLA, AMERICAN, NEW YORK, ITALY 1877-1946, PROMONTORY, Pastel and colored pencil on paper, Sheet: 9 x 12 in. (22.9 x 30.5 cm.), Frame: 16 7/8 x 19 1/2 in. (42.9 x 49.5 cm.)

JOSEPH STELLA AMERICAN, NEW YORK, ITALY, 1877-1946 PROMONTORY Pastel and colored pencil on paper Catalogue note: Born in Italy, Joseph Stella immigrated to New York City in 1896. He studied at the Art Students League under William Merritt Chase. Although best-known for his paintings of the Brooklyn Bridge and New York urbanism, Stella also had a lifelong fascination with drawing and painting the natural world. In a 1983 article for The Bulletin of the Cleveland Museum of Art, Jane Glaubinger writes that Stella's drawings demonstrate "a keen sensibility for composition, and an eye for deft balance. ... By means of a very formal composition, Stella has translated the forms of nature into the forms of art." In 2023, Stella's nature-based works were the subject of a major traveling exhibition presented by the Brandywine Museum of Art. His paintings and drawings can be found in the permanent collections of the Museum of Modern Art (New York, NY), the Whitney Museum of American Art (New York, NY), the Museum of Fine Arts (Boston, MA) and the Hirshhorn Museum and Sculpture Gallery (Washington, D.C.), among others.

Lot: 26 - LOWELL NESBITT, AMERICAN, MARYLAND, NEW YORK, WASHINGTON, D.C. 1933-1993, PALE IRIS, 1966, Oil on canvas, 16 x 16 in. (40.6 x 40.6 cm.), Frame: 20 x 20 in. (50.8 x 50.8 cm.)

LOWELL NESBITT AMERICAN, MARYLAND, NEW YORK, WASHINGTON, D.C., 1933-1993 PALE IRIS, 1966 Oil on canvas Verso titled, dated and signed: Pale Iris-66 / 16" x 16" / L. NESBITT; verso label: Henri Gallery Catalogue note: Born in Baltimore, Lowell Blair Nesbitt began his career as an abstract painter before his friend and fellow artist Robert Indiana encouraged him to paint with a more photorealistic style. His large-scale, stylized depictions of flowers became his signature works. Nesbitt served as the official artist for the NASA Apollo 9 and Apollo 13 space missions, and his work was the subject of solo exhibitions at the Baltimore Museum of Art (Baltimore, MD) and the Corcoran Museum of Art (Washington, D.C.), among others, during his lifetime. His paintings and prints can be found in the permanent collections of dozens of museums and institutions worldwide, including the Museum of Modern Art (New York, NY), the Phillips Collection (Washington, D.C.) and five Smithsonian institutions (Washington, D.C.): the National Gallery of Art, American Art Museum, Library of Congress, Renwick Gallery and Hirshhorn Museum and Sculpture Garden.

Lot: 27 - EDWARD (PECHMANN) RENOUF, AMERICAN, CONNECTICUT 1906-1999, UNTITLED, Oil on board, 24 x 18 in. (61 x 45.7 cm.), Frame: 31 x 25 in. (78.7 x 63.5 cm.)

EDWARD (PECHMANN) RENOUF AMERICAN, CONNECTICUT, 1906-1999 UNTITLED Oil on board Catalogue note: Born in China to an American academic father and a German mother, Edward von Pechmann Renouf attended Harvard and Columbia before moving to Mexico City in 1941. Renouf spent fifteen years in Mexico, where he studied art with muralist Carlos Merida and worked closely with influential Surrealist painter and philosopher Woolfgang Paalen. Around 1959, Renouf left Mexico and settled in Washington, Connecticut. He began frequently exhibiting his iron sculptures, often made with repurposed farm equipment, at galleries and museums in New York City. In 1960 the artist Fairfield Porter, a former Harvard classmate of Renouf, wrote: "He welds sculpture out of junk like Stankiewicz ... and he makes things that illustrate his memory and fantasy...Edward has developed an almost academic manner of the best sort, meaning, a kind of morality of openness, as one who has seen enough to become civilized..." In the 1960s, Renouf's sculpture was featured in three of the Whitney Museum of American Art's annual exhibitions. His work was also the subject of solo exhibitions at the New York Botanical Garden, Sculpture Center New York and Ruth White Gallery, and group exhibitions at Zabriskie Gallery and Pennsylvania Academy of Fine Arts, among others. Around 1971, Renouf expanded his focus to include abstract paintings and drawings as well as sculpture. He was represented by Allan Stone Gallery, who hosted two solo exhibitions of Renouf's paintings in 1978 and 1980, as well as Renouf's final New York show in 1982. Renouf passed away in 1999; two years later, the Washington Art Association in Connecticut held a retrospective exhibition of his work. Renouf's work is featured in the permanent collections of the National Gallery of Art (Washington, D.C.), Whitney Museum of American Art (New York, NY), Phoenix Art Museum (Phoenix, AZ) and Yale University Art Gallery (New Haven, CT), among others.

Lot: 28 - EDWARD (PECHMANN) RENOUF, AMERICAN, CONNECTICUT 1906-1999, MYTHICAL CREATURES, 1940, Mixed media on paper, Sight: 28 1/2 x 20 in. (72.4 x 50.8 cm.), Frame: 33 x 25 in. (83.8 x 63.5 cm.)

EDWARD (PECHMANN) RENOUF AMERICAN, CONNECTICUT, 1906-1999 MYTHICAL CREATURES, 1940 Mixed media on paper Lower left signed and dated: Renouf '40 Catalogue note: Born in China to an American academic father and a German mother, Edward von Pechmann Renouf attended Harvard and Columbia before moving to Mexico City in 1941. Renouf spent fifteen years in Mexico, where he studied art with muralist Carlos Merida and worked closely with influential Surrealist painter and philosopher Woolfgang Paalen. Around 1959, Renouf left Mexico and settled in Washington, Connecticut. He began frequently exhibiting his iron sculptures, often made with repurposed farm equipment, at galleries and museums in New York City. In 1960 the artist Fairfield Porter, a former Harvard classmate of Renouf, wrote: "He welds sculpture out of junk like Stankiewicz ... and he makes things that illustrate his memory and fantasy...Edward has developed an almost academic manner of the best sort, meaning, a kind of morality of openness, as one who has seen enough to become civilized..." In the 1960s, Renouf's sculpture was featured in three of the Whitney Museum of American Art's annual exhibitions. His work was also the subject of solo exhibitions at the New York Botanical Garden, Sculpture Center New York and Ruth White Gallery, and group exhibitions at Zabriskie Gallery and Pennsylvania Academy of Fine Arts, among others. Around 1971, Renouf expanded his focus to include abstract paintings and drawings as well as sculpture. He was represented by Allan Stone Gallery, who hosted two solo exhibitions of Renouf's paintings in 1978 and 1980, as well as Renouf's final New York show in 1982. Renouf passed away in 1999; two years later, the Washington Art Association in Connecticut held a retrospective exhibition of his work. Renouf's work is featured in the permanent collections of the National Gallery of Art (Washington, D.C.), Whitney Museum of American Art (New York, NY), Phoenix Art Museum (Phoenix, AZ) and Yale University Art Gallery (New Haven, CT), among others.

Lot: 29 - EDWARD (PECHMANN) RENOUF, AMERICAN, CONNECTICUT 1906-1999, PICCOLOMINI, 1971, Oil on canvas, 52 1/4 x 52 1/4 in. (132.7 x 132.7 cm.)

EDWARD (PECHMANN) RENOUF AMERICAN, CONNECTICUT, 1906-1999 PICCOLOMINI, 1971 Oil on canvas Verso inscribed on canvas: "Piccolomini" / Renouf 71 Catalogue note: Born in China to an American academic father and a German mother, Edward von Pechmann Renouf attended Harvard and Columbia before moving to Mexico City in 1941. Renouf spent fifteen years in Mexico, where he studied art with muralist Carlos Merida and worked closely with influential Surrealist painter and philosopher Woolfgang Paalen. Around 1959, Renouf left Mexico and settled in Washington, Connecticut. He began frequently exhibiting his iron sculptures, often made with repurposed farm equipment, at galleries and museums in New York City. In 1960 the artist Fairfield Porter, a former Harvard classmate of Renouf, wrote: "He welds sculpture out of junk like Stankiewicz ... and he makes things that illustrate his memory and fantasy...Edward has developed an almost academic manner of the best sort, meaning, a kind of morality of openness, as one who has seen enough to become civilized..." In the 1960s, Renouf's sculpture was featured in three of the Whitney Museum of American Art's annual exhibitions. His work was also the subject of solo exhibitions at the New York Botanical Garden, Sculpture Center New York and Ruth White Gallery, and group exhibitions at Zabriskie Gallery and Pennsylvania Academy of Fine Arts, among others. Around 1971, Renouf expanded his focus to include abstract paintings and drawings as well as sculpture. He was represented by Allan Stone Gallery, who hosted two solo exhibitions of Renouf's paintings in 1978 and 1980, as well as Renouf's final New York show in 1982. Renouf passed away in 1999; two years later, the Washington Art Association in Connecticut held a retrospective exhibition of his work. Renouf's work is featured in the permanent collections of the National Gallery of Art (Washington, D.C.), Whitney Museum of American Art (New York, NY), Phoenix Art Museum (Phoenix, AZ) and Yale University Art Gallery (New Haven, CT), among others.

Lot: 30 - EDWARD (PECHMANN) RENOUF, AMERICAN, CONNECTICUT 1906-1999, UNTITLED, 1974, Oil on board, 24 x 16 in. (61 x 40.6 cm.), Frame: 25 1/4 x 17 1/4 in. (64.1 x 43.8 cm.)

EDWARD (PECHMANN) RENOUF AMERICAN, CONNECTICUT, 1906-1999 UNTITLED, 1974 Oil on board Lower center-left signed and dated: Renouf 27-5-74 Catalogue note: Born in China to an American academic father and a German mother, Edward von Pechmann Renouf attended Harvard and Columbia before moving to Mexico City in 1941. Renouf spent fifteen years in Mexico, where he studied art with muralist Carlos Merida and worked closely with influential Surrealist painter and philosopher Woolfgang Paalen. Around 1959, Renouf left Mexico and settled in Washington, Connecticut. He began frequently exhibiting his iron sculptures, often made with repurposed farm equipment, at galleries and museums in New York City. In 1960 the artist Fairfield Porter, a former Harvard classmate of Renouf, wrote: "He welds sculpture out of junk like Stankiewicz ... and he makes things that illustrate his memory and fantasy...Edward has developed an almost academic manner of the best sort, meaning, a kind of morality of openness, as one who has seen enough to become civilized..." In the 1960s, Renouf's sculpture was featured in three of the Whitney Museum of American Art's annual exhibitions. His work was also the subject of solo exhibitions at the New York Botanical Garden, Sculpture Center New York and Ruth White Gallery, and group exhibitions at Zabriskie Gallery and Pennsylvania Academy of Fine Arts, among others. Around 1971, Renouf expanded his focus to include abstract paintings and drawings as well as sculpture. He was represented by Allan Stone Gallery, who hosted two solo exhibitions of Renouf's paintings in 1978 and 1980, as well as Renouf's final New York show in 1982. Renouf passed away in 1999; two years later, the Washington Art Association in Connecticut held a retrospective exhibition of his work. Renouf's work is featured in the permanent collections of the National Gallery of Art (Washington, D.C.), Whitney Museum of American Art (New York, NY), Phoenix Art Museum (Phoenix, AZ) and Yale University Art Gallery (New Haven, CT), among others.

Lot: 31 - EDWARD (PECHMANN) RENOUF, AMERICAN, CONNECTICUT 1906-1999, SGRAFFITO - I, 1973, Oil on board, Each: 48 1/4 x 14 in. (122.6 x 35.6 cm.), Frame: 49 1/2 x 15 1/4 in. (125.7 x 38.7 cm.)

EDWARD (PECHMANN) RENOUF AMERICAN, CONNECTICUT, 1906-1999 SGRAFFITO - I, 1973 Oil on board Lower right signed and dated: Renouf 1-X-73; verso signed, dated and titled: Renouf 73 / "Sgraffito - I" Catalogue note: Born in China to an American academic father and a German mother, Edward von Pechmann Renouf attended Harvard and Columbia before moving to Mexico City in 1941. Renouf spent fifteen years in Mexico, where he studied art with muralist Carlos Merida and worked closely with influential Surrealist painter and philosopher Woolfgang Paalen. Around 1959, Renouf left Mexico and settled in Washington, Connecticut. He began frequently exhibiting his iron sculptures, often made with repurposed farm equipment, at galleries and museums in New York City. In 1960 the artist Fairfield Porter, a former Harvard classmate of Renouf, wrote: "He welds sculpture out of junk like Stankiewicz ... and he makes things that illustrate his memory and fantasy...Edward has developed an almost academic manner of the best sort, meaning, a kind of morality of openness, as one who has seen enough to become civilized..." In the 1960s, Renouf's sculpture was featured in three of the Whitney Museum of American Art's annual exhibitions. His work was also the subject of solo exhibitions at the New York Botanical Garden, Sculpture Center New York and Ruth White Gallery, and group exhibitions at Zabriskie Gallery and Pennsylvania Academy of Fine Arts, among others. Around 1971, Renouf expanded his focus to include abstract paintings and drawings as well as sculpture. He was represented by Allan Stone Gallery, who hosted two solo exhibitions of Renouf's paintings in 1978 and 1980, as well as Renouf's final New York show in 1982. Renouf passed away in 1999; two years later, the Washington Art Association in Connecticut held a retrospective exhibition of his work. Renouf's work is featured in the permanent collections of the National Gallery of Art (Washington, D.C.), Whitney Museum of American Art (New York, NY), Phoenix Art Museum (Phoenix, AZ) and Yale University Art Gallery (New Haven, CT), among others.

Lot: 32 - EDWARD (PECHMANN) RENOUF, AMERICAN, CONNECTICUT 1906-1999, SGRAFFITO - II, 1973, Oil on board, 48 1/4 x 14 in. (122.6 x 35.6 cm.), Frame: 49 1/2 x 15 1/4 in. (125.7 x 38.7 cm.)

EDWARD (PECHMANN) RENOUF AMERICAN, CONNECTICUT, 1906-1999 SGRAFFITO - II, 1973 Oil on board Lower right signed and dated: Renouf 27 - X - 73; verso signed, dated and titled: Renouf 73 / "Sgraffito - II" Catalogue note: Born in China to an American academic father and a German mother, Edward von Pechmann Renouf attended Harvard and Columbia before moving to Mexico City in 1941. Renouf spent fifteen years in Mexico, where he studied art with muralist Carlos Merida and worked closely with influential Surrealist painter and philosopher Woolfgang Paalen. Around 1959, Renouf left Mexico and settled in Washington, Connecticut. He began frequently exhibiting his iron sculptures, often made with repurposed farm equipment, at galleries and museums in New York City. In 1960 the artist Fairfield Porter, a former Harvard classmate of Renouf, wrote: "He welds sculpture out of junk like Stankiewicz ... and he makes things that illustrate his memory and fantasy...Edward has developed an almost academic manner of the best sort, meaning, a kind of morality of openness, as one who has seen enough to become civilized..." In the 1960s, Renouf's sculpture was featured in three of the Whitney Museum of American Art's annual exhibitions. His work was also the subject of solo exhibitions at the New York Botanical Garden, Sculpture Center New York and Ruth White Gallery, and group exhibitions at Zabriskie Gallery and Pennsylvania Academy of Fine Arts, among others. Around 1971, Renouf expanded his focus to include abstract paintings and drawings as well as sculpture. He was represented by Allan Stone Gallery, who hosted two solo exhibitions of Renouf's paintings in 1978 and 1980, as well as Renouf's final New York show in 1982. Renouf passed away in 1999; two years later, the Washington Art Association in Connecticut held a retrospective exhibition of his work. Renouf's work is featured in the permanent collections of the National Gallery of Art (Washington, D.C.), Whitney Museum of American Art (New York, NY), Phoenix Art Museum (Phoenix, AZ) and Yale University Art Gallery (New Haven, CT), among others.

Lot: 33 - EDWARD (PECHMANN) RENOUF, AMERICAN, CONNECTICUT 1906-1999, CHOW, CIRCA 1960, Cast iron, 40 x 25 x 35 in. (101.6 x 63.5 x 88.9 cm.)

EDWARD (PECHMANN) RENOUF AMERICAN, CONNECTICUT, 1906-1999 CHOW, CIRCA 1960 Cast iron This work was exhibited in 1960 at the Whitney Museum of American Art alongside works by Bourgeois, Calder, Gross, Jasper Johns, Nevelson and David Smith, among others. Catalogue note: Born in China to an American academic father and a German mother, Edward von Pechmann Renouf attended Harvard and Columbia before moving to Mexico City in 1941. Renouf spent fifteen years in Mexico, where he studied art with muralist Carlos Merida and worked closely with influential Surrealist painter and philosopher Woolfgang Paalen. Around 1959, Renouf left Mexico and settled in Washington, Connecticut. He began frequently exhibiting his iron sculptures, often made with repurposed farm equipment, at galleries and museums in New York City. In 1960 the artist Fairfield Porter, a former Harvard classmate of Renouf, wrote: "He welds sculpture out of junk like Stankiewicz ... and he makes things that illustrate his memory and fantasy...Edward has developed an almost academic manner of the best sort, meaning, a kind of morality of openness, as one who has seen enough to become civilized..." In the 1960s, Renouf's sculpture was featured in three of the Whitney Museum of American Art's annual exhibitions. His work was also the subject of solo exhibitions at the New York Botanical Garden, Sculpture Center New York and Ruth White Gallery, and group exhibitions at Zabriskie Gallery and Pennsylvania Academy of Fine Arts, among others. Around 1971, Renouf expanded his focus to include abstract paintings and drawings as well as sculpture. He was represented by Allan Stone Gallery, who hosted two solo exhibitions of Renouf's paintings in 1978 and 1980, as well as Renouf's final New York show in 1982. Renouf passed away in 1999; two years later, the Washington Art Association in Connecticut held a retrospective exhibition of his work. Renouf's work is featured in the permanent collections of the National Gallery of Art (Washington, D.C.), Whitney Museum of American Art (New York, NY), Phoenix Art Museum (Phoenix, AZ) and Yale University Art Gallery (New Haven, CT), among others.

Lot: 35 - EDWARD (PECHMANN) RENOUF, AMERICAN, CONNECTICUT 1906-1999, KING ARTHUR AND QUEEN GUINEVERE, 1979, Mixed media, Arthur: 55 x 17 1/4 in. (139.7 x 43.8 cm.), Guinevere: 57 x 27 in. (144.8 x 68.6 cm.)

EDWARD (PECHMANN) RENOUF AMERICAN, CONNECTICUT, 1906-1999 KING ARTHUR AND QUEEN GUINEVERE, 1979 Mixed media Includes cast iron farm implements, wooden blinds and wire (2) Catalogue note: Born in China to an American academic father and a German mother, Edward von Pechmann Renouf attended Harvard and Columbia before moving to Mexico City in 1941. Renouf spent fifteen years in Mexico, where he studied art with muralist Carlos Merida and worked closely with influential Surrealist painter and philosopher Woolfgang Paalen. Around 1959, Renouf left Mexico and settled in Washington, Connecticut. He began frequently exhibiting his iron sculptures, often made with repurposed farm equipment, at galleries and museums in New York City. In 1960 the artist Fairfield Porter, a former Harvard classmate of Renouf, wrote: "He welds sculpture out of junk like Stankiewicz ... and he makes things that illustrate his memory and fantasy...Edward has developed an almost academic manner of the best sort, meaning, a kind of morality of openness, as one who has seen enough to become civilized..." In the 1960s, Renouf's sculpture was featured in three of the Whitney Museum of American Art's annual exhibitions. His work was also the subject of solo exhibitions at the New York Botanical Garden, Sculpture Center New York and Ruth White Gallery, and group exhibitions at Zabriskie Gallery and Pennsylvania Academy of Fine Arts, among others. Around 1971, Renouf expanded his focus to include abstract paintings and drawings as well as sculpture. He was represented by Allan Stone Gallery, who hosted two solo exhibitions of Renouf's paintings in 1978 and 1980, as well as Renouf's final New York show in 1982. Renouf passed away in 1999; two years later, the Washington Art Association in Connecticut held a retrospective exhibition of his work. Renouf's work is featured in the permanent collections of the National Gallery of Art (Washington, D.C.), Whitney Museum of American Art (New York, NY), Phoenix Art Museum (Phoenix, AZ) and Yale University Art Gallery (New Haven, CT), among others.

Lot: 36 - EDWARD (PECHMANN) RENOUF, AMERICAN, CONNECTICUT 1906-1999, UNTITLED, Cast iron, 117 x 23 x 20 1/2 in. (297.2 x 58.4 x 52.1 cm.)

EDWARD (PECHMANN) RENOUF AMERICAN, CONNECTICUT, 1906-1999 UNTITLED Cast iron Catalogue note: Born in China to an American academic father and a German mother, Edward von Pechmann Renouf attended Harvard and Columbia before moving to Mexico City in 1941. Renouf spent fifteen years in Mexico, where he studied art with muralist Carlos Merida and worked closely with influential Surrealist painter and philosopher Woolfgang Paalen. Around 1959, Renouf left Mexico and settled in Washington, Connecticut. He began frequently exhibiting his iron sculptures, often made with repurposed farm equipment, at galleries and museums in New York City. In 1960 the artist Fairfield Porter, a former Harvard classmate of Renouf, wrote: "He welds sculpture out of junk like Stankiewicz ... and he makes things that illustrate his memory and fantasy...Edward has developed an almost academic manner of the best sort, meaning, a kind of morality of openness, as one who has seen enough to become civilized..." In the 1960s, Renouf's sculpture was featured in three of the Whitney Museum of American Art's annual exhibitions. His work was also the subject of solo exhibitions at the New York Botanical Garden, Sculpture Center New York and Ruth White Gallery, and group exhibitions at Zabriskie Gallery and Pennsylvania Academy of Fine Arts, among others. Around 1971, Renouf expanded his focus to include abstract paintings and drawings as well as sculpture. He was represented by Allan Stone Gallery, who hosted two solo exhibitions of Renouf's paintings in 1978 and 1980, as well as Renouf's final New York show in 1982. Renouf passed away in 1999; two years later, the Washington Art Association in Connecticut held a retrospective exhibition of his work. Renouf's work is featured in the permanent collections of the National Gallery of Art (Washington, D.C.), Whitney Museum of American Art (New York, NY), Phoenix Art Museum (Phoenix, AZ) and Yale University Art Gallery (New Haven, CT), among others.

Lot: 37 - MICHAEL GOLDBERG, AMERICAN, NEW YORK 1924-2007, UNTITLED, 1958, Oil on board, 30 x 20 in. (76.2 x 50.8 cm.), Frame: 37 3/4 x 27 3/4 in. (95.9 x 70.5 cm.)

MICHAEL GOLDBERG AMERICAN, NEW YORK, 1924-2007 UNTITLED, 1958 Oil on board Lower right signed and dated: Goldberg '58 Catalogue note: Born in New York City, Michael Goldberg attended the Art Students League and the City College of New York. In 1941 he began to study with Hans Hofmann, returning to his school from 1948 to 1951, where he also studied with sculptor Jose de Creeft, whose collage techniques were to influence Goldberg's paintings. During the early fifties Goldberg met poet-critic Frank O'Hara, painters Franz Kline, Willem de Kooning, Joan Mitchell, and other members of the Eighth Street Club, at the time a hotbed of artistic innovation. Goldberg became one of the first younger artists to join the group, showing his work in the landmark "Ninth Street Exhibition" in 1951. Having made his reputation as one of the junior members of the New York School with relatively austere nonobjective paintings, Goldberg subsequently proceeded to incorporate brighter and brighter colors into his work. Metallic paints and collage-like cutouts lent brilliance and a certain architectural quality to his canvases and drawings. Critics have remarked on the luminous, lyrical quality of Goldberg's work, describing him as presenting a "lyrical and nostalgic image of the painter as poet." Source: National Museum of American Art (CD-ROM) (New York and Washington D.C.: MacMillan Digital in cooperation with the National Museum of American Art, 1996) (via: https://americanart.si.edu/artist/michael-goldberg-1847)

Lot: 38 - JOHN CHAPMAN LEWIS, AMERICAN, WASHINGTON, D.C. 1920-1995, WATER FRONT, Oil on masonite, 22 x 32 in. (55.9 x 81.3 cm.), Frame: 23 x 33 in. (58.4 x 83.8 cm.)

JOHN CHAPMAN LEWIS AMERICAN, WASHINGTON, D.C., 1920-1995 WATER FRONT Oil on masonite Verso signed and titled: JOHN CHAPMAN LEWIS / WATER FRONT Catalogue note: John Chapman Lewis was a professor at the Corcoran School of Art (Washington, D.C.) and a resident artist and professor at Marymount University. His paintings were featured in six of the Corcoran's Biennial exhibitions, and the Phillips Collection hosted a solo exhibition of his paintings in 1973. In a 1982 article for the Washington Post, Michael Kernan wrote: "...Lewis' pictures came from deep in his imagination, his lifetime memory bank of images synthesized from sources he could not possibly identify."

Lot: 39 - SAMUEL BOOKATZ, AMERICAN, WASHINGTON, D.C. 1910-2009, PORTRAIT, Oil on burlap, 16 x 8 in. (40.6 x 20.3 cm.), Frame: 20 1/2 x 12 1/2 in. (52.1 x 31.8 cm.)

SAMUEL BOOKATZ AMERICAN, WASHINGTON, D.C., 1910-2009 PORTRAIT Oil on burlap Lower left signed: Bookatz Catalogue note: Born in 1910 in Philadelphia, Bookatz graduated from the Cleveland Institute of Art in 1935. He also studied painting at the Boston Museum School of Fine Arts, The Academy Grande Chaumiere in Paris and the American Academy in Rome, where he won the highly coveted Prix de Rome. As early as 1945, Bookatz became a regular contributor to the Corcoran's Biennial exhibition and in 1948, at the age of 38, he had a one-person show at the Corcoran. His paintings are in the collections of the Cleveland Museum of Art, the Phillips Collection, the Smithsonian Institution, the White House, the Library of Congress and the Corcoran Gallery of Art. (Source: https://www.corcoran.org/exhibitions/sam-bookatz)

Lot: 40 - HELEN RENNIE, AMERICAN, WASHINGTON, D.C., MAINE 1906-1989, EILEAN DONAN, Oil on canvas, 28 x 28 in. (71.1 x 71.1 cm.), Frame: 29 1/4 x 29 1/4 in. (74.3 x 74.3 cm.)

HELEN RENNIE AMERICAN, WASHINGTON, D.C., MAINE, 1906-1989 EILEAN DONAN Oil on canvas Lower right signed: Rennie; verso signed and titled on stretcher: H. RENNIE "EILEAN DONAN" Catalogue note: Helen Rennie was a painter and graphic designer who exhibited at the Franz Bader Gallery (Washington, D.C.), Corcoran Gallery (Washington, D.C.) and the Museum of Modern Art (New York, NY), among others. Her papers are in the Smithsonian Archives of American Art. Eilean Donan is a small tidal island in Loch Duich in the Scottish Highlands, connected to the mainland by a footbridge. It is best known for the picturesque Eilean Donan castle, built in the thirteenth century.

Lot: 41 - MANON CATHERINE CLEARY, AMERICAN, WASHINGTON, D.C. 1942-2011, RAMON OSUNA AND FRIEND IN MARRAKECH, 1969, Oil on canvas, 60 1/2 x 84 in. (153.7 x 213.4 cm.)

MANON CATHERINE CLEARY AMERICAN, WASHINGTON, D.C., 1942-2011 RAMON OSUNA AND FRIEND IN MARRAKECH, 1969 Oil on canvas Catalogue note: Ramon Osuna was a well known Washington, D.C. art dealer. Originally from Cuba, he moved to the Washington area in 1959 after Castro came into power. Osuna had the foresight to champion the Color School artists and showed them regularly at his Pyramid Galleries, Ltd. from 1970 to 1978 - Anne Truitt, Thomas Downing, Howard Mehring, Paul Reed, and Leon Berkowitz. In 1977, a year before closing its doors, Pyramid Galleries arranged a "Retrospective Exhibition of Paintings by Andy Warhol from 1962-1976." Manon Cleary well known D.C. artist had two showing at Osuna's Pyramid Galleries and later at Osuna Art. Osuna said of Cleary, "Her drawings are absolutely spectacular. She grew slowly. She was not someone who painted very quickly. She took her time, and her paintings were absolutely perfect." "Widely acknowledged to be among the best, if not the best, of the city's figurative painters," Washington Post critic Michael O'Sullivan wrote in 2006. Cleary has works at the the Chicago Art Institute, the National Museum of Women in the Arts, the Brooklyn Museum and the American University Museum

Lot: 42 - DAVID CLYDE DRISKELL, AMERICAN, MARYLAND, WASHINGTON, D.C. 1931-2020, BARS AT THE WINDOW, 1993, Collage and mixed media (pastel, paint on laid paper), 5 3/4 x 4 3/4 in. (14.6 x 12.1 cm.), Frame: 16 3/4 x 14 1/4 in. (42.5

DAVID CLYDE DRISKELL AMERICAN, MARYLAND, WASHINGTON, D.C., 1931-2020 BARS AT THE WINDOW, 1993 Collage and mixed media (pastel, paint on laid paper) Upper left signed: Driskell; verso label: Midtown Payson Galleries / David Driskell / BARS AT THE WINDOW / collage & mixed media / 5 3/4 x 4 3/4 / ACC: DRI00029; verso exhibition label: Midtown Payson Galleries / Exhibited: / DAVID DRISKELL / 9 June - 23 July 1993 Catalogue note: A highly regarded painter, art collector, and authority on African American art, David C. Driskell has played an important role in bringing African American art to a wide audience. After studying art at Skowhegan School of Painting and Sculpture, Howard University, and Catholic University, Driskell became a professor at the University of Maryland. Driskell has greatly advanced the study of African American art through his teaching career and by organizing numerous museum and gallery exhibitions, including the foundational 1976 exhibition Two Centuries of Black American Art: 1750-1950. All the while, Driskell has produced his own artwork - colorful, abstract pieces, which draw on symbols from cultures throughout the world. Driskell has said, "I make art to free myself, to give a new dimension to life, and hopefully to other people's lives. ... Part of the message that I desire to communicate in my art is that I am a black American ... But my art is heavily imbued with Western forms." In 2000, Driskell received the National Humanities Medal, and in 2007 he was elected to the National Academy, an honorary association of professional artists who have made outstanding contributions to their fields. Source: Smithsonian American Art Museum (https://americanart.si.edu/education/oh-freedom/david-driskell)

Lot: 43 - JOHN G. KOFLER, AMERICAN, LOUISIANA, WASHINGTON, D.C. 1909-2003, SEA AND SKY, 1961, Watercolor on paper, Sight: 10 x 14 1/2 in. (25.40 x 36.83 cm.)

JOHN G. KOFLER AMERICAN, LOUISIANA, WASHINGTON, D.C., 1909-2003 SEA AND SKY, 1961 Watercolor on paper Verso signed and dated: JK 61 Catalogue note: Kofler was a native of New Orleans, where he studied art and exhibited. He moved to Washington, D.C., in 1941 and painted with the Washington Color School artists. Kofler shared a studio for a brief time with Morris Louis (1912-1962). He exhibited his paintings at Origo Gallery in Washington, D.C. and George Mason University Art Center. His works are included in the collections of the Federal Reserve Bank in Richmond and George Mason University.

Lot: 44 - LEON BERKOWITZ, AMERICAN, WASHINGTON, D.C. 1911-1987, FROM GREEN, 1987, Oil on canvas, 24 x 30 in. (61 x 76.2 cm.), Frame: 25 1/2 x 31 1/4 in. (64.8 x 79.4 cm.)

LEON BERKOWITZ AMERICAN, WASHINGTON, D.C., 1911-1987 FROM GREEN, 1987 Oil on canvas Verso signed and canvas: Leon Berkowitz; verso titled and dated on stretcher: From Green / 87; verso gallery label: Baumgartner Galleries Catalogue note: "I want to find the real dimension in which color invokes life," writes Leon Berkowitz in an artist's statement for his 1977 exhibition at the Phillips Collection, "Leon Berkowitz: Big Bend Series 1976." Originally from Philadelphia, Berkowitz had been a fixture in the Washington, D.C. arts community since 1945, when he founded the Washington Workshop Center for the Arts. Many of Berkowitz's contemporaries and fellow members of the Washington Color School, including Gene Davis, Morris Louis and Kenneth Noland, taught or studied at the center. When the institution closed in 1956, Berkowitz took the opportunity to travel to Europe and discover his artistic voice. His return to Washington in 1964 marked a noticeable turn in his work, as he developed his signature method of color painting. His process involved making a mixture that was about 10% oil paint and 90% turpentine, applying a sweeping layer to a canvas, allowing it to dry thoroughly, and then repeating the action 30 or 40 more times. Berkowitz said of the process, "I have continued to develop this method to a point where I can distribute the fragments of pigment both in extension and depth, resulting in an additive mixture of colored light. The color is therefore seen in space and changes with the solar spectrum as day moves into night." Along with the Phillips Collection, Leon Berkowitz's paintings have been the subject of solo exhibitions at the Corcoran Gallery (Washington, D.C.), Hollis Taggart (New York, NY) and ACA Galleries (New York, NY). His last exhibition during his lifetime was held at Baumgartner Galleries (Washington, D.C.) a month before his death. His paintings can be found in the permanent collections of the Museum of Modern Art (New York, NY), Phillips Collection (Washington, D.C.), National Gallery of Art (Washington, D.C.) and Smithsonian American Art Museum (Washington, D.C.), among others.

Lot: 45 - PAUL REED, AMERICAN, WASHINGTON, D.C. 1919-2015, UNTITLED, 1981, Collage and mixed media, Sight: 17 1/2 x 11 3/4 in. (44.5 x 29.8 cm.), Frame: 18 1/4 x 12 1/4 in. (46.4 x 31.1 cm.)

PAUL REED AMERICAN, WASHINGTON, D.C., 1919-2015 UNTITLED, 1981 Collage and mixed media Lower left dated: 1/1981 1; lower right signed and dated: © Paul Reed 1981 Catalogue note: A native of Washington, D.C., Paul Reed was one of the founding artists of the Washington Color School. After attending San Diego State College and the Corcoran School of Art, Reed moved to New York and worked as a magazine illustrator and graphic designer (1942-1950). Reed returned to Washington in 1950, and opened his own graphic design firm. He rekindled his childhood friendship with Gene Davis and formed new friendships with fellow D.C. artists - notably Jacob Kainen. It was upon his return to D.C. that Reed began to stain colors on unprimed cotton duck, a technique pioneered by Morris Louis and Kenneth Noland, and inspired by Helen Frankenthaler. Reed had his first solo show in January 1963 at the Adams-Morgan Gallery in D.C., followed by a solo Show in New York. In 1965 he was invited, along with Kenneth Noland, Morris Louis, Gene Davis, Thomas Downing and Howard Mehring, to join the now famous exhibition at the Washington Gallery of Modern Art "The Washington Color Painters." Reviewers of the exhibition referred to the ""singing beauty" of the paintings, recalling the paper cutouts of Matisse." Source: David Gariff, "The Art of Paul Reed: Color, Creativity, Curiosity."

Lot: 46 - KENNETH VICTOR YOUNG, AMERICAN, WASHINGTON, D.C. 1933-2017, SUN SPOT - MOON SPOTS ca. 1968-69, Acrylic on canvas, 54 x 60 1/4 in. (137.2 x 153 cm.)

KENNETH VICTOR YOUNG AMERICAN, WASHINGTON, D.C., 1933-2017 SUN SPOT - MOON SPOTS ca. 1968-69 Acrylic on canvas Verso signed, titled and inscribed: Kenneth Young / Sun spot/ 1827 Rigg Pl. NW / Washington D.C. / verso labels: SECURELY TO YOUR ENTRY/ Kenneth Young / 1827 Riggs Pl. Wash, DC 20009 / MOON SPOTS / Acrylic / canvas (in type) For artists born or now residing in Maryland: Cross out one: This entry may not travel with "Maryland Artists Today III;" verso label: 53. MOON SPOTS II 6(2) / ACRYLIC / BY / KENNETH V. YOUNG / $500 Catalogue Note: Sun Spot - Moon Spots is a transitional piece in the oeuvre of Kenneth Young. The artist has softened the geometric bands seen in his "Riot Series" of 1968 and has introduced the "Orbs" that would define his work in the 1970s. Leslie Young said of her father "He was all about the physical earth, and space, and things that are beyond—energy, and how that ties into life and afterlife." Young was born in Louisville, Kentucky in 1933. He studied science at the University of Louisville, where he befriended fellow Louisville native Sam Gilliam and switched his focus to art. In 1959, Young won the prestigious University of Louisville Allen R. Hite Scholarship, joining the ranks of previous winners Sam Gilliam and Robert Douglas. 1964 was an important year for Young: he moved to Washington, D.C., staying briefly with former classmate Sam Gilliam, and took a position as an exhibition designer for the Smithsonian institute, a job he would hold for over 30 years. In 1965, six artists from the area—Gene Davis, Morris Louis, Kenneth Noland, Howard Mehring, Thomas Downing and Paul Reed—exhibited at the now-famous exhibition at the Washington Gallery of Modern Art, cementing the movement known as the "Washington Color School." Young was friends with most of the participants and used similar techniques in his work, painting with diluted acrylics on raw canvas.

Lot: 47 - KENNETH VICTOR YOUNG, AMERICAN, WASHINGTON, D.C. 1933-2017, JOY SPRING ca. 1972, Watercolor on paper, Full sheet: 20 1/4 x 28 1/2 in. (51.4 x 72.4 cm.), Sight: 15 x 22 in. (38.1 x 55.9 cm.), Frame: 24 x 30 in. (61 x 76.2

KENNETH VICTOR YOUNG AMERICAN, WASHINGTON, D.C., 1933-2017 JOY SPRING ca. 1972 Watercolor on paper Verso titled, dedicated and signed: Kenneth V. Young / 1827 Riggs Pl. NW / Joy Spring $100,00; K. Young / To Katrina and Margot / two real people / love / Kenneth; Young would use the title "Joy Spring" more than once referring to a Jazz piece.

Lot: 48 - KENNETH VICTOR YOUNG, AMERICAN, WASHINGTON, D.C. 1933-2017, UNTITLED, Color on paper laid on linen, Full sheet: 18 x 23 in. (45.7 x 58.4 cm.), Frame: 21 1/2 x 26 1/2 in. (54.6 x 67.3 cm.)

KENNETH VICTOR YOUNG AMERICAN, WASHINGTON, D.C., 1933-2017 UNTITLED Color on paper laid on linen

Lot: 49 - KENNETH VICTOR YOUNG, AMERICAN, WASHINGTON, D.C. 1933-2017, UNTITLED, Watercolor on paper, Full sheet: 18 x 23 in. (45.7 x 58.4 cm.), Frame: 21 1/2 x 26 1/2 in. (54.6 x 67.3 cm.)

KENNETH VICTOR YOUNG AMERICAN, WASHINGTON, D.C., 1933-2017 UNTITLED Watercolor on paper

Lot: 50 - GENE DAVIS, AMERICAN, WASHINGTON, D.C. 1920-1985, SMITHSONIAN RESIDENT ASSOCIATE PROGRAM, 1980, Silkscreen, Sight: 28 1/2 x 24 1/2 in. (72.4 x 62.2 cm.), Frame: 32 1/2 x 28 1/2 in. (82.6 x 72.4 cm.)

GENE DAVIS AMERICAN, WASHINGTON, D.C., 1920-1985 SMITHSONIAN RESIDENT ASSOCIATE PROGRAM, 1980 Silkscreen Lower right signed in graphite: Gene Davis Catalogue note: Gene Davis was born in Washington D.C., in 1920 and spent nearly all his life there. Before 1968, when he was able to turn his painting into a full-time job, Davis worked as a journalist, taking on jobs as a sportswriter and as a White House Correspondent during the Truman administration. He was a self-taught artist who is best known for his colorful acrylic stripe paintings. Davis made a point that he was not an abstract artist: "I'm interested in the stripe as subject matter," he explained. "Just as Picasso will take the human figure and do all kinds of twists on it; I take the simple stripe use it in all of its many variations." Source: Denver Art Museum (https://www.denverartmuseum.org/en/edu/object/phantom-tattoo)

Lot: 51 - HOWARD MEHRING, AMERICAN, WASHINGTON, D.C. 1931-1978, UNTITLED, Serigraph, Sheet: 23 3/8 x 23 3/8 in. (59.4 x 59.4 cm.)

HOWARD MEHRING AMERICAN, WASHINGTON, D.C., 1931-1978 UNTITLED Serigraph Lower left numbered: 20/95; lower right signed and dated: Mehring 1977 Catalogue note: Howard Mehring studied art at the Catholic University of America, where he met Kenneth Noland, then an instructor, and Thomas Downing. The two were soon to be associated with Mehring as members of the Washington Color School. After earning his MFA in 1955, Mehring taught in area schools but continued to paint, experimenting with materials such as the fast-drying new acrylics in order to find a personal direction in his art. In 1959 he exhibited his lyrical abstractions at Origo, the Washington cooperative gallery he helped found, but it was the 1960 show at Jefferson Place Gallery, where the public first saw his striking all-over stippled abstractions, that confirmed his talent. The influential New York critic Clement Greenberg's inclusion of Mehring in the seminal 1964 "Post-Painterly Abstraction" brought him greater renown. Since his untimely death, critical reevaluation of Mehring's work has led to his being regarded as an innovator and one of the most important figures in the Washington Color School. Source: National Museum of American Art (CD-ROM) (New York and Washington D.C.: MacMillan Digital in cooperation with the National Museum of American Art, 1996) (https://americanart.si.edu/artist/howard-mehring-3263)

Lot: 52 - PAUL REED, AMERICAN, WASHINGTON, D.C. 1919-2015, DIPTYCH, Screenprint, Sight: 8 1/4 x 19 1/4 in. (21 x 48.9 cm.), Frame: 11 x 20 3/4 in. (27.9 x 52.7 cm.)

PAUL REED AMERICAN, WASHINGTON, D.C., 1919-2015 DIPTYCH Screenprint Lower left numbered: 1/3; lower center numbered: 11 13 864; lower right signed: Paul Reed 4/16/01; lower right signed and dated in plate: Paul Reed © 1986 Catalogue note: A native of Washington, D.C., Paul Reed was one of the founding artists of the Washington Color School. After attending San Diego State College and the Corcoran School of Art, Reed moved to New York and worked as a magazine illustrator and graphic designer (1942-1950). Reed returned to Washington in 1950, and opened his own graphic design firm. He rekindled his childhood friendship with Gene Davis and formed new friendships with fellow D.C. artists - notably Jacob Kainen. It was upon his return to D.C. that Reed began to stain colors on unprimed cotton duck, a technique pioneered by Morris Louis and Kenneth Noland, and inspired by Helen Frankenthaler. Reed had his first solo show in January 1963 at the Adams-Morgan Gallery in D.C., followed by a solo Show in New York. In 1965 he was invited, along with Kenneth Noland, Morris Louis, Gene Davis, Thomas Downing and Howard Mehring, to join the now famous exhibition at the Washington Gallery of Modern Art "The Washington Color Painters." Reviewers of the exhibition referred to the ""singing beauty" of the paintings, recalling the paper cutouts of Matisse" Source: David Gariff, "The Art of Paul Reed: Color, Creativity, Curiosity."

Lot: 53 - BERKELEY "BERKE" BREATHED, AMERICAN 1957-, BLOOM COUNTRY ORIGINAL, Marker on paper, Sheet: 6 3/4 x 17 1/4 in. (17.1 x 43.8 cm.), Frame: 10 3/4 x 20 3/4 in. (27.3 x 52.7 cm.)

BERKELEY "BERKE" BREATHED AMERICAN, 1957- BLOOM COUNTRY ORIGINAL Marker on paper Lower right initialed: BB Catalogue note: Bloom Country originally ran from 1980 until 1989. In 1987, Berke Breathed won the Pulitzer Prize for Editorial Cartooning, the second comic strip artist to win a Pulitzer.

Lot: 54 - CHARLES M. SCHULZ, AMERICAN 1922-2000, PEANUTS DAILY COMIC STRIP ORIGINAL, 1955, Ink on card, Card: 6 1/2 x 28 3/4 in. (16.5 x 73 cm.)

CHARLES M. SCHULZ AMERICAN, 1922-2000 PEANUTS DAILY COMIC STRIP ORIGINAL, 1955 Ink on card Upper left of center in pen dedication: To Elinor from Charles M. Schulz; upper right signed and dated: Shultz / 8-20

Lot: 55 - WALT KELLY, AMERICAN 1913-1973, POGO DAILY COMIC STRIP ORIGINAL, 1957, Pen and ink over blue pencil card, Card: 5 3/4 x 17 in. (14.6 x 43.2 cm.)

WALT KELLY AMERICAN, 1913-1973 POGO DAILY COMIC STRIP ORIGINAL, 1957 Pen and ink over blue pencil card Lower left: 9-30 The HALL SYNDICATE, INC.; Lower right: copyright, dated and signed: 1957 / Walt / Kelly; lower center in ball point inscribed with dedication: Best to Elinor Sandlors from Walt Kelly; lower right numbered in graphite: 457. 573 {Framed and signed original cartoons from the 1950's, obtained by me as a child. I'm guessing the disadvantage is that they are specifically made out to me with the signature. The Peanuts original came as surprise to me, who had sent Charlie Brown a Valentine! This gave me the idea to ask other cartoonists. Hence, there is one from Walt Kelly – POGO, and one from Hank Mitchell DENNIS THE MENACE. The latter one I believe is a print and not an original, although it is signed. The other two are clearly originals.}

Lot: 56 - EDDA RENOUF, AMERICAN, CONNECTICUT, NEW YORK 1943-, AWAKENING - 4 - HORIZONS, Pastel and pencil on paper, Sheet: 13 1/2 x 13 1/2 in. (34.3 x 34.3 cm.), Frame: 17 1/4 x 17 in. (43.8 x 43.2 cm.)

EDDA RENOUF AMERICAN, CONNECTICUT, NEW YORK, 1943- AWAKENING - 4 - HORIZONS Pastel and pencil on paper Lower left titled: Awakening - 4 - Horizons; lower right signed and dated: Edda Renouf '94 Catalogue note: The daughter of artist Edward Renouf, Edda Renouf was born in Mexico City. She studied art at Columbia University, the Art Student League and Sarah Lawrence College in New York, as well as Academie der Bildende Kunste in Munich and Academie Julian in Paris. Her body of work is comprised of minimalist paintings, drawings and etchings. Her work can be found in the permanent collections of the Museum of Modern Art (New York, NY), the Whitney Museum of American Art (New York, NY), the National Gallery of Art (Washington, D.C.) and the British Museum, among many others. In Judy K. Collischan Van Wagner's 1989 book "Lines of Vision: Drawings by Contemporary Women," Renouf is quoted: "Materials speak to me and unexpected things happen. It is from a silent conversation between materials and imagination, from intuitive listening that the paintings and drawings are born."

Lot: 57 - EDDA RENOUF, AMERICAN, CONNECTICUT, NEW YORK 1943-, AWAKENING - 7 = VOLCANO, 1994, Pastel and pencil, Sheet: 13 1/2 x 13 1/2 in. (34.3 x 34.3 cm.), Frame: 17 1/4 x 17 in. (43.8 x 43.2 cm.)

EDDA RENOUF AMERICAN, CONNECTICUT, NEW YORK, 1943- AWAKENING - 7 = VOLCANO, 1994 Pastel and pencil Lower right titled: Awakening - 7 = Volcano; lower right signed and dated: Edda Renouf '94 Catalogue note: The daughter of artist Edward Renouf, Edda Renouf was born in Mexico City. She studied art at Columbia University, the Art Student League and Sarah Lawrence College in New York, as well as Academie der Bildende Kunste in Munich and Academie Julian in Paris. Her body of work is comprised of minimalist paintings, drawings and etchings. Her work can be found in the permanent collections of the Museum of Modern Art (New York, NY), the Whitney Museum of American Art (New York, NY), the National Gallery of Art (Washington, D.C.) and the British Museum, among many others. In Judy K. Collischan Van Wagner's 1989 book "Lines of Vision: Drawings by Contemporary Women," Renouf is quoted: "Materials speak to me and unexpected things happen. It is from a silent conversation between materials and imagination, from intuitive listening that the paintings and drawings are born."

Lot: 58 - EDDA RENOUF, AMERICAN, CONNECTICUT, NEW YORK 1943-, AWAKENING - 9 = SPARKS, 1994, Pastel and pencil, Sheet: 13 1/2 x 13 1/2 in. (34.3 x 34.3 cm.), Frame: 17 1/4 x 17 in. (43.8 x 43.2 cm.)

EDDA RENOUF AMERICAN, CONNECTICUT, NEW YORK, 1943- AWAKENING - 9 = SPARKS, 1994 Pastel and pencil Lower left titled: Awakening - 9 = Sparks; lower right signed: Edda Renouf '94 Catalogue note: The daughter of artist Edward Renouf, Edda Renouf was born in Mexico City. She studied art at Columbia University, the Art Student League and Sarah Lawrence College in New York, as well as Academie der Bildende Kunste in Munich and Academie Julian in Paris. Her body of work is comprised of minimalist paintings, drawings and etchings. Her work can be found in the permanent collections of the Museum of Modern Art (New York, NY), the Whitney Museum of American Art (New York, NY), the National Gallery of Art (Washington, D.C.) and the British Museum, among many others. In Judy K. Collischan Van Wagner's 1989 book "Lines of Vision: Drawings by Contemporary Women," Renouf is quoted: "Materials speak to me and unexpected things happen. It is from a silent conversation between materials and imagination, from intuitive listening that the paintings and drawings are born."

Lot: 59 - EDDA RENOUF, AMERICAN, CONNECTICUT, NEW YORK 1943-, AWAKENING - 12 - SPRING FURROWS, 1995, Pastel and pencil, Sheet: 13 1/2 x 13 1/2 in. (34.3 x 34.3 cm.), Frame: 17 1/4 x 17 in. (43.8 x 43.2 cm.)

EDDA RENOUF AMERICAN, CONNECTICUT, NEW YORK, 1943- AWAKENING - 12 - SPRING FURROWS, 1995 Pastel and pencil Lower left titled: Awakening - 12 - Spring Furrows: incised line with pastel + pencil; lower right signed and dated: Edda Renouf 1-1995 Catalogue note: The daughter of artist Edward Renouf, Edda Renouf was born in Mexico City. She studied art at Columbia University, the Art Student League and Sarah Lawrence College in New York, as well as Academie der Bildende Kunste in Munich and Academie Julian in Paris. Her body of work is comprised of minimalist paintings, drawings and etchings. Her work can be found in the permanent collections of the Museum of Modern Art (New York, NY), the Whitney Museum of American Art (New York, NY), the National Gallery of Art (Washington, D.C.) and the British Museum, among many others. In Judy K. Collischan Van Wagner's 1989 book "Lines of Vision: Drawings by Contemporary Women," Renouf is quoted: "Materials speak to me and unexpected things happen. It is from a silent conversation between materials and imagination, from intuitive listening that the paintings and drawings are born."

Lot: 60 - BILL SCOTT, AMERICAN, PENNSYLVANIA 1956-, ABSTRACT, 1992, Oil on paper, Sight: 31 x 19 1/4 in. (78.7 x 48.9 cm.), Frame: 40 1/2 x 28 3/8 in. (102.9 x 72.1 cm.)

BILL SCOTT AMERICAN, PENNSYLVANIA, 1956- ABSTRACT, 1992 Oil on paper Lower center-left signed and dated: Bill Scott / 1992 Catalogue note: Originally from the Philadelphia area, Bill Scott studied at the Pennsylvania Academy of the Fine Arts, but considers his longer, informal periods working with abstract painters Jane Piper and Joan Mitchell as more influential to his colorist style. Scott has exhibited his work at the National Academy Museum (New York, NY), the Cleveland Museum of Art (Cleveland, OH) and the Philadelphia Museum of Art (Philadelphia, PA), among others. Recently, his work has been the subject of several solo exhibitions at Hollis-Taggart Gallery (New York, NY). In a 2016 interview with Hyperallergic, Scott stated: "I think I paint bittersweet fictions. I don't believe the imagery I paint exists. I am not so removed from the world that I think it is pleasant out there. I think it is close to awful. We are walking towards extinction. So, why wouldn't I paint the Garden of Eden or something pleasurable? What am I going to gain, spiritually or emotionally, from painting something miserable? I would much rather live in a fantasy world. I want a kindness in the painting. I want there to be an emotional ease. Generally, I don't feel that in life, so I want it to exist in the paintings."

Lot: 61 - BILL SCOTT, AMERICAN, PENNSYLVANIA 1956-, UNTITLED, 1991, Oil on paper, Sight: 39 1/4 x 31 1/2 in. (99.7 x 80 cm.), Frame: 49 x 41 in. (124.5 x 104.1 cm.)

BILL SCOTT AMERICAN, PENNSYLVANIA, 1956- UNTITLED, 1991 Oil on paper Lower right signed and dated: Bill Scott / 1991 Catalogue note: Originally from the Philadelphia area, Bill Scott studied at the Pennsylvania Academy of the Fine Arts, but considers his longer, informal periods working with abstract painters Jane Piper and Joan Mitchell as more influential to his colorist style. Scott has exhibited his work at the National Academy Museum (New York, NY), the Cleveland Museum of Art (Cleveland, OH) and the Philadelphia Museum of Art (Philadelphia, PA), among others. Recently, his work has been the subject of several solo exhibitions at Hollis-Taggart Gallery (New York, NY). In a 2016 interview with Hyperallergic, Scott stated: "I think I paint bittersweet fictions. I don't believe the imagery I paint exists. I am not so removed from the world that I think it is pleasant out there. I think it is close to awful. We are walking towards extinction. So, why wouldn't I paint the Garden of Eden or something pleasurable? What am I going to gain, spiritually or emotionally, from painting something miserable? I would much rather live in a fantasy world. I want a kindness in the painting. I want there to be an emotional ease. Generally, I don't feel that in life, so I want it to exist in the paintings."

Lot: 62 - NEYSA GRASSI, AMERICAN, PENNSYLVANIA 1951-, UNTITLED, Oil on canvas, 26 x 22 1/4 in. (66 x 56.5 cm.)

NEYSA GRASSI AMERICAN, PENNSYLVANIA, 1951- UNTITLED Oil on canvas Catalogue note: Neysa Grassi is a faculty critic in [Pennsylvania Academy of the Fine Arts]'s Post Baccalaureate and MFA programs. A graduate of PAFA's Certificate program, she has won numerous awards, including a Pew Fellowship in the Arts, a Works on Paper Fellowship from the Ballinglen Arts Foundation in Ireland and a Residency Award from the Fundación Valparaíso in Mojácar, Spain. Grassi is currently represented by Locks Gallery in Philadelphia, where she has had numerous solo exhibitions. She has also exhibited at the University of Delaware, Moore College of Art and Design, Swarthmore College, The Susquehanna Art Museum and the Pensacola Museum of Art. Her work is represented in collections of the Philadelphia Museum of Art, The Palmer Museum of Art at Penn State University and the Blue Cross of Pennsylvania. Source: Pennsylvania Academy of the Fine Arts (https://www.pafa.org/staff/neysa-grassi)

Lot: 63 - ROLPH SCARLETT, CANADIAN 1889-1984, ABSTRACT COMPOSITION, Gouache, watercolor and graphite, Sight: 10 1/2 x 8 in. (26.7 x 20.3 cm.), Frame: 20 x 16 3/4 in. (50.8 x 42.5 cm.)

ROLPH SCARLETT CANADIAN, 1889-1984 ABSTRACT COMPOSITION Gouache, watercolor and graphite Struve Gallery (Chicago) Label under mat, according to consignor

Lot: 64 - RICHARD ART HAMBLETON, AMERICAN/CANADIAN, NEW YORK 1952-2017, UNTITLED, 2002, Acrylic on board, 31 x 26 in. (78.7 x 66 cm.)

RICHARD ART HAMBLETON AMERICAN/CANADIAN, NEW YORK, 1952-2017 UNTITLED, 2002 Acrylic on board Lower right signed and dated: R. Hambleton 02 Catalogue note: Richard Hambleton was an important, pioneering artist associated with the gritty New York art scene of the 1980-2000s. He considered himself a conceptual artist, who, prior to arriving in New York, had gained notoriety for his "Mass Murder series," of painted human outlines that he placed in the alleys and streets in cities along the West Coast. In New York, Hambleton continued his "Mass Murder series" and began to paint black silhouetted life-size figures known as "Shadow Paintings" in the alleys and streets of downtown. He exhibited his shadow man series in New York, Paris, London, and Rome, and created 17 shadow figures on the western side of the Berlin Wall. Of his shadow paintings, Hambleton stated: "They could represent watchmen or danger or the shadows of a human body after a nuclear holocaust, or even my own shadow. But what makes them exciting is the power of the viewer's imagination."

Lot: 65 - ARTHUR VILLENEUVE, CANADIAN 1910-1990, COMTÉ SAGUENAY (QUEBEC), 1949, Oil on canvas, 20 x 28 in. (50.8 x 71.1 cm.), Frame: 25 x 33 in. (63.5 x 83.8 cm.)

ARTHUR VILLENEUVE CANADIAN, 1910-1990 COMTÉ SAGUENAY (QUEBEC), 1949 Oil on canvas Lower right signed and dated: A. Villeneuve 12 60 49; verso label fragment: Comte Saguenay

Lot: 66 - GHITTA CAISERMAN-ROTH, CANADIAN 1923-2005, CHILD WITH A CAT, Oil on masonite, 5 1/2 x 8 in. (14 x 20.3 cm.), Frame: 9 1/4 in. (23.5 cm.)

GHITTA CAISERMAN-ROTH CANADIAN, 1923-2005 CHILD WITH A CAT Oil on masonite Lower left signed: CAISERMAN

Lot: 67 - JOHN RICHARD FOX, CANDADIAN 1927-2008, OPEN BALCONY, Oil on canvas, 30 x 21 in. (76.2 x 53.3 cm.), Frame: 37 1/4 x 27 1/4 in. (94.6 x 69.2 cm.)

JOHN RICHARD FOX CANDADIAN, 1927-2008 OPEN BALCONY Oil on canvas Lower right signed: J. Fox

Lot: 68 - BERNARD MURRAY MARTIN, AMERICAN 20TH CENTURY, UNTITLED, 1975, Acrylic and oil on board, 20 1/4 x 26 1/4 in. (51.4 x 66.7 cm.), Frame: 21 3/4 x 27 3/4 in. (55.2 x 70.5 cm.)

BERNARD MURRAY MARTIN AMERICAN, 20TH CENTURY UNTITLED, 1975 Acrylic and oil on board Verso signed and dated: Martin / '75 Catalogue note: Born in Ferrum, Virginia, Bernard Murray Martin was the first chair of the Painting and Printmaking Department at Virginia Commonwealth University from 1966 to 1992. His work can be found in the permanent collections of the Smithsonian American Art Museum (Washington, D.C.), the Chrysler Museum (Norfolk, VA) and the Virginia Museum of Fine Arts (Richmond, VA), among others.

Lot: 69 - BERNARD MURRAY MARTIN, AMERICAN, VIRGINIA 20TH CENTURY, BARBARA WITH IVY, 1975, Oil on board, 36 x 48 in. (91.4 x 121.9 cm.), Frame: 37 1/4 x 49 1/4 in. (94.6 x 125.1 cm.)

BERNARD MURRAY MARTIN AMERICAN, VIRGINIA, 20TH CENTURY BARBARA WITH IVY, 1975 Oil on board Verso signed, dated and titled: Martin 1975 / Barbara with Ivy Catalogue note: Born in Ferrum, Virginia, Bernard Murray Martin was the first chair of the Painting and Printmaking Department at Virginia Commonwealth University from 1966 to 1992. His work can be found in the permanent collections of the Smithsonian American Art Museum (Washington, D.C.), the Chrysler Museum (Norfolk, VA) and the Virginia Museum of Fine Arts (Richmond, VA), among others.

Lot: 70 - ERIK THOR SANDBERG (AMERICAN, 1975-) CAPSIZED, 2000 Oil on board: 8 1/2 x 8 1/2 in.

ERIK THOR SANDBERG AMERICAN, VIRGINIA, WASHINGTON, D.C., 1975- CAPSIZED, 2000 Oil on board Verso: signed and dated: Erik Sandberg / 2000 Catalogue note: Born in Quantico, Virginia, and based in Washington, D.C., Erik Thor Sandberg is best known for his magical realism-inspired figure paintings. Sandberg's work has been exhibited at the Baltimore Museum of Art, American University Museum at the Katzen Arts Center and Connersmith (Washington, D.C.), among others. In a recent review of Sandberg's March 2024 exhibition at Connersmith, Mark Jenkins writes for the Washington Post: "In Sandberg's fantastical compositions, body and environment nearly meld while eternity and morality diverge."

Lot: 71 - JANE IRISH, AMERICAN, PENNSYLVANIA 1955-, TWIN TOWERS, 1985, Egg tempera on panel, 50 x 24 in. (127 x 60.96 cm.), Frame: 52 1/2 x 26 7/8 in. (133.35 x 68.26 cm.)

JANE IRISH AMERICAN, PENNSYLVANIA, 1955- TWIN TOWERS, 1985 Egg tempera on panel Framed; verso signed, titled and dated: J. Irish /"Twin Towers" / 85; verso gallery label: SHARPE GALLERY / sg# 468 / JANE IRISH / Twin Towers, 1985 / egg tempera on panel / 53 x 27 1/2" Catalogue note: Jane Irish received her MFA from Queens College, CUNY, and has exhibited in New York and Philadelphia since 1983. Irish has had a solo exhibition in the Morris Gallery, Pennsylvania Academy of the Fine Arts, and has been included in exhibits at the Walker Art Center, MN; Institute of Contemporary Art, PA; Delaware Center for Contemporary Art; Contemporary Arts Center, New Orleans; Contemporary Arts Center, Cincinatti; the Utah Museum of Fine Arts; Museum of Fine Arts, Houston; and the Baltimore Museum of Art. She has been the recipient of several prestigious grants, including a Pew Fellowship in the Arts, a Painters and Sculptors Grant from the Joan Mitchell Foundation, a Painting Fellowship from the Pennsylvania Council of the Arts, and a Painting Fellowship from the National Endowment for the Arts. Source: Philadelphia Contemporary (https://philadelphiacontemporary.org/projects/jane-irish-antipode)

Lot: 73 - MICHAEL (MICHAELE) VOLLBRACHT, AMERICAN 1947-2018, BILL BLASS - FASHION STUDY, Watercolor, graphite and ink on paper, Sight: 29 1/2 x 21 1/2 in. (74.9 x 54.6 cm.), Frame: 30 x 22 in. (76.2 x 55.9 cm.)

MICHAEL (MICHAELE) VOLLBRACHT AMERICAN, 1947-2018 BILL BLASS - FASHION STUDY Watercolor, graphite and ink on paper Lower right signed: Michaele Vollbrach Catalogue note: Michael Vollbracht was the head designer for Bill Blass from 2003 to 2007. In his 2018 obituary in the New York Times, Ruth La Ferla wrote: "In designing for, and capturing on canvas, the images of clients and admirers like Elizabeth Taylor, Paloma Picasso and Diana Vreeland, Mr. Vollbracht came to symbolize the unfettered giddiness, extravagance and glamour of the late 1970s and early '80s."

Lot: 74 - MIHAIL CHEMIAKIN, RUSSIAN/AMERICAN 1943-, UNTITLED, Mixed media on paper, Individual sheets: 7 1/2 x 6 in. (19.1 x 15.2 cm.), Frame: 50 x 12 in. (127 x 30.5 cm.)

MIHAIL CHEMIAKIN RUSSIAN/AMERICAN, 1943- UNTITLED Mixed media on paper Each piece individually signed: Mihail Catalogue note: Mihael Chemiakin was born in Moscow to a military family. A prominent member of the Soviet Nonconformist movement, Chemiakin's work was guided by his philosophy of Metaphysical Synthesism, building upon traditional Russian icon painting with influences from all over the world. In 1971, Chemiakin was forced to leave the USSR by Soviet authorities. He first went to Paris and then New York City, where he continued to work within a wide range of media, including painting, drawing, sculpture, cinema, theater and set design. In 1989 Chemiakin was able to return to Russia, and soon was commissioned to install four monumental sculptures in St. Petersburg. Chemiakin's awards include the State Prize of the Russian Federation (Russia, 1993) and the Chevalier des Arts et Lettres (France, 1994). His work can be found in the permanent collections of the Metropolitan Museum of Art (New York, NY), the State Tretyakov Gallery (Moscow, Russia) and the Sao Paolo Museum of Art (Brazil), among others. Of his influences and artistic philosophy, Chemiakin stated: "I see myself as an eternal student of nature and of those great masters who created fantastic worlds before me. ... I think knowledge is the most important thing every artist needs to gain before anything can be invented. Only a serious understanding of earlier masters can give you wings."

Lot: 75 - STYLE OF CLAUDIO BRAVO, 20TH CENTURY, STILL LIFE, Oil on canvas, 29 1/4 x 37 1/4 in. (74.3 x 94.6 cm.), Frame: 32 x 40 in. (81.3 x 101.6 cm.)

STYLE OF CLAUDIO BRAVO 20TH CENTURY STILL LIFE Oil on canvas Lower right signed: Claudio Bravo

Lot: 76 - RODOLFO MORALES, MEXICAN 1925-2001, PECES DE GALA, 1992, Collage, Collage: 13 1/2 x 20 in. (34.3 x 50.8 cm.), Frame: 17 1/8 x 23 1/8 in. (43.5 x 58.7 cm.)

RODOLFO MORALES MEXICAN, 1925-2001 PECES DE GALA, 1992 Collage Verso incised on metal frame: Silvio Aguero / Enero / 92; verso label: GALERIA ESTELA SHAPIRO 1992 / PODOLFO MORALES ROM-0067 Collage / PECES DE GALA / 34 X 51

Lot: 77 - ANTONIO LOPEZ SAENZ, MEXICAN 1936-, CANTANTES, 1996, Oil on canvas, 40 x 52 in. (101.6 x 132.1 cm.), Frame: 53 x 65 in. (134.6 x 165.1 cm.)

ANTONIO LOPEZ SAENZ MEXICAN, 1936- CANTANTES, 1996 Oil on canvas Lower center-left signed and dated: Antonio Lopez Saenz 96

Lot: 78 - DAVID MANZUR, COLOMBIAN 1929-, NACIMIENTO DEL PEZ, 1967, Oil on canvas, 23 1/2 x 31 1/4 in. (59.7 x 79.4 cm.), Frame: 24 3/4 x 32 1/2 in. (62.9 x 82.6 cm.)

DAVID MANZUR COLOMBIAN, 1929- NACIMIENTO DEL PEZ, 1967 Oil on canvas Lower center-right signed and dated: Manzur 67; verso inscribed: "nacimento del pez" / oleo tecnica mixta / Manzur 67 / 1967

Lot: 79 - MIYA ANDO, AMERICAN/JAPANESE 1973-, SUIGETSU: WATER, MOON FLOWER (RED TRIPTYCH), 2013, Dye, pigment, resin, urethane on aluminum, Each panel: 24 x 24 in. (61 x 61 cm.)

MIYA ANDO AMERICAN/JAPANESE, 1973- SUIGETSU: WATER, MOON FLOWER (RED TRIPTYCH), 2013 Dye, pigment, resin, urethane on aluminum Each panel signed, dated titled and inscribed on verso (3) Catalogue note: Miya Ando's work has been the subject of recent solo exhibitions internationally at leading institutions including The Asia Society Texas, Houston, The Noguchi Museum, Long Island City, New York, SCAD Museum of Art (Savannah College of Art and Design), Georgia; The Nassau County Museum of Art, Roslyn, New York; and American University Museum, Washington DC. Her work has also been included in group exhibitions at including: Crystal Bridges Museum of American Art, Bentonville, Arkansas; Los Angeles County Museum of Art, California; Haus Der Kunst, Munich, Germany; The Bronx Museum of Arts, New York; and Queens Museum, Corona, New York. Her work is included in the public collections of Los Angeles County Museum of Art, California; The Nassau County Museum of Art, Roslyn, New York; Corning Museum of Glass, New York; and Detroit Institute of Arts, Michigan; as well as in numerous private collections. Ando has been the recipient of several grants and awards including the Pollock-Krasner Foundation Grant. She exhibited her work in the group exhibition, Frontiers Reimagined, during the 56th Venice Biennale, Italy, 2015. In an interview with curator Laurie Ann Farrell, Ando said: "My work explores themes of perception and examines one's relationship to time. I often reference historic literary texts and employ elemental materials. My main focus is investigating the idea that the fundamental nature of reality is that all constituent forms that make up the universe are temporary; a concept found in Buddhism as well as quantum physics." Source: Dallas Contemporary (https://www.dallascontemporary.org/miya-ando)

Lot: 80 - MIYA ANDO, AMERICAN/JAPANESE 1973-, DAWN 2, 2011, Dye, pigment, resin, urethane on aluminum, 12 x 12 in. (30.5 x 30.5 cm.)

MIYA ANDO AMERICAN/JAPANESE, 1973- DAWN 2, 2011 Dye, pigment, resin, urethane on aluminum Verso signed, titled and dated: Miya Ando / 2011 / Dawn 2; verso inscriptions in Japanese Catalogue note: Miya Ando's work has been the subject of recent solo exhibitions internationally at leading institutions including The Asia Society Texas, Houston, The Noguchi Museum, Long Island City, New York, SCAD Museum of Art (Savannah College of Art and Design), Georgia; The Nassau County Museum of Art, Roslyn, New York; and American University Museum, Washington DC. Her work has also been included in group exhibitions at including: Crystal Bridges Museum of American Art, Bentonville, Arkansas; Los Angeles County Museum of Art, California; Haus Der Kunst, Munich, Germany; The Bronx Museum of Arts, New York; and Queens Museum, Corona, New York. Her work is included in the public collections of Los Angeles County Museum of Art, California; The Nassau County Museum of Art, Roslyn, New York; Corning Museum of Glass, New York; and Detroit Institute of Arts, Michigan; as well as in numerous private collections. Ando has been the recipient of several grants and awards including the Pollock-Krasner Foundation Grant. She exhibited her work in the group exhibition, Frontiers Reimagined, during the 56th Venice Biennale, Italy, 2015. In an interview with curator Laurie Ann Farrell, Ando said: "My work explores themes of perception and examines one's relationship to time. I often reference historic literary texts and employ elemental materials. My main focus is investigating the idea that the fundamental nature of reality is that all constituent forms that make up the universe are temporary; a concept found in Buddhism as well as quantum physics." Source: Dallas Contemporary (https://www.dallascontemporary.org/miya-ando)

Lot: 81 - MIYA ANDO, AMERICAN/JAPANESE 1973-, UNTITLED, Pigment on mild steel, 12 x 12 in. (30.5 x 30.5 cm.), Frame: 15 1/4 x 15 1/4 in. (38.7 x 38.7 cm.)

MIYA ANDO AMERICAN/JAPANESE, 1973- UNTITLED Pigment on mild steel Verso signed, inscribed and numbered: Miya Ando /[2009 / 40/50; verso inscriptions in Japanese Catalogue note: Miya Ando's work has been the subject of recent solo exhibitions internationally at leading institutions including The Asia Society Texas, Houston, The Noguchi Museum, Long Island City, New York, SCAD Museum of Art (Savannah College of Art and Design), Georgia; The Nassau County Museum of Art, Roslyn, New York; and American University Museum, Washington DC. Her work has also been included in group exhibitions at including: Crystal Bridges Museum of American Art, Bentonville, Arkansas; Los Angeles County Museum of Art, California; Haus Der Kunst, Munich, Germany; The Bronx Museum of Arts, New York; and Queens Museum, Corona, New York. Her work is included in the public collections of Los Angeles County Museum of Art, California; The Nassau County Museum of Art, Roslyn, New York; Corning Museum of Glass, New York; and Detroit Institute of Arts, Michigan; as well as in numerous private collections. Ando has been the recipient of several grants and awards including the Pollock-Krasner Foundation Grant. She exhibited her work in the group exhibition, Frontiers Reimagined, during the 56th Venice Biennale, Italy, 2015. In an interview with curator Laurie Ann Farrell, Ando said: "My work explores themes of perception and examines one's relationship to time. I often reference historic literary texts and employ elemental materials. My main focus is investigating the idea that the fundamental nature of reality is that all constituent forms that make up the universe are temporary; a concept found in Buddhism as well as quantum physics." Source: Dallas Contemporary (https://www.dallascontemporary.org/miya-ando)

Lot: 82 - HIROSHI JASHIKI, JAPANESE 20TH/21ST CENTURY, UNTITLED, Pigment print on canvas, 40 x 40 in. (101.6 x 101.6 cm.), Frame: 41 x 41 in. (104.1 x 104.1 cm.)

HIROSHI JASHIKI JAPANESE, 20TH/21ST CENTURY UNTITLED Pigment print on canvas Verso signed: Hiroshi Jashiki

Lot: 83 - HIROSHI JASHIKI, JAPANESE 20TH/21ST CENTURY, UNTITLED, Pigment print on canvas, 12 x 12 in. (30.5 x 30.5 cm.), Frame: 13 x 13 in. (33 x 33 cm.)

HIROSHI JASHIKI JAPANESE, 20TH/21ST CENTURY UNTITLED Pigment print on canvas Each verso signed and numbered: Hiroshi Jashiki / 1/2 (3) https://www.taac-us.org/hiroshi-jashiki-from-okinawa-to-central-park

Lot: 84 - HIROSHI JASHIKI, JAPANESE 20TH/21ST CENTURY, UNTITLED, Pigment dye on yarn, 18 3/4 x 18 3/4 in. (47.6 x 47.6 cm.)

HIROSHI JASHIKI JAPANESE, 20TH/21ST CENTURY UNTITLED Pigment dye on yarn https://www.taac-us.org/hiroshi-jashiki-from-okinawa-to-central-park

Lot: 85 - HIROSHI JASHIKI, JAPANESE 20TH/21ST CENTURY, UNTITLED, Pigment dye on yarn, 18 3/4 x 18 3/4 in. (47.6 x 47.6 cm.)

HIROSHI JASHIKI JAPANESE, 20TH/21ST CENTURY UNTITLED Pigment dye on yarn https://www.taac-us.org/hiroshi-jashiki-from-okinawa-to-central-park

Lot: 86 - HIROSHI JASHIKI, JAPANESE 20TH/21ST CENTURY, UNTITLED, Pigment dye on yarn, 18 3/4 x 18 3/4 in. (47.6 x 47.6 cm.)

HIROSHI JASHIKI JAPANESE, 20TH/21ST CENTURY UNTITLED Pigment dye on yarn https://www.taac-us.org/hiroshi-jashiki-from-okinawa-to-central-park

Lot: 87 - SHIKO MUNAKATA, JAPANESE 1903-1975, THREE OWLS ON A TREE BRANCH, Woodcut, Sheet: 23 3/8 x 17 7/8 in. (59.4 x 45.4 cm.), Frame: 24 1/4 x 18 1/4 in. (61.6 x 46.4 cm.)

SHIKO MUNAKATA JAPANESE, 1903-1975 THREE OWLS ON A TREE BRANCH Woodcut Lower left numbered: 23/100; lower right signed: Munakata; lower right stamped

Lot: 88 - DULLAH, INDONESIAN 1919-1996, YOUNG WOMAN, Oil, 13 3/4 x 11 7/8 in. (34.9 x 30.2 cm.), Frame: 20 7/8 x 19 in. (53 x 48.3 cm.)

DULLAH INDONESIAN, 1919-1996 YOUNG WOMAN Oil Lower left signed: Dullah

Lot: 89 - BUI HUU (BAI LIEN) HUNG, VIETNAMESE 1957, UNTITLED - STANDING WOMAN, 2004, Mixed media and lacquer on panel, 48 x 48 in. (121.9 x 121.9 cm.)

BUI HUU (BAI LIEN) HUNG VIETNAMESE, 1957 UNTITLED - STANDING WOMAN, 2004 Mixed media and lacquer on panel Left side one seal and Chinese script

Lot: 90 - FEDERICO AGUILAR ALCUAZ, FILIPINO 1932-2011, UNTITLED, 1965, Watercolor and ink on paper mounted on board, Sight: 17 1/2 x 18 1/2 in. (44.5 x 47 cm.), Frame: 23 x 23 1/2 in. (58.4 x 59.7 cm.)

FEDERICO AGUILAR ALCUAZ FILIPINO, 1932-2011 UNTITLED, 1965 Watercolor and ink on paper mounted on board Upper left signed and dated: Aguilar Alcuaz 65; Center right inscribed: Merry Christmas/1966 Catalogue note: "The world of Alcuaz is a strange and dynamic one—charged with breathing forms and lurking shadows, filled with warm sensuous colors and vertiginous movement. Some inner sense of order compels the artist to give a wild harmony to the chaos of imagination. His vision may be wild, but it always has coherence and a special kind of grandeur." -- Alicia Coseteng, Art Philippines (1992) Federico Aguilar Alcuaz is considered one of the most successful and internationally well-known Filipino modernist artists. Following a successful solo exhibition in Manila in 1958, Aguilar used a government-awarded fellowship to relocate to Spain, settling in Barcelona, where he maintained a studio for the next forty years. The work Aguilar Alcuaz created in Barcelona exemplifies his most inventive and avant-garde explorations and garnered Alguiar Alcuaz his international recognition. The work, Untitled, 1965, exemplifies the artist's signature modernist style of the 1960s and 1970s with overlapping, flowing, and morphing shapes and spaces swirling within the entire pictorial space.

Lot: 91 - CUNO AMIET, SWISS 1868-1961, SCHULPAUSE IN WINTER, 1909, Woodcut in colors, Sight: 12 1/4 x 12 1/4 in. (31.1 x 31.1 cm.), Frame: 18 x 18 in. (45.7 x 45.7 cm.)

CUNO AMIET SWISS, 1868-1961 SCHULPAUSE IN WINTER, 1909 Woodcut in colors Catalogue note: Cuno Amiet is one of Switzerland's most well-known and important modernist artists. He studied at both the Academy of Fine Arts in Munich and the Académie Julian in Paris. After discovering the works of Vincent Van Gogh, Émile Bernard, and Paul Gauguin, Amiet abandoned the traditional tone-on-tone modeling of academic art in favor of divisionism and strong blocks of color. Back in Switzerland, the artist settled in the village of Ochswand, where he became a leader in the Swiss Jugendstil movement. The painter Erich Heckel invited Amiet Cuno to participate in the short-lived but influential German Expressionist movement known as Die Brücke. Oschwand, where he lived and worked, became a rendezvous for the national and international art scene.

Lot: 92 - HENRI MATISSE, FRENCH 1869-1954, LA CITE- NOTRE DAME, 1927, Etching on cream paper, Plate: 13 1/4 x 10 1/4 in. (33.7 x 26 cm.), Frame: 24 3/4 x 21 3/4 in. (62.9 x 55.2 cm.)

HENRI MATISSE FRENCH, 1869-1954 LA CITE- NOTRE DAME, 1927 Etching on cream paper

Lot: 93 - MARC CHAGALL, FRENCH 1887-1985, DIE ZAUBERFLOTE METROPOLITAN OPERA, Poster, Sheet: 40 x 26 in. (101.6 x 66 cm.), Frame: 41 x 27 in. (104.1 x 68.6 cm.)

MARC CHAGALL FRENCH, 1887-1985 DIE ZAUBERFLOTE METROPOLITAN OPERA Poster

Lot: 94 - LEONETTO CAPPIELLO, ITALIAN 1875-1942, VEUVE AMIOT - GRANDS VINS MOUSSEUX, 1922, Poster, Sight: 62 x 46 1/2 in. (157.5 x 118.1 cm.), Frame: 66 x 50 1/2 in. (167.6 x 128.3 cm.)

LEONETTO CAPPIELLO ITALIAN, 1875-1942 VEUVE AMIOT - GRANDS VINS MOUSSEUX, 1922 Poster

Lot: 95 - GEORGES ROUAULT, FRENCH 1871-1958, MON DOUX PAYS, OU ETES-VOUS? from MISERERE, 1927, Aquatint, Sight: 16 3/4 x 23 3/4 in. (42.5 x 60.3 cm.), Frame: 25 x 31 in. (63.5 x 78.7 cm.)

GEORGES ROUAULT FRENCH, 1871-1958 MON DOUX PAYS, OU ETES-VOUS? from MISERERE, 1927 Aquatint

Lot: 96 - PABLO PICASSO, SPANISH 1881-1973, DOVE OF PEACE, 1962, Color lithograph, Sight: 21 1/2 x 27 1/4 in. (54.6 x 69.2 cm.), Frame: 30 1/4 x 37 in. (76.8 x 94 cm.)

PABLO PICASSO SPANISH, 1881-1973 DOVE OF PEACE, 1962 Color lithograph Lower left numbered: 76/200; lower right signed in graphite: Picasso; verso: letter? and stamps

Lot: 97 - PABLO PICASSO, SPANISH 1881-1973, REMBRANDT ET FEMME AU VOILE - REMBRANDT AND WOMAN WITH VEIL, Etching

PABLO PICASSO SPANISH, 1881-1973 REMBRANDT ET FEMME AU VOILE - REMBRANDT AND WOMAN WITH VEIL Etching Lower right signed: Picasso Bloch 214

Lot: 98 - PABLO PICASSO, SPANISH 1881-1973, SCULPTEUR ET DEUX TETES SCULPTEES from VOLLARD SUITE, Etching

PABLO PICASSO SPANISH, 1881-1973 SCULPTEUR ET DEUX TETES SCULPTEES from VOLLARD SUITE Etching Lower right signed: Picasso Bloch 157

Lot: 99 - PABLO PICASSO, SPANISH 1881-1973, DEGAS AND TWO PROSTITUTES, ONE OF THEM TRANSFORMING INTO A WORK OF ART, Etching on copper printed on Rives vellum paper, Plate: 9 x 12 in. (22.9 x 30.5 cm.), Frame: 23 3/4 x 27 1/2 in. (

PABLO PICASSO SPANISH, 1881-1973 DEGAS AND TWO PROSTITUTES, ONE OF THEM TRANSFORMING INTO A WORK OF ART Etching on copper printed on Rives vellum paper Lower left numbered: E.A. IX/XV; lower right signed: Picasso

Lot: 100 - PABLO PABLO, SPANISH 1881-1973, LES SALTIMBANQUES, Etching, Sight: 8 1/4 x 7 1/4 in. (21 x 18.4 cm.), Frame: 19 1/4 x 15 1/4 in. (48.9 x 38.7 cm.)

PABLO PABLO SPANISH, 1881-1973 LES SALTIMBANQUES Etching

Lot: 101 - SALVADOR DALI, SPANISH 1904-1989, MOSES from "OUR HISTORICAL HERITAGE SUITE", CIRCA 1975, Lithograph, Plate: 23 x 16 in. (58.4 x 40.6 cm.), Frame: 37 x 28 3/8 in. (94 x 72.1 cm.)

SALVADOR DALI SPANISH, 1904-1989 MOSES from "OUR HISTORICAL HERITAGE SUITE", CIRCA 1975 Lithograph Lower left numbered: 150/250; lower right signed: Dali

Lot: 102 - SALVADOR DALI, SPANISH 1904-1989, DOWN THE RABBIT HOLE, Lithograph, Sight: 26 x 17 1/2 in. (66 x 44.5 cm.), Frame: 35 5/8 x 26 1/4 in. (90.5 x 66.7 cm.)

SALVADOR DALI SPANISH, 1904-1989 DOWN THE RABBIT HOLE Lithograph Lower left numbered: CCXXXI/CCC; lower left blind stamp; lower left signed and dated in plate: S Dali 1968

Lot: 103 - STANLEY WILLIAM HAYTER, BRITISH 1901-1988, EBRO, 1938, Engraving and soft ground etching printed on wove paper, Plate: 6 1/2 x 13 1/2 in. (16.5 x 34.3 cm.), Frame: 16 3/8 x 22 1/4 in. (41.6 x 56.5 cm.)

STANLEY WILLIAM HAYTER BRITISH, 1901-1988 EBRO, 1938 Engraving and soft ground etching printed on wove paper Lower left numbered: 12/30; lower center titled: Ebro; lower right signed and dated: SW Hayter 38; lower right signed and dated in plate: Hayter / 38

Lot: 104 - FRIEDENSREICH HUNDERTWASSER, AUSTRIAN 1928-2000, FOUR LITHOGRAPHS from THE ROTAPRINT PORTFOLIO OF THE ART-CLUB, VIENNA

FRIEDENSREICH HUNDERTWASSER AUSTRIAN, 1928-2000 FOUR LITHOGRAPHS from THE ROTAPRINT PORTFOLIO OF THE ART-CLUB, VIENNA GESICHTER AUS FENSTERN SCHAUEND: LITHOGRAPH 7: Sheet: 8 1/8 x 11 5/8 in. (20.6 x 29.5 cm.), Frame: 13 1/4 x 16 1/2 in. (33.7 x 41.9 cm.) MÄDCHEN MIT AUGENGLÄSERN - GIRL WITH EYEGLASSES LITHOGRAPH 3: Sheet: 11 5/8 x 8 1/8 in. (29.5 x 20.6 cm.), Frame: 16 1/2 x 13 in. (41.9 x 33 cm.) HAUS MIT BLUMEN - HIGH HOUSES WITH TREES from LITHOGRAPH 6: Sheet: 11 5/8 x 8 1/8 in. (29.5 x 20.6 cm.), Frame: 16 1/2 x 13 in. (41.9 x 33 cm.) RADFAHRER IM REGEN - CYCLIST IN THE RAIN LITHOGRAPH 9: Sheet: 8 1/8 x 11 5/8 in. (20.6 x 29.5 cm.), Frame: 13 1/4 x 16 1/2 in. (33.7 x 41.9 cm.) [Published by: Alfred Schmeller, Art-Club, Vienna 1951 Printed by: Rotaprint Bürodruckmaschinen, Annagasse, Vienna, 1951 edition: 100, signed and numbered 1-100 on the introduction sheet] (4)

Lot: 105 - THERESA FERBER BERNSTEIN, AMERICAN, PHILADELPHIA, PENNSYLVANIA 1890-2002, THE BEACH, 1947, Monotype, Sight: 6 1/4 x 7 3/4 in. (15.9 x 19.7 cm.), Frame: 14 1/2 x 18 in. (36.8 x 45.7 cm.)

THERESA FERBER BERNSTEIN AMERICAN, PHILADELPHIA, PENNSYLVANIA, 1890-2002 THE BEACH, 1947 Monotype Lower right signed: Theresa F. Bernstein; verso old gallery labels: [unidentified: "The Beach", Theresa Bernstein, Monotype (1947), Only one printed; Bethesda Art Gallery label Catalogue note: Born in Poland and raised in Philadelphia, Theresa F. Bernstein was an American urban realist painter in the tradition of the Ashcan School. She attended the Philadelphia School of Design for Women (now Moore College of Art and Design) and the Art Students League in New York, where she studied with Elliot Daingerfield, Daniel Garber, and William Merritt Chase. She exhibited widely in New York and Philadelphia and summered with her husband, the painter William Meyerowitz, in the artist colony in Gloucester, Massachusetts.

Lot: 106 - ADOLPH GOTTLIEB, AMERICAN, NEW YORK 1903-1974, UNTITLED,1969, Lithograph, Sight: 24 x 18 in. (61 x 45.7 cm.), Frame: 36 1/4 x 29 1/4 in. (92.1 x 74.3 cm.)

ADOLPH GOTTLIEB AMERICAN, NEW YORK, 1903-1974 UNTITLED,1969 Lithograph Lower left signed and dated: Adolph Gottlieb 1969; lower right numbered: 79/250; verso label [arches. Printed by Mourlot, Paris. Publ. by The International Rescue Committee, N.Y.] Catalogue note: Adolph Gottlieb rebelled against his parents by taking art classes instead of joining the family's stationery business. When he was eighteen, he worked his way to Paris with no money or passport, and sneaked into art classes at the Acadmie de la Grand Chaumire. In 1922 he came back to America and studied painting at the Art Students League, learning to do things that were not exactly literal and to work from imagination and memory (1967 interview, Archives of American Art, Smithsonian Institution). He became friends with the painters Mark Rothko and Milton Avery and was a founding member of The Ten, a group opposed to the social realist painting of the 1930s. Gottlieb was involved in many artists associations and in 1950 was the principal organizer of The Irascibles, a group of artists who protested an exhibition at the Museum of Modern Art that had ignored recent abstract American art. Source: Alloway and MacNaughton, Adolph Gottlieb: A Retrospective, 1981 (via Smithsonian American Art Museum: https://americanart.si.edu/artist/adolph-gottlieb-1887)

Lot: 107 - LOUISA CHASE, AMERICAN, NEW YORK, PENNSYLVANIA, PANAMA 1951-2016, UNTITLED, 1988, Etching and aquatint, Sheet: 38 1/2 x 24 1/2 in. (97.8 x 62.2 cm.), Frame: 43 x 28 3/8 in. (109.2 x 72.1 cm.)

LOUISA CHASE AMERICAN, NEW YORK, PENNSYLVANIA, PANAMA, 1951-2016 UNTITLED, 1988 Etching and aquatint Lower left numbered: A.P.; lower right signed and dated: Louisa Chase 1988 Catalogue note: Louisa Lizbeth Chase was raised in Lancaster, Pennsylvania. She flourished in New York City early in her career and was one of few female artists to gain renown during the resurgence of painting in the 1980s, a movement generally associated with the artists of New Image painting and Neo Expressionism. In 1984, Chase's work was included in the landmark exhibition Paradise Lost/Paradise Regained: American Visions of the New Decade, organized by the New Museum of Contemporary Art to represent the United States at the Venice Biennale. That same year, the Institute of Contemporary Art in Boston presented the nationally-traveling solo exhibition New Currents: Louisa Chase. In 1991, Chase left Manhattan for Sag Harbor before settling in East Hampton, where she lived and worked until her death in 2016. Chase described her artistic process as "a constant search to hold a feeling tangible." Source: Parrish Art Museum (https://parrishart.org/exhibitions/louisa-chase-below-the-surface)

Lot: 108 - ALLAN D'ARCANGELO, AMERICAN, NEW YORK 1930-1998, AMERICAN MADONNA, 1978, Screenprint, Sight: 31 x 30 3/4 in. (78.7 x 78.1 cm.), Frame: 49 1/2 x 37 1/4 in. (125.7 x 94.6 cm.)

ALLAN D'ARCANGELO AMERICAN, NEW YORK, 1930-1998 AMERICAN MADONNA, 1978 Screenprint Lower left numbered: 82/150; lower right signed and dated: A. D'Arcangelo 1978 Catalogue note: Allan D'Arcangelo was an internationally recognized American painter, printmaker, and muralist born in Buffalo. D'Arcangelo received a bachelor's degree in history from the University at Buffalo in 1953; later in the 1950s, he divided his time between Mexico City and New York, launching his career as a visual artist. His work in the early 1960s coincided with the rise of first-generation pop and juxtaposed symbols of Americana, advertising, the space age, and popular culture among other recurring themes; automotive imagery was prominently featured. Discussing a 1979 retrospective of the artist's work at what was then called the Burchfield Center, Buffalo Evening News reviewer Brenda Preisner observed: "There is nothing picturesque or romantic about D'Arcangelo's landscapes. Their forms are so carefully refined, their lines so straightforward and bold, their compositions so neatly balanced, that they appear as unadorned descriptions of a particular place. And yet the place is nowhere particular at all." D'Arcangelo's work can be found in the collections of the Museum of Modern Art, Guggenheim, the Whitney Museum of American Art, the Hirshhorn (Washington, DC), the Walker Art Center (Minneapolis); museums in Holland, France, London, and Germany; and the Burchfield Penney Art Center, among others. The artist joined Marlborough Fine Arts (New York) from 1971-75. His estate is represented by Garth Greenan Gallery (New York). Source: Burchfield Penney Art Center (https://burchfieldpenney.org/art-and-artists/people/profile:allan-m-darcangelo/#allan-m-darcangelo)

Lot: 109 - PETER MAX, AMERICAN 1937-, SAGE AT WINDOW, 1980, Lithograph, Sight: 19 x 23 1/4 in. (48.3 x 59.1 cm.), Frame: 26 x 29 1/4 in. (66 x 74.3 cm.)

PETER MAX AMERICAN, 1937- SAGE AT WINDOW, 1980 Lithograph Lower left inscribed: Study Catalogue note: Peter Max is best-known for his colorful and psychedelic paintings, synonymous with the ethos of the 1960s in America. Max has appeared on the cover of Life magazine and served as an official artist for the Super Bowl, the World Cup, the Grammy Awards and more. Max's work has been exhibited in over forty museums and fifty galleries worldwide.

Lot: 110 - ROBERT VENTURI, AMERICAN 1925-2018, ALESSI COFFEE POT DESIGN, Lithograph, Sight: 19 x 26 1/2 in. (48.3 x 67.3 cm.), Frame: 22.4 x 30 1/4 in. (57 x 76.8 cm.)

ROBERT VENTURI AMERICAN, 1925-2018 ALESSI COFFEE POT DESIGN Lithograph Lower right signed and numbered: Robert Venturi / 60/100; lower right blindstamped: OFFICINA / ALESSI Catalogue note: Robert Venturi was an influential architect and best-selling author. "I am for richness of meaning rather than clarity of meaning," he wrote in his 1966 manifesto "Complexity and Contradiction in Architecture," a book that, according to The Architectural Review, "fundamentally changed how we look at, think and talk about architecture." Venturi was the founder of architectural firm Venturi, Scott Brown and Associates. In the 1980s, Venturi collaborated with Italian house and kitchenware company Alessi to design a "stylized traditional" service, writing: "You will see that I have kept the historical symbolism ... but made the aesthetic involve a more disparate eclecticism with a more or less Rococo coffee pot, a Queen Anne tea pot, a Neo-Classical sugar bowl and Art Nouveau cream pitcher. The Piazza Campidoglio remains the tray." One of the Alessi coffeepots designed by Venturi is in the permanent collection of the Philadelphia Museum of Art.

Lot: 111 - RUFINO TAMAYO, MEXICAN 1899-1991, GALAXIA, 1977, Mixografia, Sheet: 19 1/2 x 46 1/2 in. (49.5 x 118.1 cm.), Frame: 30 1/4 x 56 3/4 in. (76.8 x 144.1 cm.)

RUFINO TAMAYO MEXICAN, 1899-1991 GALAXIA, 1977 Mixografia Lower left numbered: XIV/XXV; lower center-right signed: R Tamayo; verso labels: Latin American Masters / Rufino Tamayo / Galaxia (Galaxy), 1977 / Mixografia, ed. XIV/XXV / 47 3/8 x 20 1/8 inches / LAM # 1640 Printed and published by Taller de Gráfica Mexicana, Mexico City

Lot: 112 - RUFINO TAMAYO, MEXICAN 1899-1991, COYOTE, 1950, Lithograph in colors, Sight: 17 1/2 x 22 in. (44.5 x 55.9 cm.), Frame: 26 1/2 x 30 1/2 in. (67.3 x 77.5 cm.)

RUFINO TAMAYO MEXICAN, 1899-1991 COYOTE, 1950 Lithograph in colors Lower left signed: Tamayo; lower right numbered: 49/100

Lot: 113 - DAVID ALFARO SIQUERIOS, MEXICAN 1896-1974, TIERRA ROJA from MEXICAN SUITE, 1969, Lithograph in colors, Sight: 22 3/4 x 17 1/2 in. (57.8 x 44.5 cm.), Frame: 28 x 23 in. (71.1 x 58.4 cm.)

DAVID ALFARO SIQUERIOS MEXICAN, 1896-1974 TIERRA ROJA from MEXICAN SUITE, 1969 Lithograph in colors Lower left numbered: 44/300; lower right signed: DA Siquerios

Lot: 114 - ANSEL ADAMS, AMERICAN 1902-1984, MIRROR LAKE - ALONG THE JOHN MUIR, Gelatin silver print mounted on board, Gelatin Print: 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm.), Frame: 14 3/4 x 17 3/4 in. (37.5 x 45.1 cm.)

ANSEL ADAMS AMERICAN, 1902-1984 MIRROR LAKE - ALONG THE JOHN MUIR Gelatin silver print mounted on board Lower right signed: Ansel Adams; verso stamped: SPECIAL EDITION OF FINE PRINTS / PHOTOGRAPHS OF YOSEMITE / BY / ANSEL ADAMS / THIS PRINT 322 OF S.E.Y. No 6 / MIRROR LAKE Catalogue note: One of the most influential photographers of the twentieth century, Adams spent a significant part of his adult life in Yosemite National Park. Born in San Francisco and trained as a musician, by 1920 he had begun making trips into the High Sierra; in 1924 he made his first important photographs there and began to publish both images and writings. Adams's work in both media contributed greatly to the American conservationist movement. By the mid-1930s, Adams had abandoned an earlier Pictorialist style in favor of the clean, sharp focus vision of Group f/64. Along with Edward Weston, Imogen Cunningham, and Willard Van Dyke, Adams was a founding member of this group, dedicated to "a simple and direct presentation [of] purely photographic means." Adams's work, in particular, is characterized by meticulous technique and dramatic celebration of the natural world. Source: Merry A. Foresta American Photographs: The First Century (Washington, D.C.: National Museum of American Art with the Smithsonian Institution Press, 1996) (via: https://americanart.si.edu/artist/ansel-adams-20)

Lot: 115 - WILLIAM CHRISTENBERRY, AMERICAN, ALABAMA, WASHINGTON, D.C. 1936-2016, GREY AND RED WALL AKRON, ALABAMA, EktaPro photograph, Sight: 27 1/2 x 34 1/2 in. (69.9 x 87.6 cm.), Frame: 32 1/2 x 39 3/4 in. (82.6 x 101 cm.)

WILLIAM CHRISTENBERRY AMERICAN, ALABAMA, WASHINGTON, D.C., 1936-2016 GREY AND RED WALL AKRON, ALABAMA EktaPro photograph From ed. 4 Catalogue note: Originally from Tuscaloosa, William Christenberry is best known for his photography exploring the Black Belt region of west-central Alabama, particularly Hale County. "This is and always will be where my heart is," Christenberry said in conversation with Robert Hirsch, "It is one of the poorest counties in the state, but it is also a county with great lore and legend." Christenberry's photography was the subject of the 2006-07 exhibition "Passing Time: The Art of William Christenberry" at the Smithsonian American Art Museum in Washington, D.C. His photographs are included in the collections of the Museum of Modern Art (New York), the Whitney Museum of American Art (New York) and the Corcoran Gallery of Art (Washington, D.C.), among others.

Lot: 116 - WILLIAM CHRISTENBERRY, AMERICAN, ALABAMA, WASHINGTON, D.C. 1936-2016, HUBCAPS AND FENCE NEAR TUSCALOOSA, ALABAMA, EktaPro photograph, Sight: 27 1/2 x 34 1/2 in. (69.9 x 87.6 cm.), Frame: 32 1/2 x 39 3/4 in. (82.6 x 101 c

WILLIAM CHRISTENBERRY AMERICAN, ALABAMA, WASHINGTON, D.C., 1936-2016 HUBCAPS AND FENCE NEAR TUSCALOOSA, ALABAMA EktaPro photograph From ed. 4 Catalogue note: Originally from Tuscaloosa, William Christenberry is best known for his photography exploring the Black Belt region of west-central Alabama, particularly Hale County. "This is and always will be where my heart is," Christenberry said in conversation with Robert Hirsch, "It is one of the poorest counties in the state, but it is also a county with great lore and legend." Christenberry's photography was the subject of the 2006-07 exhibition "Passing Time: The Art of William Christenberry" at the Smithsonian American Art Museum in Washington, D.C. His photographs are included in the collections of the Museum of Modern Art (New York), the Whitney Museum of American Art (New York) and the Corcoran Gallery of Art (Washington, D.C.), among others.

Lot: 117 - A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, ZEBRA, 1960, Gelatin silver print, Photograph: 7 5/8 x 9 1/2 in. (19.4 x 24.1 cm.), Mat: 14 1/4 x 16 3/4 in. (36.2 x 42.5 cm.)

A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 ZEBRA, 1960 Gelatin silver print Lower left titled on mat: Zebra; lower right signed on mat: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #50-803 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

Lot: 118 - A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, TORSO, 1945, Gelatin silver print, Sight: 15 1/2 x 12 1/2 in. (39.4 x 31.8 cm.), Mat: 20 x 16 in. (50.8 x 40.6 cm.)

A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 TORSO, 1945 Gelatin silver print Lower left titled: Torso; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #50-114; verso stamped: PHOTOGRAPH BY / A. AUBREY BODINE / 805 PARK AVENUE / BALTIMORE-1.MD.; verso exhibition labels: Photographic Society of Philadelphia; The Photographic Guild of Detroit; American Association of University Women Camera Group (Tiffin, OH); Newburgh Camera Club (Newburgh, NY); Chicago International Salon of Photography / Chicago Historical Society; The Queen City Pictorialists (Cincinnati, OH); The Cleveland Photographic Society Catalogue note: The subject is the artist's wife, Nancy Tait Bodine. The photo was taken in the Bodine family kitchen. In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

Lot: 119 - A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, OCEAN BALLET, 1946, Gelatin silver print, Photograph: 16 x 14 in. (40.6 x 35.6 cm.), Mat: 20 x 16 in. (50.8 x 40.6 cm.)

A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 OCEAN BALLET, 1946 Gelatin silver print Lower left titled on mat: Ocean Ballet; lower right signed and dated on backing: A. Aubrey Bodine / 1946; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 50-011; verso stamped: PHOTOGRAPH BY / A. AUBREY BODINE / 805 PARK AVENUE / BALTIMORE-1-MD Catalogue note: This photograph captures dancer Marian Young on the beach at Ocean City, Maryland. It served as the cover for American photography magazine "The Camera: A Practical Monthly Magazine for Photographers" (published from the late 19th century until 1953). A note from The Camera's staff to the engraver reads, "This is a cover picture and needs plenty of guts. Exception..soften down the clouds above and in front of the dancer's head so they will not compete with it in interest." In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

Lot: 120 - A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, VIRGINIA MUSEUM OF FINE ART, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 VIRGINIA MUSEUM OF FINE ART, 1961 Gelatin silver print Lower left titled: Virginia Museum of Fine Arts; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 20-143 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

Lot: 121 - A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, DORIS HAMLIN, 1936, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 DORIS HAMLIN, 1936 Gelatin silver print Lower left titled: Doris Hamlin; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 18-049 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

Lot: 122 - A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, LAKE DRUMMOND, 1961, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 LAKE DRUMMOND, 1961 Gelatin silver print Lower left titled: Lake Drummond; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by / A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID # 03-128 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

Lot: 123 - A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, HARPERS FERRY, MD. VA. WEST VA., 1944, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 HARPERS FERRY, MD. VA. WEST VA., 1944 Gelatin silver print Lower left titled: Harpers Ferry, Md. Va. West Va; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #08-154 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

Lot: 124 - A. AUBREY BODINE, AMERICAN, BALTIMORE, MARYLAND 1906-1970, NORFOLK WESTERN COAL PIER FOUR - LAMBETH PT. OFF HAMPTON ROADS, 1964, Gelatin silver print, Sheet: 11 x 14 in. (27.9 x 35.6 cm.)

A. AUBREY BODINE AMERICAN, BALTIMORE, MARYLAND, 1906-1970 NORFOLK WESTERN COAL PIER FOUR - LAMBETH PT. OFF HAMPTON ROADS, 1964 Gelatin silver print Lower left titled: Norfolk-Western Coal Pier Four - Lambeth Pt. off Hampton Roads; lower right signed: A. Aubrey Bodine; verso stamped: Photograph & Printed by/ A. Aubrey Bodine, Hon, F.P.S.A.,F.N.P.P./Image ID #04-341 Catalogue note: In photographic circles around the world, A. Aubrey Bodine was regarded as one of the finest pictorialists of the twentieth century. His pictures were exhibited in hundreds of prestigious shows, in scores of museums, and he won awards against top competition. … Aubrey Bodine's photographic career began in 1923 when as an office boy with the Baltimore Sun he submitted photographs of the Thomas Viaduct at Relay to the editor of the Sunday oar, and they were published. From first to last Aubrey Bodine was a newspaperman covering all sorts of stories with his camera - news events, famous people, unusual places and curious activities. … Some of his best pictures were literally composed in the viewfinder of the camera. In other cases he worked on the negative with dyes and intensifiers, pencil marking, and even scraping to produce the effect he had in mind. He added clouds photographically, and made other even more elaborate manipulations. Bodine's rationale for all these technical alterations of the natural scene was simply that, like the painter, he worked from the model and selected those features which suited his sense of mood, proportion and design. The picture was the thing, not the manner of arriving at it. He did not take a picture, he made a picture. (Source: http://www.AAubreyBodine.com)

Lot: 125 - FREDRICK PRESCOTT, AMERICAN, NEW MEXICO 1949-, NEON NEW YORK, 1990, Painted iron, 74 x 57 x 19 in. (188 x 144.8 x 48.3 cm.)

FREDRICK PRESCOTT AMERICAN, NEW MEXICO, 1949- NEON NEW YORK, 1990 Painted iron The cars, the helicopter and King Kong can sway back and forth, the buildings light up from behind (electrified), signed on the base 'Prescott 90' Catalogue note: Frederick Prescott is a contemporary American artist known for his dynamic and colorful kinetic sculpture. Born in Palo Alto, California,in 1949, to a father who was an inventor, Frederick began working with metal at an early age, spending countless hours "playing" with band saws, punch presses and metal grinders and transform metal into art by cutting, bending, and welding. Since 1974, Prescott has exhibited his work all over the world; his sculptures are in many private collections and important corporate collections including: the Walt Disney Co., Porsche, and the Chicago Bulls. Neon New York, 1990 is one of the artist's colorful indoor kinetic sculptures; it is a rare example of his work incorporating neon light. .

Lot: 126 - YANKEL GINZBURG, AMERICAN 1945-, 'EMBRACE' circa 1994, Acrylic, 30 x 15 in. (76.2 x 38.1 cm.)

YANKEL GINZBURG AMERICAN, 1945- 'EMBRACE' circa 1994 Acrylic signed on the base Yankel Ginzburg, with catalogue and COA/Appraisal from Ginzburg Studio, Chevy Chase (appraised value $25,000 in 1994) According to the catalogue, "Ginzburg was born in Russia in 1945. His family fled to Israel in 1957 where he took the art world by storm.... He arrived in the United States in 1968 as the guest of President Lyndon Johnson. He was honored then with a one-man show at the Washington Gallery of Art." Ginzburg is a prolific award winning artist, a subject of several art books and a full-length documentary film (Ladders, 2004).

Lot: 127 - RICHARD MCDERMOTT MILLER, AMERICAN 1922-2004, SANDY STANDING, 1969, Lead, Height: 10 1/2 in. (26.7 cm.)

RICHARD MCDERMOTT MILLER AMERICAN, 1922-2004 SANDY STANDING, 1969 Lead Stamped 'RAM 1969,' with possible foundry mark; label: PERIDOT GALLERY / 820 Madison Ave. N.Y.C. / RICHARD A. MILLER / SANDY STANDING / No. 4788 Catalogue note: Richard McDermott Miller was a New York sculptor born in Ohio. According to his obituary in the New York Times, "He studied at the Cleveland Institute in the 1940's and won a number of prizes for sculptures modeled in river clay which was cast into lead. He later worked with live models in wax and clay and cast them in bronze. He was president of the National Academy of Design from 1989 to 1992 and of the National Sculpture Society from 1997 to 2000." His work is in private and museum collections around the country including Brookgreen Gardens in South Carolina.

Lot: 128 - ART DECO STYLE SILVERED BRONZE HORSE, AFTER BORIS LOVET-LORSKI (1894-1972) 17 x 20 1/4 x 4 in. (43.2 x 51.4 x 10.2 cm.)

ART DECO STYLE SILVERED BRONZE HORSE, AFTER BORIS LOVET-LORSKI (1894-1972) Catalogue note: Trained in architecture at the Royal Academy in Petrograd, Lithuanian-born Boris Lovet-Lorski pivoted instead to an enormously successful career in the art world. Known primarily as a sculptor, the rigor of architecture served him well as he crafted a language of heft and balance with fluid, sensuous lines and a powerful combination of mythic and modern. After immigrating to the United States in 1920, he regularly exhibited at the Wildenstein Gallery, enjoying celebrity status among the artistic elite of New York, then the thriving epicenter of the American Art Deco movement.

Lot: 129 - CHENG YI-FA, TAIWANESE 20TH CENTURY, HOMING PIGEON, 1998, Bronze, 10 1/2 x 10 x 7 in. (26.7 x 25.4 x 17.8 cm.) above a wooden base

CHENG YI-FA TAIWANESE, 20TH CENTURY HOMING PIGEON, 1998 Bronze Unsigned

Lot: 130 - CHENG YI-FA, TAIWANESE 20TH CENTURY, BRIGHT, 1994, Bronze, Overall height: 20 x 6 x 6 in. (50.8 x 15.2 x 15.2 cm.)

CHENG YI-FA TAIWANESE, 20TH CENTURY BRIGHT, 1994 Bronze Signed on base with symbol and dated '1994 2/9'

Lot: 131 - PINO DELLA SELVA, ITALIAN 1904-1987, AMAZON, Terracotta, 10 1/4 x 6 1/2 x 4 in. (26 x 16.5 x 10.2 cm.)

PINO DELLA SELVA ITALIAN, 1904-1987 AMAZON Terracotta Signed on back PARIS - Pino della Selva, and underneath PINO DELLA SELVA PARIS, with paper label underneath "AMAZON'

Lot: 132 - ATTRIBUTED TO MARGARET CASSIDY MANSHIP, AMERICAN, 1921-2012, BRONZE FIGURE OF CROUCHING WOMAN 10 1/2 x 12 x 5 3/4 in. (26.7 x 30.5 x 14.6 cm.)

ATTRIBUTED TO MARGARET CASSIDY MANSHIP, AMERICAN, 1921-2012, BRONZE FIGURE OF CROUCHING WOMAN indistinctly signed at base Catalogue note: Margaret Cassidy Manship was a Gloucester, MA, artist, teacher. She was the wife of the artist John Paul Manship, and daughter-in-law of the artist Paul Manship. According to her obituary, Margaret "Worked with Antonio Berti on 21-ton marble group that filled the last available niche in St. Peter's Basilica, Rome, and created numerous public works of art and notable portraits. Manship also had the extraordinary privilege of living at the Vatican while assisting Berti. Margaret and her husband exhibited widely and maintained studies and galleries in Lanesville, Rockport, New York City, and abroad."

Lot: 133 - AFTER PAUL MANSHIP, AMERICAN 1885-1966, PROMETHEUS, Gold plated bronze, Above a black square base: 5 x 6 x 4 in. (12.7 x 15.2 x 10.2 cm.)

AFTER PAUL MANSHIP AMERICAN, 1885-1966 PROMETHEUS Gold plated bronze Signed, with faint foundry mark of Bedi-Makky Art Foundry Corp, Brooklyn, NY., and indistinct edition number ?/300

Lot: 134 - LI YANRONG, CHINESE 20TH/21ST CENTURY, RED NAIL NO. 2, 2004, Bronze

LI YANRONG CHINESE, 20TH/21ST CENTURY RED NAIL NO. 2, 2004 Bronze

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