Timed Estate Art and Antiques Auction

Lot: 1 - Hisashi Otsuka, Japanese (b.1947), Path of Bushido, 1995 / Home of Bushido, 1995, 2 embossed lithographs, 13"H x 11 1/2"W (one)

Hisashi Otsuka Japanese, (b.1947) Path of Bushido, 1995 / Home of Bushido, 1995 2 embossed lithographs Embossed signature, date, and chop mark lower. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 2 - Hisashi Otsuka, Japanese (b.1947), Season of Bushido, 1995 / Path of Bushido, 1995, 2 embossed lithographs, 13"H x 11 3/4"W (one)

Hisashi Otsuka Japanese, (b.1947) Season of Bushido, 1995 / Path of Bushido, 1995 2 embossed lithographs Embossed signature, date, and chop mark lower. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 3 - Hisashi Otsuka, Japanese (b.1947), Immortal Six series: Samurai Warrior / Summer - Funyano Yasuhide, 1987, 2 embossed lithographs, 18"H x 18"W

Hisashi Otsuka Japanese, (b.1947) Immortal Six series: Samurai Warrior / Summer - Funyano Yasuhide, 1987 2 embossed lithographs Embossed signature and date lower. Chop mark center. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 4 - Hisashi Otsuka, Japanese (b.1947), Spring Enlightenment, 1999, embossed lithograph

Hisashi Otsuka Japanese, (b.1947) Spring Enlightenment, 1999 embossed lithograph Chop mark lower right. Embossed signature and date lower left. Uncut proof from the press. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 5 - Hisashi Otsuka, Japanese (b.1947), Festival Leader, embossed lithograph, 17"H x 11"W

Hisashi Otsuka Japanese, (b.1947) Festival Leader embossed lithograph Chop mark lower left. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 6 - Hisashi Otsuka, Japanese (b.1947), samurai, 1993, embossed lithograph, 36 1/2"H x 26"W (sheet)

Hisashi Otsuka Japanese, (b.1947) samurai, 1993 embossed lithograph Chop mark lower left. Embossed signature and date lower right. 47 Ronin series. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 7 - Hisashi Otsuka, Japanese (b.1947), Musashi the Warrior, 1985, embossed lithograph, 25"H x 39 1/2"W (sheet)

Hisashi Otsuka Japanese, (b.1947) Musashi the Warrior, 1985 embossed lithograph Embossed signature, date, and chop mark lower. Small tear lower left. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 8 - Hisashi Otsuka, Japanese (b.1947), The Spirit of Musashi, embossed lithograph, 40"H x 28"W (sheet)

Hisashi Otsuka Japanese, (b.1947) The Spirit of Musashi embossed lithograph Unsigned. Uncut proof from the press. Creased corner lower left. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 9 - Hisashi Otsuka, Japanese (b.1947), Lion of Fire, 1988, embossed lithograph, 28"H x 40"W (sheet)

Hisashi Otsuka Japanese, (b.1947) Lion of Fire, 1988 embossed lithograph Chop mark, embossed signature, and date lower left. Uncut proof from the press. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 10 - Hisashi Otsuka, Japanese (b.1947), Lady Murasaki Revisited, 1989, embossed lithograph, 26 1/2"H x 38 1/2"W (sheet)

Hisashi Otsuka Japanese, (b.1947) Lady Murasaki Revisited, 1989 embossed lithograph Embossed signature, date, and chop mark lower. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 11 - Hisashi Otsuka, Japanese (b.1947), calligraphy / 12 Kimono Fantasy, uncut lithograph, 28"H x 40"W (sheet)

Hisashi Otsuka Japanese, (b.1947) calligraphy / 12 Kimono Fantasy uncut lithograph Chop mark lower. Uncut proof from the press. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 12 - Hisashi Otsuka, Japanese (b.1947), The 36th Poetess, lithograph, 28 1/4"H x 40 1/4"W

Hisashi Otsuka Japanese, (b.1947) The 36th Poetess lithograph Chop mark lower left. Uncut proof from the press. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 13 - Hisashi Otsuka, Japanese (b.1947), Sisters of the Floating World, lithograph, 28"H x 40"W

Hisashi Otsuka Japanese, (b.1947) Sisters of the Floating World lithograph Unsigned. Uncut proof from the press. Small scuff mark lower left. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 14 - Hisashi Otsuka, Japanese (b.1947), Lady of the Rainbow, 1988, embossed lithograph, 40"H x 28"W (sheet)

Hisashi Otsuka Japanese, (b.1947) Lady of the Rainbow, 1988 embossed lithograph Chop mark, embossed signature, and date lower left. Uncut proof from the press. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 15 - Hisashi Otsuka, Japanese (b.1947), Serenity (Hanayome Suite), 1987, embossed lithograph, 39"H x 26"W (sheet)

Hisashi Otsuka Japanese, (b.1947) Serenity (Hanayome Suite), 1987 embossed lithograph Chop mark, embossed signature, and date lower left. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 16 - Hisashi Otsuka, Japanese (b.1947), Flight Of Freedom, 1990, embossed lithograph, 39"H x 26"W (sheet)

Hisashi Otsuka Japanese, (b.1947) Flight Of Freedom, 1990 embossed lithograph Chop mark lower right. Embossed signature and date lower left. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 17 - Hisashi Otsuka, Japanese (b.1947), Lady Mieko of Autumn, embossed lithograph, 40"H x 28"W (sheet)

Hisashi Otsuka Japanese, (b.1947) Lady Mieko of Autumn embossed lithograph Embossed signature, date, and chop mark lower. Uncut proof from the press. Creasing present on upper left corner, scratch upper center. Biography from Bloomington Auction Gallery: Otsuka was born in 1947 into an exceptionally creative family. His natural artistic talents were encouraged and eventually developed formally in apprenticeship to one of Japan's foremost designers of kimonos, Taeko Jo. When Otsuka first came to Jo, he did little more than clean brushes and cook for the staff. The Bushido code, which specifies training in all the arts and sciences, determines that the technique of the art form is taught only after the student has learned service, duty and discipline. It was three years before Otsuka could cut a piece of cloth or paint a single stroke. Otsuka remained with Jo for eight years. Otsuka came to the West - to Hawaii - in 1979. Until that time his painting had been historical in subject and theme. But now it has emerged from the past in ways that are very exciting. In his neo-deco style - a dramatic new movement in the world of art - Otsuka's compositions have evolved to a decorative elegance. Otsuka's art has achieved an important transition: a cross-cultural excellence that not only appeals to East and West artistically, but also brings them together in understanding. This, after all, is Otsuka's personal mission, and he pursues it with splendid dedication.

Lot: 18 - Caroline Young, Chinese American (20/21st century), Spirit Unconquered, embossed lithograph, 38"H x 26 1/2"W (sheet)

Caroline Young Chinese American, (20/21st century) Spirit Unconquered embossed lithograph Chop mark lower right. As the adopted child of Chinese-American expatriates living in Hong Kong, Caroline young was immersed from an early age in the myths, legends, and philosophies of Chinese culture. These ancient narratives, blending mysticism with Buddhist and Taoist beliefs, offered more than moral lessons—they served as explanations for the mysteries of the universe: the origin of the sun, the power of lightning, and the balance between nature and spirit. This interweaving of myth, history, and spirituality forms the foundation of Young's work. Young paints in watercolor, acrylic, and gouache on Japanese silk, using the labor-intensive traditional Chinese gongbi style. This meticulous technique involves applying numerous transparent washes to build up rich, layered color and detail. Every piece is steeped in symbolism, with imagery drawn directly from the artist's interpretation of each story, and emotion conveyed through color. Through this body of work, Young seeks not only to share the richness of over five thousand years of Chinese civilization but also to reflect on the ethos and aspirations of modern-day China.

Lot: 19 - Caroline Young, Chinese American (20/21st century), Manchurian Emperor, 1991, embossed lithograph, 38 1/2"H x 26 1/2"W (sheet)

Caroline Young Chinese American, (20/21st century) Manchurian Emperor, 1991 embossed lithograph Chop mark lower left. As the adopted child of Chinese-American expatriates living in Hong Kong, Caroline young was immersed from an early age in the myths, legends, and philosophies of Chinese culture. These ancient narratives, blending mysticism with Buddhist and Taoist beliefs, offered more than moral lessons—they served as explanations for the mysteries of the universe: the origin of the sun, the power of lightning, and the balance between nature and spirit. This interweaving of myth, history, and spirituality forms the foundation of Young's work. Young paints in watercolor, acrylic, and gouache on Japanese silk, using the labor-intensive traditional Chinese gongbi style. This meticulous technique involves applying numerous transparent washes to build up rich, layered color and detail. Every piece is steeped in symbolism, with imagery drawn directly from the artist's interpretation of each story, and emotion conveyed through color. Through this body of work, Young seeks not only to share the richness of over five thousand years of Chinese civilization but also to reflect on the ethos and aspirations of modern-day China.

Lot: 20 - Caroline Young, Chinese American (20/21st century), Moonsong, embossed lithograph, 38"H x 19"W (sheet)

Caroline Young Chinese American, (20/21st century) Moonsong embossed lithograph Chop mark lower left. As the adopted child of Chinese-American expatriates living in Hong Kong, Caroline young was immersed from an early age in the myths, legends, and philosophies of Chinese culture. These ancient narratives, blending mysticism with Buddhist and Taoist beliefs, offered more than moral lessons—they served as explanations for the mysteries of the universe: the origin of the sun, the power of lightning, and the balance between nature and spirit. This interweaving of myth, history, and spirituality forms the foundation of Young's work. Young paints in watercolor, acrylic, and gouache on Japanese silk, using the labor-intensive traditional Chinese gongbi style. This meticulous technique involves applying numerous transparent washes to build up rich, layered color and detail. Every piece is steeped in symbolism, with imagery drawn directly from the artist's interpretation of each story, and emotion conveyed through color. Through this body of work, Young seeks not only to share the richness of over five thousand years of Chinese civilization but also to reflect on the ethos and aspirations of modern-day China.

Lot: 21 - Caroline Young, Chinese American (20/21st century), Dance of the Fire Dragon, embossed lithograph, 26 1/2"H x 39"W (sheet)

Caroline Young Chinese American, (20/21st century) Dance of the Fire Dragon embossed lithograph Chop mark lower right. As the adopted child of Chinese-American expatriates living in Hong Kong, Caroline young was immersed from an early age in the myths, legends, and philosophies of Chinese culture. These ancient narratives, blending mysticism with Buddhist and Taoist beliefs, offered more than moral lessons—they served as explanations for the mysteries of the universe: the origin of the sun, the power of lightning, and the balance between nature and spirit. This interweaving of myth, history, and spirituality forms the foundation of Young's work. Young paints in watercolor, acrylic, and gouache on Japanese silk, using the labor-intensive traditional Chinese gongbi style. This meticulous technique involves applying numerous transparent washes to build up rich, layered color and detail. Every piece is steeped in symbolism, with imagery drawn directly from the artist's interpretation of each story, and emotion conveyed through color. Through this body of work, Young seeks not only to share the richness of over five thousand years of Chinese civilization but also to reflect on the ethos and aspirations of modern-day China.

Lot: 22 - Caroline Young, Chinese American (20/21st century), Winter Serenade, 1991, embossed lithograph, 26 1/2"H x 35 1/2"W (sheet)

Caroline Young Chinese American, (20/21st century) Winter Serenade, 1991 embossed lithograph Chop mark lower right. As the adopted child of Chinese-American expatriates living in Hong Kong, Caroline young was immersed from an early age in the myths, legends, and philosophies of Chinese culture. These ancient narratives, blending mysticism with Buddhist and Taoist beliefs, offered more than moral lessons—they served as explanations for the mysteries of the universe: the origin of the sun, the power of lightning, and the balance between nature and spirit. This interweaving of myth, history, and spirituality forms the foundation of Young's work. Young paints in watercolor, acrylic, and gouache on Japanese silk, using the labor-intensive traditional Chinese gongbi style. This meticulous technique involves applying numerous transparent washes to build up rich, layered color and detail. Every piece is steeped in symbolism, with imagery drawn directly from the artist's interpretation of each story, and emotion conveyed through color. Through this body of work, Young seeks not only to share the richness of over five thousand years of Chinese civilization but also to reflect on the ethos and aspirations of modern-day China.

Lot: 23 - Caroline Young, Chinese American (20/21st century), Heroic Heart, lithograph, 26 1/4"H x 39"W (sheet)

Caroline Young Chinese American, (20/21st century) Heroic Heart lithograph Unsigned. As the adopted child of Chinese-American expatriates living in Hong Kong, Caroline young was immersed from an early age in the myths, legends, and philosophies of Chinese culture. These ancient narratives, blending mysticism with Buddhist and Taoist beliefs, offered more than moral lessons—they served as explanations for the mysteries of the universe: the origin of the sun, the power of lightning, and the balance between nature and spirit. This interweaving of myth, history, and spirituality forms the foundation of Young's work. Young paints in watercolor, acrylic, and gouache on Japanese silk, using the labor-intensive traditional Chinese gongbi style. This meticulous technique involves applying numerous transparent washes to build up rich, layered color and detail. Every piece is steeped in symbolism, with imagery drawn directly from the artist's interpretation of each story, and emotion conveyed through color. Through this body of work, Young seeks not only to share the richness of over five thousand years of Chinese civilization but also to reflect on the ethos and aspirations of modern-day China.

Lot: 24 - Caroline Young, Chinese American (20/21st century), Secrets of the Bamboo Forest / Black Jade, embossed lithograph / lithograph, 35"H x 23 1/4"W (largest)

Caroline Young Chinese American, (20/21st century) Secrets of the Bamboo Forest / Black Jade embossed lithograph / lithograph Chop mark lower left. Embossed signature and date lower right. Secrets of the Bamboo Forest marked "NFS" lower right on bottom of dress. Black Jade stamped "salesman's copy" lower right. As the adopted child of Chinese-American expatriates living in Hong Kong, Caroline young was immersed from an early age in the myths, legends, and philosophies of Chinese culture. These ancient narratives, blending mysticism with Buddhist and Taoist beliefs, offered more than moral lessons—they served as explanations for the mysteries of the universe: the origin of the sun, the power of lightning, and the balance between nature and spirit. This interweaving of myth, history, and spirituality forms the foundation of Young's work. Young paints in watercolor, acrylic, and gouache on Japanese silk, using the labor-intensive traditional Chinese gongbi style. This meticulous technique involves applying numerous transparent washes to build up rich, layered color and detail. Every piece is steeped in symbolism, with imagery drawn directly from the artist's interpretation of each story, and emotion conveyed through color. Through this body of work, Young seeks not only to share the richness of over five thousand years of Chinese civilization but also to reflect on the ethos and aspirations of modern-day China.

Lot: 25 - Gary Hostallero, Arizona, Hawaii (1949-2019), Black Horse Shogun, embossed lithograph, 36 1/2"H x 26 1/4"W (sheet)

Gary Hostallero Arizona, Hawaii, (1949-2019) Black Horse Shogun embossed lithograph Unsigned.

Lot: 26 - Gary Hostallero, Arizona, Hawaii (1949-2019), White Horse Shogun, embossed lithograph, 36 1/2"H x 26 1/2"W (sheet)

Gary Hostallero Arizona, Hawaii, (1949-2019) White Horse Shogun embossed lithograph Unsigned.

Lot: 27 - Pair of art posters: The Art of the Kimono: National Museum of Japanese History and Asian woman dressed in a kimono and bandana 40"H x 28"W (sheet, largest)

Pair of art posters: The Art of the Kimono: National Museum of Japanese History and Asian woman dressed in a kimono and bandana

Lot: 28 - Marc Chagall, Russia / France (1887-1985), Paris Opera Ceiling, color lithograph, 25 1/4"H x 31"W (sheet)

Marc Chagall Russia / France, (1887-1985) Paris Opera Ceiling color lithograph Signed in the print lower right.

Lot: 29 - Joan Miro, Spain / France (1893 - 1983), Prise à L'Hameçon (Catch with the Hook), color lithograph, 45"H x 31 1/2"W (sheet)

Joan Miro Spain / France, (1893 - 1983) Prise à L'Hameçon (Catch with the Hook) color lithograph Unsigned, unnumbered. Tearing and creasing on edge.

Lot: 30 - Large abstract expressionist print in shades of orange and yellow 55"H x 40"W

Large abstract expressionist print in shades of orange and yellow Crease marks present.

Lot: 31 - Susanne Dolesch, Hungarian (b. 1932), Dancers, 1990, color lithograph, 27"H x 35"W

Susanne Dolesch Hungarian, (b. 1932) Dancers, 1990 color lithograph Pencil signed and dated lower right. Printer's proof, 4/15.

Lot: 32 - Juan Manuel Sanchez, Argentinian (1930 - 2016), Gioconda Perez Mamani, 1969, lithograph, 29"H x 21 3/4"W

Juan Manuel Sanchez Argentinian, (1930 - 2016) Gioconda Perez Mamani, 1969 lithograph Signed with initials and dated lower left. Biography from the Archives of askART: Painter, muralist and engraver Juan Manuel Sánchez was born in 1930 in Buenos Aires. He studied art with Alfonso Lafita and Vicente Puig. In 1956 he first exhibited with Ricardo Carpani and Mario Mollari. In 1959 Sánchez, Carpani and Molinari founded the Espartaco Group along with Juana E. Diz, E.Bute, C. Piedras, R. Lara, P. Di Bianco, F. Ventura and C. Sessano. He has received many awards and mentions throughout his career. His work is exhibited in several countries and it is part of the permanent collection in different museums of the world. The artist lives in Vancouver, Canada and is married to painter Nora Patrich. He conducts workshops in both Canada and Argentina. Sources include: http://galeria-deartistas.com/ http://www.artsandopinion.com/2003

Lot: 33 - Brian Rice, British (b. 1936), Sector No 2 op art, 1968, screen print

Brian Rice British, (b. 1936) Sector No 2 op art, 1968 screen print Pencil signed lower right, edition 56/75.

Lot: 34 - Surrealist figures lithograph, 20th century

Surrealist figures lithograph, 20th century Unsigned. Creasing present on upper edge.

Lot: 35 - Bill Rane, American (1927 - 2005), Taos Window / Woman Grinding Corn, modernist Native American Indian prints, 2 color lithographs, 37"H x 26 1/2"W (sheet, one)

Bill Rane American, (1927 - 2005) Taos Window / Woman Grinding Corn, modernist Native American Indian prints 2 color lithographs Unsigned. Biography from the Archives of askART: Bill Rane was born in Bend, Oregon on March 3rd, 1927, but grew up a few hundred miles east in the remote and idyllic hills of Garden Valley, Idaho. As a boy, he gleamed he might become an artist but it was not

Lot: 36 - Bill Rane, American (1927 - 2005), The Night the Horse Got Loose / Rang, modernist Native American Indian prints, 2 color lithographs, 37"H x 26 1/2"W (one)

Bill Rane American, (1927 - 2005) The Night the Horse Got Loose / Rang, modernist Native American Indian prints 2 color lithographs Unsigned. Biography from the Archives of askART: Bill Rane was born in Bend, Oregon on March 3rd, 1927, but grew up a few hundred miles east in the remote and idyllic hills of Garden Valley, Idaho. As a boy, he gleamed he might become an artist but it was

Lot: 37 - Robert Alrich, (20th century), Defiance, Native American Indian print, lithograph, 40"H x 28"W (sheet)

Robert Alrich (20th century) Defiance, Native American Indian print lithograph Unsigned, uncut proof from the press. Creases present upper edge.

Lot: 38 - Three prints depicting Native American women: R.C. Gorman (1932 - 2005), "The Pottery Keeper" and "Tonto Bowl;" Amado Maurilio Pena, Jr. (1942-2009)"After Maria" series 4 3/4"H x 6 3/4"W(sight), 11 1/2"H x 13 1/2"W(frame

Three prints depicting Native American women: R.C. Gorman (1932 - 2005), "The Pottery Keeper" and "Tonto Bowl;" Amado Maurilio Pena, Jr. (1942-2009)"After Maria" series

Lot: 39 - Ted (Ettore) De Grazia, Arizona 1909 - 1982), Joy and Music / Free as the Wind, 2 offset lithographs, 9 1/4"H x 19 3/4"W(sight), 16 1/4"H x 26 1/4"W(frame) - larger

Ted (Ettore) De Grazia Arizona, 1909 - 1982) Joy and Music / Free as the Wind 2 offset lithographs Free as the Wind is hand signed and dated lower left. Biography from DeGrazia Gallery in the Sun Museum: Born in the mining town of Morenci, Arizona, Ted DeGrazia became one of Arizona's most prominent painters, illustrators, and graphic artists, resulting in his studio gallery being

Lot: 40 - Native American group, 3pc: Navajo polychrome etched pottery jar vessel, Pueblo Belt Weaver woman wood pulp postcard, Ojibwe birch bark porcupine quill box with berry motif 11"H x 10"DIA. (Largest)

Native American group, 3pc: Navajo polychrome etched pottery jar vessel, Pueblo Belt Weaver woman wood pulp postcard, Ojibwe birch bark porcupine quill box with berry motif

Lot: 41 - Pre-Columbian Mezzo-American Lizard / Chameleon effigy terracotta pottery stirrup vessel. 9"H x 5"W x 7"D

Pre-Columbian Mezzo-American Lizard / Chameleon effigy terracotta pottery stirrup vessel.

Lot: 42 - Indigenous art 2pc: Kerry Thompson, Maori whaletooth and whalebone carvings, 2006; Myrtle deMeulles, Métis caribou hair tufting sculpture depicting a dog sled scene. 11 3/4"H x 15 1/2"W(sight), 18 3/4"H x 22 1/4"W(frame)

Indigenous art 2pc: Kerry Thompson, Maori whaletooth and whalebone carvings, 2006; Myrtle deMeulles, Métis caribou hair tufting sculpture depicting a dog sled scene.

Lot: 43 - Frank McCarthy, New York, Arizona (1924 - 2002), Robe Signal (Vignette Series #3), 1976 / Single File (Cavalry Vignette Series #1), 1977, 2 offset lithographs, 19 1/4"H x 9 1/2"W(sight), 27 1/4"H x 17 1/4"W (taller)

Frank McCarthy New York, Arizona, (1924 - 2002) Robe Signal (Vignette Series #3), 1976 / Single File (Cavalry Vignette Series #1), 1977 2 offset lithographs Both pencil signed. Greenwich Workshop prints. Robe Signal edition 499/850, printed 1977. Single File edition 404/1000, printed 1978. Biography from the Archives of askART: Western painter and illustrator known for depictions of plains Indians in action, Frank McCarthy spent much of his career in New York City and the last years in Arizona. He was born in New York City and for twenty-one years was as an illustrator for major magazines including "Colliers," "Argosy" and "True" and for paperback book publishers. He studied at Pratt Institute and the Art Students League in New York and then followed a course of commercial art. Many of his illustrations were large western paintings, something that continued to earn him a reputation as a top-selling artist. His work was also reproduced and distributed by The Greenwich Workshop. In 1973, he had his first major exhibition of his paintings, a show of twenty-three canvases, at the Husburg Gallery in Scottsdale, Arizona, and it sold out in twenty minutes. This success caused him to make a total commitment to fine art, and he moved from New York to Arizona. A popular motif of his has been high-speed action, especially stampeding buffalo. In 1975, he was elected a member of the Cowboy Artists of America, and in 1998, he resigned from the organization. In 1997, he was indicted into the "Illustrators Hall of Fame." He is also a member of the Northwest Rendezvous Group and has exhibited at the National Cowboy Hall of Fame and the Western Heritage Center and had a retrospective at the Gilcrease Museum in Tulsa, Oklahoma. Sources include: Walt Reed, "The Illustrator in America, 1860-2000" Exhibition Catalogs, Cowboy Artists of America

Lot: 44 - Frank C. McCarthy, New York, Arizona (1924 - 2002), Burning the Way Station, 1979, offset lithograph, 18 1/4"H x 28 1/2"W (Sight), 28 1/4"H x 38 1/4"W (Frame)

Frank C. McCarthy New York, Arizona, (1924 - 2002) Burning the Way Station, 1979 offset lithograph Pencil signed lower left, 720/1000. Printed 1980. Biography from the Archives of askART: Western painter and illustrator known for depictions of plains Indians in action, Frank McCarthy spent much of his career in New York City and the last years in Arizona. He was born in New York City and for twenty-one years was as an illustrator for major magazines including "Colliers," "Argosy" and "True" and for paperback book publishers. He studied at Pratt Institute and the Art Students League in New York and then followed a course of commercial art. Many of his illustrations were large western paintings, something that continued to earn him a reputation as a top-selling artist. His work was also reproduced and distributed by The Greenwich Workshop. In 1973, he had his first major exhibition of his paintings, a show of twenty-three canvases, at the Husburg Gallery in Scottsdale, Arizona, and it sold out in twenty minutes. This success caused him to make a total commitment to fine art, and he moved from New York to Arizona. A popular motif of his has been high-speed action, especially stampeding buffalo. In 1975, he was elected a member of the Cowboy Artists of America, and in 1998, he resigned from the organization. In 1997, he was indicted into the "Illustrators Hall of Fame." He is also a member of the Northwest Rendezvous Group and has exhibited at the National Cowboy Hall of Fame and the Western Heritage Center and had a retrospective at the Gilcrease Museum in Tulsa, Oklahoma. Sources include: Walt Reed, "The Illustrator in America, 1860-2000" Exhibition Catalogs, Cowboy Artists of America

Lot: 45 - David Halbach, Arizona, California (b. 1931), Overlooked, 2002, giclee print, 13 1/2"H x 18 1/2"W (Sheet)

David Halbach Arizona, California, (b. 1931) Overlooked, 2002 giclee print Pencil signed lower right. Cowboy Artists of America print published by The Greenwich Workshop. Biography from Altermann Galleries and Auctioneers: David Halbach wanted to be an artist for as long as he could remember. At first, it was for recognition from his parents, and then later in junior high school he discovered that he had a real talent. He completed his first paintings when he was in sixth grade, and after that he just kept on painting. Since Halbach's grades were not good enough to become the doctor or lawyer his mother had hoped he would become, he attended the Chouinard Art Institute in Los Angeles, California. After finishing art school and a tour in the Navy, Halbach went to work as an animator for Disney studios working on Lady and the Tramp. Leaving Disney, he then entered into commercial art and advertising, and eventually became an art teacher, a position that allowed him to create fine art and refresh his knowledge of the basics. Leaving California, Halbach and his wife, Jean, moved to Arizona, where he began to work as a professional artist. He began to sell his paintings through galleries and is now known as a successful watercolorist. A painter in American Western genre, Halbach researches subjects for his works extensively. He says, "There is a lot of truth in 'Paint what you know.'" Living in Arizona was conducive to creating the Western scenes that he had loved since he was a child, and he began to carefully investigate the history of the West and all that was needed to make his work honest and correct. That investigation brought back memories of the many times he had played cowboys and Indians when he was young, memories which inspired him in his endeavors. According to Halbach, "A child's imagination is an important asset to an artist. It mustn't be lost." Halbach has a special affection for the Hopi Indians, their pueblos and their culture, and that affection plays an important part in his art. He encourages the viewer to use their imagination, always allowing for a little mystery in each image. Reference: www.claggettrey.com

Lot: 46 - Two Western themed prints: After Frederic Remington (1861 - 1909), A Dash for the Timber, canvas print and Frank McCarthy (1924-2002), When the Land Was Theirs, offset lithograph, 54/2500, 19 3/4"H x 35 1/4"W (Sight), 26

Two Western themed prints: After Frederic Remington (1861 - 1909), A Dash for the Timber, canvas print and Frank McCarthy (1924-2002), When the Land Was Theirs, offset lithograph, 54/2500, with Arizona mined turquoise.

Lot: 47 - Pair of Cowboy Artists of America canvas prints: Martin Grelle, Monarchs of the North, 2002 and Kenneth Riley, Buffalo Dance, 2002. 12"H x 15 3/4"W (Largest)

Pair of Cowboy Artists of America canvas prints: Martin Grelle, Monarchs of the North, 2002 and Kenneth Riley, Buffalo Dance, 2002. Both signed. Published by The Greenwich Workshop.

Lot: 48 - Michael Stack, American (b. 1947), Gardner Canyon Toward Evening, 1996, lithographic print, 24"H x 27 3/4"W (Sheet)

Michael Stack American, (b. 1947) Gardner Canyon Toward Evening, 1996 lithographic print Signed lower right, edition 55/75, artist's proof. Mark on print center right. Biography from the Archives of askART: Michael Stack finds inspiration for his paintings from the landscapes around his home in the foothills of the Santa Catalina Mountains near Tucson, Arizona. His painting are all of actual places that Stack has visited. Stack's paintings are noted for the use of light and cloud formations. ---------------------------------------------------------------------- Michael Stack (NY 1947- ) was born in New York and raised in California. He is self-taught and has always been interested in art, primarily landscape painting. For the past twenty years, he has lived and painted in New Mexico and Arizona, and has sought to capture on canvas the skies and the openness of the southwestern landscape.The focus of his works is the fleeting moment of shadow, light and color that awakens an emotional response in the viewer. His paintings are included in collections in the United States, Europe and Japan. Stack's work has appeared on the cover as the featured artist of "Southwest Art", August 1992 and "Art of the West", August-September 1993. He has also been featured in "Southwest Art" in 1987, "U.S. Art" in and 1989 as well as various other national and local publications. In the fall of 1997 Stack was inducted as a Master Artist for the Artist of America show sponsored by the Denver Rotary. In 1996 we was named the Tucson Artist of the Year, the twenty-fourth to be honored. Source: Kent Whipple, Art Professional

Lot: 49 - Working the West by William Matthews signed limited edition 203/400 boxed book 13 1/4"H x 11 /4"W x 1 1/4"D

Working the West by William Matthews signed limited edition 203/400 boxed book

Lot: 50 - John Thomas Biggers, American (1924 - 2001), The Contribution of Negro Women to American Life and Education, limited edition color lithograph, 19"H x 38"W

John Thomas Biggers American, (1924 - 2001) The Contribution of Negro Women to American Life and Education limited edition color lithograph After the original mural in Houston, TX. Biography from Michael Rosenfeld Gallery: Known for his narrative murals and outstanding draftsmanship, John Biggers dedicated his work to the depiction of the human condition. Born in Gastonia, North Carolina, he studied at Hampton Institute (1941-1946) - later renamed Hampton University - under Victor Lowenfeld and Charles White. In 1943, Biggers's mural "Dying Soldier" was featured in the Museum of Modern Art's landmark exhibition "Young Negro Art", organized by Lowenfeld. After serving in the United States Navy (1943-1945), he enrolled in Pennsylvania State University (where Lowenfeld had relocated), earning a B.S. and M.S. (1948), and Ph.D. (1954). In 1949, Biggers moved to Houston, Texas where he founded and then chaired the art department at Texas Southern University. In 1950, he was awarded first prize at the annual exhibition of the Museum of Fine Arts in Houston for his painting, "The Cradle". In 1957, he traveled to Africa on a UNESCO grant to study Western African cultural traditions, becoming one of the first black artists to travel to Africa. This opportunity, which he described as "the most significant in my life's experiences," led to the publication of "Ananse: The Web of Life in Africa" (1961), a book of drawings and text based on his journeys in Ghana, Nigeria and other parts of Africa. Whether drawing African women dancing or creating one of his twenty-seven public murals, Biggers drew inspiration from his ancestral heritage, African art, Southern black culture, nature, and everyday experiences. Often labeled a social realist for his figurative social commentary of the 1940s, Biggers did work continually evolved over five decades, and in 1995, the Museum of Fine Arts in Houston and Hampton University Art Museum organized his first comprehensive retrospective, exposing the depth of his oeuvre. John Biggers died in 2001, leaving behind a body of work that, as Maya Angelou stated, "leads us through his expressions into the discovery of ourselves at our most intimate level." Michael Rosenfeld Gallery is the exclusive representative of the Estate of John Biggers.

Lot: 51 - John Carroll Doyle, South Carolina (1942 - 2014), Mojo Mama, 1993, print, 38"H x 27 1/2"W (sheet)

John Carroll Doyle South Carolina, (1942 - 2014) Mojo Mama, 1993 print Biography from First Light Gallery, LLC: Born in Charleston, South Carolina in 1942, John's early inspiration was found in the enchantment of the wooden boats of the yacht basin, the charm of Charleston's architecture, the city's African-American (Gullah) population, and the coastal sun that floods the town with brilliant light. Early in his career, John achieved national notoriety with his sport fishing renderings that graced the covers of publications including Salt Water Sportsman and Marlin magazines. John's subject matter is diverse and fascinating, including, nudes, wildlife, still lives, and garden scenes. He has received countless awards for his work and was the featured artist for the South Carolina Wildlife Exposition. John has two published volumes of his paintings, as well as two published volumes of his photography. His paintings have been used for television and movies and his work can be found in corporate and private collections nationally and internationally.

Lot: 52 - Sue Halstenberg, California (b. 1957), Evening Tea, 1988, lithograph, 17"H x 22"W (sheet)

Sue Halstenberg California, (b. 1957) Evening Tea, 1988 lithograph Signed and dated in the print lower right. Biography from Sue-Halstenberg.pixels.com: Sue Halstenberg lived in Southern California her entire life. She studied Art History at UC San Diego before earning her Bachelor of Fine Arts Degree from the Art Center College of Design in Pasadena, where she studied under many accomplished artists. Sue started her career as a department store fashion illustrator with her drawings continuously appearing in the Los Angeles Times for over seven years. She later attended workshops at Scottsdale Artist's School where she was most influenced by the outdoor figure painting class of George Carlson. Sue decided to leave the commercial art world to create paintings containing deeper esthetic values and lasting appeal. "I am most intrigued by drawing the shapes and subtle forms of a subject and always paint a value study of the entire piece before adding any color." Sue uses dramatic light and shadow to express the inner emotions of the women she paints. Sue's elegant painting Victoria was featured on the cover of American Artist Magazine. An award winning artist, Sue was accepted as a Signature Member of the Pastel Society of America. She was also a member of the Santa Barbara Art Association and California Art Club. Sue taught traditional and visionary drawing and painting at her art studio in Ojai, Calfornia.

Lot: 53 - Two color lithographs: Sue Halstenberg, Victorian lady on uncut sheet; Elisabeth Estivalet, French bucolic landscape

Two color lithographs: Sue Halstenberg, Victorian lady on uncut sheet; Elisabeth Estivalet, French bucolic landscape

Lot: 54 - Alberto Vargas, Peruvian American (1896 - 1982), Spanish Lace, lithograph, 27 1/4"H x 23 1/4"W (sheet)

Alberto Vargas Peruvian American, (1896 - 1982) Spanish Lace lithograph Print after the 1928 painting. Biography from the Archives of askART: Born in Arequipa, Peru on Feb. 9, 1896, Vargas immigrated to New York City in 1916 after his art studies in Switzerland and France were interrupted by World War I. After three years of commercial work and private portraits, he obtained a contract from Flo Ziegfield to paint his Follies stars. In 1934 he moved to Hollywood where he painted and designed sets for all the major movie studios. His "Vargas Girls" became famous when featured in such magazines as Esquire (1940s) and Playboy (1950s). Vargas died in Los Angeles on December 30, 1982. Exh: San Francisco Art Exchange, 1986 (solo). Edan Hughes, "Artists in California, 1786-1940" SF Chronicle, 6-7-1986, p. 4.

Lot: 55 - Three art prints: Adolphe William Bouguereau, "Young Girl Defending Herself Against Eros" The J. Paul Getty Museum Malibu, California, 1980, John Singer Sargent, "Lady Elsie Meyer," Guillaume seignac, "Indolence" 32"H x

Three art prints: Adolphe William Bouguereau, "Young Girl Defending Herself Against Eros" The J. Paul Getty Museum Malibu, California, 1980, John Singer Sargent, "Lady Elsie Meyer," Guillaume seignac, "Indolence"

Lot: 56 - Bernard (Bernie) Fuchs, American (1932 - 2009), Classic Duel, horse racing print / Pebble Beach Golf, AT&T Pebble Beach golf tournament, 3 gallery proof lithographs, 26 1/2"H x 18 1/2"W (each)

Bernard (Bernie) Fuchs American, (1932 - 2009) Classic Duel, horse racing print / Pebble Beach Golf, AT&T Pebble Beach golf tournament 3 gallery proof lithographs Unsigned. Biography from the Archives of askART: Noted illustrator and impressionist painter, Bernard Fuchs was born in O'Fallon, Illinois, and was born at home because the town had no hospital. His parents had an unhappy

Lot: 57 - Brian Scott-Dawkins, South African (b. 1949), zebra African landscape / elephant African landscape, 2 wildlife lithographs, 28"H x 40"W (sheet, largest)

Brian Scott-Dawkins South African, (b. 1949) zebra African landscape / elephant African landscape 2 wildlife lithographs

Lot: 58 - Craig Bone, (b. 1955), Curious Cubs, wildlife leopard print, color lithograph, 28"H x 40"W

Craig Bone (b. 1955) Curious Cubs, wildlife leopard print color lithograph Signed lower right. Uncut proof from the press. Biography from the Archives of askART: A resident of Fort Lauderdale, Florida, Craig Bone is a painter of big game and other wildlife. He was born in Salisbury, Rhodesia in 1955, and studied Graphic Art at Natal University in South Africa.I In 1973 Craig returned to Rhodesia to perform his National Service in the Rhodesian Light Infantry. During this time he painted vivid scenes of combat and was totally immersed in the war. Craig was severely wounded by a mortar attack, which almost cost him his legs and his life, subsequently his focus turned to painting full time. Craig has since devoted his time, energy and skills to helping various organizations and charities. Craig's strong sense of community spirit and his passion for the military has encouraged him to support veteran programs throughout the United States and in Zimbabwe. Most recently, Craig has raised over $100,000 for the Safari Club International Veterans Committee which supports soldiers from Vietnam, Afghanistan, and Iraqi battlefields who have been wounded during active duty. His painting, entitled Earth, Wind and Fire, which hangs in the Pentagon, is a depiction of the reality of the Vietnam War and honors the sacrifice of American soldiers. Craig is currently working on similar projects connected to the Iraq and Afghanistan War. Craig has been awarded the Safari Club Medal of Valor for his consistent support and dedication to the Veteran's Committee, and in 2003, Craig was also awarded the Safari Club International Wildlife Artist of the Year. Due to his obvious passion and support of veteran programs, Craig was honored to participate in the official opening of Fort Bragg's Airborne and Special Operations Museum in North Carolina. Within his own community, Craig has volunteered his time to the Cancer center Health park of Fort Myers, Florida. Recently, Craig was approached and commissioned to paint a portrait of the Zulu King, Goodwill Zwelithini KaBhekuzulu, the reigning king of Zululand. To date he has illustrated several books. Source: Website of the Artist

Lot: 59 - Guy Coheleach, New York, New Jersey (b. 1933), Caribou / Koala Bear, lithograph / offset lithograph, 22 3/4"H x 18"W(sight), 33"H x 28"W(frame) - (larger)

Guy Coheleach New York, New Jersey, (b. 1933) Caribou / Koala Bear lithograph / offset lithograph Both pencil signed. Caribou is a Regency House Art Inc. print. Koala Bear was exhibited at The Folger Gallery, IN. Biography from Trailside Galleries: In the last 10 years Guy Coheleach has had one-man exhibitions at major museums in 19 cities across America from New York to Los Angeles. His paintings have received the Award of Excellence of the Society of Animal Artists an unprecedented eight times. Curators and professors of fine art award this most prestigious honor from museums and universities across America. The subject of two films "Guy Coheleach and the Bald Eagle" and "Quest: An Artist and His Prey", Coheleach has also been the focus of articles in "Reader's Digest", "Saturday Evening Post", as well as numerous regional art and wildlife magazines. "The Big Cats: The paintings of Guy Coheleach" by Abrams was a book of the month Club selection in 1992. Both it and his "Coheleach: Master of the Wild' are out of print. "Guy Coheleach's Animal Art" by DDR Publishing is still in print.In 1972 an elephant in Zambia ran him down. "This is exactly what has made him one of the best wild animal painters in the world admired by both scientists and art critics," says Pat Robertson in Sporting Classics. His endowment at the University of Tennessee provided about six full scholarships to the School of Wildlife Management each year.

Lot: 60 - Three vintage Sudi McCollum wildlife posters: Monterey Bay Aquarium, "American Avocets," 1989, signed; Monterey Bay Aquarium, "Kelp Forest," 1986; "Egret Pond Water," 1982. 25"H x 36"W (Largest)

Three vintage Sudi McCollum wildlife posters: Monterey Bay Aquarium, "American Avocets," 1989, signed; Monterey Bay Aquarium, "Kelp Forest," 1986; "Egret Pond Water," 1982.

Lot: 61 - Pair of wildlife prints: signed Tom Taylor "Field Museum of Natural History" panda poster and "Morning Flight Eagle" lithographic print by Ron Parker 39 1/4"H x 24 1/4"W (Frame, Largest)

Pair of wildlife prints: signed Tom Taylor "Field Museum of Natural History" panda poster and "Morning Flight Eagle" lithographic print by Ron Parker

Lot: 62 - Five Field Museum of Natural History Chicago exhibition posters: 3 Tom Taylor "Nature and the Artist" bird prints; 2 "Gems" prints with photos by Ron Testa: Golden Beryl and stained glass window designed by Louis Tiffany

Five Field Museum of Natural History Chicago exhibition posters: 3 Tom Taylor "Nature and the Artist" bird prints; 2 "Gems" prints with photos by Ron Testa: Golden Beryl and stained glass window designed by Louis Tiffany.

Lot: 63 - Doug Johnson, American (b. 1940), garbage truck with reflection, 1981, lithographic print, 23 1/2"H x 33"W

Doug Johnson American, (b. 1940) garbage truck with reflection, 1981 lithographic print Unsigned. Biography from Graphis.com: With his distinctive airbrushing method and ravenous attention to detail, Doug Johnson's art owned the 1970s and 1980s. Making heavy use of dreamy colors, exceptional hard lighting accents and the round warmth of cartoons, Johnson's art is nothing short of an eye-popping, psychedelic experience. Far from the garish excesses of other illustrators of his time, Johnson's approach successfully balanced refinement and his altered point of view. He has a knack for making the subjects of his art seem simultaneously lifelike and fantastical. It can be seen in album covers he produced for rock groups Ike & Tina Turner and Judas Priest. For the Turners, Johnson aptly captured the group's international fame and coupled it with their elaborate, high-energy stage show. With Judas Priest, Johnson was able retain his classis style and inject it simultaneously with baleful subjects, more in line with the sinister qualities of heavy metal. Johnson is versatile. He made film posters for epic films like 1900, designed the cover for the 1972 Manhattan Yellow Pages and has fielded work for scores of clients including Life, Esquire and Time magazines, numerous advertising accounts and record sleeves.

Lot: 64 - Ken Davies, American (1925 - 2017), A Rack of Fans, 1980, collotype, 31 1/2"H x 22 1/2"W (sheet)

Ken Davies American, (1925 - 2017) A Rack of Fans, 1980 collotype Pencil signed lower right, 288/950. From the Triton Collection, NY. Biography from the Archives of askART: The following biography is based in part on information from the web site of Sheldon Memorial Art Gallery, Lincoln, Nebraska. Born in New Bedford, Massachusetts, Kenneth Davies became a noted still-life painter

Lot: 65 - Michael Atkinson, Texas (b. 1946), Emerald Lake, 1991 / Granddad's House, 1987, 2 limited edition color lithographs, 27"H x 33 1/4"W - one

Michael Atkinson Texas, (b. 1946) Emerald Lake, 1991 / Granddad's House, 1987 2 limited edition color lithographs Unsigned. Biography from WaterStreet.gallery: Michael Atkinson uses brilliant color and design which has won him international acclaim, but that has not stopped this native Texan from continually exploring reality through new media and images of the mind and heart. Atkinson seeks to capture the emotion, be it subtle or exaggerated, a pursuit that has been in evolution since he started painting as a child in the northwest Texas town of Lubbock. Attracted early to the study of architecture, he earned a degree from Texas Tech University, then taught and worked in the field for a time. He soon realized that he was most drawn to the design and presentation aspects of his profession. In the summer of 1974, he took time off to concentrate on his painting. The response to his work was so great, he made the decision to paint full time. A painting by Michael Atkinson is immediately recognizable by its composition. He feels that watercolor permits spontaneity and freedom and can be made to do things on its own utilizing texture, density of color, variation of light and dark. White space is also an essential element of the ‘Atkinson look'. In addition to his dazzling medium of watercolor, Atkinson demonstrates his excellent artistic ability with beautiful bronze sculpture. His bronze pieces mirror the electricity of his two dimensional work, earning a grand reception from his legions of collectors.

Lot: 66 - Maxfield Parrish "Daybreak" color lithograph 25"H x 40"W

Maxfield Parrish "Daybreak" color lithograph Creasing present on corners and edge.

Lot: 67 - Floral print botanical study purple irises lithograph 35"H x 23"W

Floral print botanical study purple irises lithograph Smudges present around margin.

Lot: 68 - Pair of botanical prints: "Anona squamosa and Cecropia Moth" by Mark Catesby, from The Natural History of Carolina, Florida and the Bahama Islands and "Attalea Compta and Mauritia Armata" by Carl Friedrich Philipp von Ma

Pair of botanical prints: "Anona squamosa and Cecropia Moth" by Mark Catesby, from The Natural History of Carolina, Florida and the Bahama Islands and "Attalea Compta and Mauritia Armata" by Carl Friedrich Philipp von Martius from Historia Naturalis Palmarum Anona Squamosa marked "salesman"s copy" and Attalea Compta marked "Field Museum."

Lot: 69 - Three "Hill's Eden" hand-colored botanical prints in large gilt frames: plates 26, 31, 34 30 1/2"H x 20"W (Sight), 43 1/2"H x 32 1/2"W (Frame)

Three "Hill's Eden" hand-colored botanical prints in large gilt frames: plates 26, 31, 34 Hand colored prints enlarged from antique engravings by the British artist John Hill, M.D. From "Eden or a Complete Body of Gardening" originally published in London by H. Woodgate, Paternoster Row, ca. 1757.

Lot: 70 - Set of 4 vintage gilt framed botanical prints 10 1/4"H x 7"W (Sight), 17 3/4"H x 14 1/5"W (Frame) (One)

Set of 4 vintage gilt framed botanical prints

Lot: 71 - Gil Bruvel, French (b. 1959), The Infinitesimal City, 1989, lithograph, 40"H x 28"W (sheet)

Gil Bruvel French, (b. 1959) The Infinitesimal City, 1989 lithograph Unsigned, uncut proof from the press. Top left corner torn. Biography from Robin Rile Fine Art: Born in Sydney, Australia, in 1959, Gil Bruvel had French-born parents who moved the family back to the south of France when he was 4 years old. While taking drawing lessons at age 9 and learning sculpture basics, Bruvel made the decision to spend his life creating art. There he found himself inspired by the light and landscapes in this region. He began working with oil paint at the age of 12, and the local environment had an enormous and lasting influence on his palette -giving him luminous colors he continues to use today. His father, being a cabinetmaker, introduced the budding artist to the inner workings of a wood workshop including furniture design, its practical function, and every aspect of hand crafting each piece. Taking this knowledge and experience with him, Bruvel began studies at an art restoration workshop 1974, spending the next three years learning the techniques of the Old Masters and modern Masters of fine art. Thereafter he set up his studio in St. Remy de Provence until 1986 when he first made his way to the United States, making it his permanent residence in 1990. At that time he started to experiment more with sculptures in bronze, mixed media and digital modeling as well as continuing to learn about creative processes in artistic expression. He is currently creating functional art, sculptures, and paintings. Gil Bruvel has been exhibiting his work since 1974 in various places around the world and including: France, Monaco, England, Denmark, The Netherlands, Hungary, Japan, Singapore, New York, Florida, Colorado, New Mexico, Arizona, California and Hawaii.

Lot: 72 - Richard Bober, American (b. 1943), Gift of the Old Masters, lithograph, 27"H x 19 1/2"W

Richard Bober American, (b. 1943) Gift of the Old Masters lithograph

Lot: 73 - Charles Becker, California (20/21st century), Continuum, lithograph, 35"H x 27"W (sheet)

Charles Becker California, (20/21st century) Continuum lithograph Damage to upper right corner. Biography from CharlesBeckerArt.com: Charles Becker is an internationally acclaimed artist with collections in over 30 countries including Mexico, Canada, Japan, Brazil, and The Netherlands. He experiments with a variety of styles, depicting genres from classical still life to surrealist paintings, with equal aplomb. His expressions of Magical Realism have captivated the public and secured his place in the contemporary art scene. Magical Realism is a specialized painting style, offering a realistic view of the world while also adding magical elements, often blurring the lines between fantasy and reality. Absolut Vodka commissioned three pieces from him, "Absolut Becker", "Absolut California", and "Absolut Collection", used in advertising in publications such as Connossieur, Interview, and Time magazines. His work has also been featured in Sunstorm, Art & Antiques, USA Today, Art News, U.S. Art, and many other publications. Locales for his notable shows include the Sprit museum in Stockholm, the St. George Art Museum in Utah, and a continuous feature for 20 years at Weinstein Gallery in San Francisco's Union Square. His work is highly sought after for the personal collections of well-known personas, including baseball's Alex Rodrigues, and the founding family of L.L. Bean. Journalist Herb Cain once penned a story in the San Francisco Chronicle mentioning the purchase of Charles' paintings by sumo wrestler Takanohana Koji. Charles' Eastern European Jewish heritage has shaped his approach to life and art. An early stint as a young boy at a Jewish summer camp helped him reflect on his identity, as well as social inequities of minority groups and the strength that comes in their banding together. Speaking about his roots, Charles notes, "Looking at our ancestors and thinking about trying harder to stand up and say something – there's a richness in knowing who they were, what they did to survive, and how they stayed alive long enough for us to be here. It's powerful to be connected with a tribe of people- a larger family". His art resonates with this strong tie between present and past. As an art educator, Charles maintains a teaching studio in Northern California, serving students in five counties and giving online lessons to students around the world. Many of his students have become professional artists.

Lot: 74 - Frederick Phillips, British (b. 1953), The orangerie, lithograph, 36"H x 27"W (sheet)

Frederick Phillips British, (b. 1953) The orangerie lithograph Unsigned. Biography from Sam Heller Fine Art, Inc: Born in 1953 in the English pottery-manufacturing town of Stoke-on-Trent, Staffordshire, Frederick Phillips descends from an artistic family background which includes the distinguished Victorian artist, Francis W. Topham (1808-1877). Influenced by Topham's paintings, Phillips became an accomplished watercolorist by the age of twelve. Awarded a scholarship at age seventeen, Phillips began studying at Burslem College of Art. Here he encountered the work of the Surrealist artists and realized that he, too, had begun to create images that could be called "surrealist". Phillips graduated with an Honors Degree in Fine Art at the age of twenty-one. In 1975, he achieved recognition with his first one-man show at the Norton Gallery, Birmingham, England; reviewers compared his early work to the paintings of Rene Magritte. By 1984, Phillips' work was being shown at several London galleries. In 1985, Phillips was introduced to American collectors by a Chicago Gallery. In 1990, Phillips moved to the U.S. through an 'Artist of Exceptional Ability' visa in order to accommodate the practical demands of his rapidly expanding career. In the course of a career that now spans twenty-five years, Phillips' art moved from its basis in surrealism, toward a more subtle approach to the "inner eye" with which he sees the world around him. He addressed this as part of his 1996 lecture, "Dream and Reality in Art", at Chicago's Museum of Contemporary Art.

Lot: 75 - Pair of science fiction fantasy lithographs: Michael Whelan (b. 1950), Passage to Sanctuary: Landing, 1994; Tim Hildebrandt (1939-2006), The Watchman, 1993 27 1/2"H x 22 1/2"W (largest)

Pair of science fiction fantasy lithographs: Michael Whelan (b. 1950), Passage to Sanctuary: Landing, 1994; Tim Hildebrandt (1939-2006), The Watchman, 1993 The Watchman: embossed signature, date, and publisher's emblem lower.

Lot: 76 - Two Michael Whelan (b. 1950) science fiction fantasy lithographs: Passage to Sanctuary and Passage to Sanctuary: Path's End 24 1/2"H x 24"W (sheet, largest)

Two Michael Whelan (b. 1950) science fiction fantasy lithographs: Passage to Sanctuary and Passage to Sanctuary: Path's End

Lot: 77 - Pair of Brothers Hildebrandt science fiction fantasy lithographs: Greg Hildebrandt (1939-2024), Dragons Clash; Tim Hildebrandt (1939-2006), The Watchman, 1993 19 1/4"H x 25 3/4"W (Largest)

Pair of Brothers Hildebrandt science fiction fantasy lithographs: Greg Hildebrandt (1939-2024), Dragons Clash; Tim Hildebrandt (1939-2006), The Watchman, 1993

Lot: 78 - Two Mahmoud Farshchian (Irananian, b. 1930) lithographs: Hope is Eternal and Cosmic Dance 24 3/4"H x 18 1/4"W (One)

Two Mahmoud Farshchian (Irananian, b. 1930) lithographs: Hope is Eternal and Cosmic Dance

Lot: 79 - Two fantasy lithographs: Shun Kijima, The Legend from Battlefield Earth and Frank Frazetta, Egyptian Queen 40"H x 28"W (sheet)

Two fantasy lithographs: Shun Kijima, The Legend from Battlefield Earth and Frank Frazetta, Egyptian Queen One uncut proof from the press.

Lot: 80 - Two Kirk Reinert fantasy lithographs: Rainbow Unicorn and Snowfield illumination 27"H x 40"W (sheet, each)

Two Kirk Reinert fantasy lithographs: Rainbow Unicorn and Snowfield illumination Biography from KirkReinert.com: KIRK REINERT is an American artist who resides in upstate New York. Kirk discovered that drawing was a natural talent at a very early age having been introduced to art by his grandfather, a sports cartoonist for the Cleveland Plain Dealer, and his uncle, an animator. Kirk graduated from Cooper School of Art with a degree in production art and design but is a self-taught painter. Upon graduation, he worked in advertising as an illustrator and designer and after 3 1/2 years went on to establish his own studio in 1981. Kirk became one of the leading illustrators in the genres of fantasy, horror, and science fiction. During his career as a book cover artist, he has painted over 200 book covers, including projects such as the 'Conan the Barbarian' series and Clive Barker's novels. He has won many awards including "Cover Artist of the Year" for his "Creepy" and "Eerie" magazine covers at Warren publishing and he has been honored 4 times with the "National Best Book Cover of the Year" awards for work done with Harper/Collins publishers. Also from that era, his book cover paintings were exhibited at the Society of Illustrators in NYC. In addition, Kirk has worked as a conceptual designer for a major motion picture, painted album covers and worked with rock groups such as 'KISS', worked as an art director on video projects, and has been involved in toy design and package design for Hasbro. For the last 18 years, Kirk has concentrated primarily on painting fine art pieces which have shown in galleries across the country and in Japan. In 1988, he took time to learn the lithographic printing process at the prestigious Atelier Ettinger in NYC and to hand draw all of the lithographic plates for his first original limited print edition. In 1990, Kirk started a conceptual collaboration with Lilli Farrell, who, along with being a designer, is a spiritual teacher and has been a natural healer since she was a child. Their teamwork proved to be a catalyst for creating a whole new dimension in Kirk's paintings and in 1993, the paintngs that Kirk and Lilli created together gained immense popularity in Japan. Since then, they have done at least 2 art exhibition tours every year in Japan. Kirk feels that even since his earlier days as an illustrator, he has remained true to his own aesthetic vision. His gifted sense of light, color, and form gives him a special talent for putting life into everything he paints and creating a truly believable experience that touches the imagination of the viewer and brings a feeling of magic to his work. Although Kirk enjoys working with oils and watercolor, the majority of his paintings are painted with acrylic paint on board. In addition, many of Kirk's paintings have been reproduced as limited edition fine art prints.

Lot: 81 - Two Kirk Reinert fantasy lithographs: Sea of Dreams and Snowfield illumination 28"H x 40"W (sheet, largest)

Two Kirk Reinert fantasy lithographs: Sea of Dreams and Snowfield illumination One uncut proof from the press. Biography from KirkReinert.com: KIRK REINERT is an American artist who resides in upstate New York. Kirk discovered that drawing was a natural talent at a very early age having been introduced to art by his grandfather, a sports cartoonist for the Cleveland Plain Dealer, and his uncle, an animator. Kirk graduated from Cooper School of Art with a degree in production art and design but is a self-taught painter. Upon graduation, he worked in advertising as an illustrator and designer and after 3 1/2 years went on to establish his own studio in 1981. Kirk became one of the leading illustrators in the genres of fantasy, horror, and science fiction. During his career as a book cover artist, he has painted over 200 book covers, including projects such as the 'Conan the Barbarian' series and Clive Barker's novels. He has won many awards including "Cover Artist of the Year" for his "Creepy" and "Eerie" magazine covers at Warren publishing and he has been honored 4 times with the "National Best Book Cover of the Year" awards for work done with Harper/Collins publishers. Also from that era, his book cover paintings were exhibited at the Society of Illustrators in NYC. In addition, Kirk has worked as a conceptual designer for a major motion picture, painted album covers and worked with rock groups such as 'KISS', worked as an art director on video projects, and has been involved in toy design and package design for Hasbro. For the last 18 years, Kirk has concentrated primarily on painting fine art pieces which have shown in galleries across the country and in Japan. In 1988, he took time to learn the lithographic printing process at the prestigious Atelier Ettinger in NYC and to hand draw all of the lithographic plates for his first original limited print edition. In 1990, Kirk started a conceptual collaboration with Lilli Farrell, who, along with being a designer, is a spiritual teacher and has been a natural healer since she was a child. Their teamwork proved to be a catalyst for creating a whole new dimension in Kirk's paintings and in 1993, the paintngs that Kirk and Lilli created together gained immense popularity in Japan. Since then, they have done at least 2 art exhibition tours every year in Japan. Kirk feels that even since his earlier days as an illustrator, he has remained true to his own aesthetic vision. His gifted sense of light, color, and form gives him a special talent for putting life into everything he paints and creating a truly believable experience that touches the imagination of the viewer and brings a feeling of magic to his work. Although Kirk enjoys working with oils and watercolor, the majority of his paintings are painted with acrylic paint on board. In addition, many of Kirk's paintings have been reproduced as limited edition fine art prints.

Lot: 82 - Two fantasy art prints: Kirk Reinert, Snowfield illumination lithograph and Christian Riese Lassen, Dolphin Quest II lamination 28"H x 40"W (sheet, each)

Two fantasy art prints: Kirk Reinert, Snowfield illumination lithograph and Christian Riese Lassen, Dolphin Quest II lamination One uncut proof from the press.

Lot: 83 - Robert Heinecken, American (1931 - 2006), Waking up in News America, TV Network Newswoman Videogram series, 1984, lithograph, 26"H x 38"W

Robert Heinecken American, (1931 - 2006) Waking up in News America, TV Network Newswoman Videogram series, 1984 lithograph Pencil signed and dated lower right. Biography from the Archives of askART: Following is The New York Times obituary of the artist. Robert Heinecken, Artist Who Juxtaposed Photographs, Is Dead at 74 By ANDY GRUNDBERG Published: May 22, 2006 Robert

Lot: 84 - Manuel Nunez, (20th/21st century), Volare / Luna De Fuego, 2 lithographs with silkscreen and gold foil, 26 3/4"H x 37 1/4"W (largest, sheet)

Manuel Nunez (20th/21st century) Volare / Luna De Fuego 2 lithographs with silkscreen and gold foil From JustLookingGallery.com: As a graduate of the prestigious Art Center College of Design in Pasadena, California and the Otis Parsons Institute in Los Angeles, Nunez worked as a commercial illustrator and graphic designer within the fashion industry for 10 years. In 1991 Nùñez emerged from fashion illustration as one of America's most promising contemporary painters. Since 1991 Manuel has developed a body of fine art that captures both the contemporary and timeless spirit of women.

Lot: 85 - Pair of 1980s art posters: Peter Sato "Lady-of-Paradise" and James B. Wood Photography "Pianissimo" 30"H x 22"W (One)

Pair of 1980s art posters: Peter Sato "Lady-of-Paradise" and James B. Wood Photography "Pianissimo"

Lot: 86 - Wolf Trap Summer 1985 lithograph poster by Susan Davis 40"H x 28"W (sheet)

Wolf Trap Summer 1985 lithograph poster by Susan Davis Unsigned, uncut proof from the press. Wolf Trap National Park for the Performing Arts, Vienna, Virginia. Creasing present upper edge.

Lot: 87 - Alejandro Romero, Mexican (b. 1948), 1985 Chicago Jazz Festival, Petrillo Music Shell Grant Park, collotype, 29 1/4"H x 41 1/2"W (sheet)

Alejandro Romero Mexican, (b. 1948) 1985 Chicago Jazz Festival, Petrillo Music Shell Grant Park collotype Signed and dated lower right, printer's proof, edition of 18.

Lot: 88 - Carl Barks Walt Disney Co "In the Cave of Ali Baba" Gold Plate limited edition lithograph depicting Uncle Scrooge and his nephews. 25"H x 21 1/2"W

Carl Barks Walt Disney Co "In the Cave of Ali Baba" Gold Plate limited edition lithograph depicting Uncle Scrooge and his nephews. Embossed Walt Disney Company stamp and Gold Plate Edition emblem lower left.

Lot: 89 - Carl Barks Walt Disney Productions "Hands off my Playthings" Gold Plate limited edition lithograph depicting Uncle Scrooge and his nephews 25 1/2"H x 21"W

Carl Barks Walt Disney Productions "Hands off my Playthings" Gold Plate limited edition lithograph depicting Uncle Scrooge and his nephews Embossed Walt Disney Productions stamp lower left, Gold Plate Edition emblem lower right.

Lot: 90 - Will Moses (b. 1956) "Girls Night Out" Halloween folk art poster depicting a coven of witches, signed 24 1/2"H x 19"W (sheet)

Will Moses (b. 1956) "Girls Night Out" Halloween folk art poster depicting a coven of witches, signed Signed lower right. Biography from the Archives of askART: Soft, shadowy foothills dotted with traditional white farmhouses; weathered red barns tilted haphazardly on broad patchwork sweeps of green and hay-gold fields; small clusters of black and white cows grazing placidly in the

Lot: 91 - Lot of 8 Vincent Van Goat Starbucks parody art prints 25"H x 21 1/4"W (One)

Lot of 8 Vincent Van Goat Starbucks parody art prints

Lot: 92 - Art Sinsabaugh, American (1924 - 1983), Chi. La. #155, photographic print, 20"H x 26"W (sheet)

Art Sinsabaugh American, (1924 - 1983) Chi. La. #155 photographic print Uncut proof from the press dated 1979. Chicago cityscape, including the Daily News Building and the Aon Center. Original picture taken in 1964. Biography from HowardGreenberg.com: Art Sinsabaugh is the teacher and photographer who fostered new interest in landscape as subject-matter through his wide format photographs of the American rural and urban landscape. Born in New Jersey in 1924, Sinsabaugh moved to the mid-West in 1949 to study and later teach at Chicago's legendary Institute of Design. Together with photographers such as Lázló Moholy-Nagy and Harry Callahan, Sinsabaugh experimented with photographic innovations within a visual framework that was influenced by design principles. He began photographing the mid-West landscape with a standard size camera in 1952, but developed his signature style almost a decade later whilst teaching at the University of Illinois. Sinsabaugh took pictures in Illinois and Indiana with a large format banquet camera that enabled him to work with twelve by twenty inch sheet film. The resulting images were detailed, ribbon-like panoramas that reveal more than the human eye can see. Sinsabaugh used the camera to explore the relationship between humanity and the land, combining wide horizons with telegraph poles, farm dwellings, trees, pylons, cityscapes, massive rivers and corduroy-like ploughed fields in one fell swoop.

Lot: 93 - Joseph McDonald, American (20th/21st century), Tufa Domes, Mono Lake, 1984, photographic platinum print, 17"H x 24"W (sheet)

Joseph McDonald American, (20th/21st century) Tufa Domes, Mono Lake, 1984 photographic platinum print Signed lower right, printer's proof. Creases present on upper and lower left corners. Biography from JMcDonaldArt.com: Joe is an artist and working commercial photographer. He started Joseph McDonald Photography approximately 25 years ago and his history of specialized photography of fine art and custom printing predates his appointment as Photographer for the Fine Arts Museums of San Francisco in 1988. Educational achievements include a BA from the University of Minnesota in Literature and Music, an MA in Humanities from Arizona State and a subsequent MA from San Francisco State in Studio Art (Photography). Currently Joe is a partner at Digital Grange, a photography and custom printing studio as well as sole proprietor of the adjacent IceHouse Gallery curating and hanging various artists' shows. He taught for 25 years at Santa Rosa Junior College as an adjunct professor in the art department. A collection of renowned commercial clients include: Pixar Animation Studios, Lucas Film, Chronicle Books, The Corcoran Gallery, McSweeneys, Antiques Magazine, Hewlett Packard, The Chicago Art Institute, Winterthur, and the Gordon and Ann Getty Collections as well as many other commissions from museums, galleries and individual artists. Artist Statement Joe's artwork reflects his interests in photography, printmaking, painting and collage often combined with digital technology which defines his creative process. Often straight photography alone is enough to realize his artistic goals, more often he records objects, surfaces and textures that are blended together to form visual compositions. The output of the multi-layered process is fine printmaking enhanced to produce rich, beautiful, archival works throughout the limited editions. Joe continues to explore the use of the computer with photography along with more traditional methods of art.

Lot: 94 - Lot of 2 uncut sheets of photographic prints: Southwest landscapes, black and white portraits

Lot of 2 uncut sheets of photographic prints: Southwest landscapes, black and white portraits The Southwest landscape is double sided.

Lot: 95 - Douglas Busch, American (b. 1951), Aspens and Fir Trees, Victor, CO, 1985 / Little Rocky Glen, PA Northview, 1985, 2 silver chloride photographic prints, 16 1/4"H x 24"W (one)

Douglas Busch American, (b. 1951) Aspens and Fir Trees, Victor, CO, 1985 / Little Rocky Glen, PA Northview, 1985 2 silver chloride photographic prints Pencil signed lower right, signature date lower left 1983/84. Biography from SuperLarge.com: "I am interested in presenting reality more accurately than I can actually see it. On one level, my work is about a certain density. There is more to see than we can actually see." Busch's large format black and white photographs, ranging from 8"x10" to 40"x60" (shot with the world's largest portable camera, designed and built by the artist himself), present images of great beauty and irony, great subtlety and elegance. In Busch's photographs, "actuality is not abbreviated but opened into the world, not merely documented but discovered," states Dr. Donald Bartlett Doe, Director of the Mulvane Art Museum, Topeka, KS. Busch's vision and personal sensibilities enable him to capture the monumental in the ordinary, to inform the details of everyday life with sensitivity and clarity. Robert J. Evans, Director of the Danforth Museum of Art, Framingham, MA, notes, "Busch's combination of technical perfection and personal poetic sensitivity is truly overwhelming. His intense, aesthetic vision combines with his outstanding craftsmanship to produce strong works, simple and direct, yet redolent of the great artistic tradition that preceded him. There is a deeper mood and a quality of light washing through the cityscapes distinct in feeling from what we can see in most American imagery. Busch's sensibility shines through always, creating harmonies that delight the eye." Busch's technical ability is widely acknowledged and respected. His work has been published in virtually every international photographic magazine. Jannes Art Publishing of Chicago, IL writes, "Mr. Busch will become, within the next few years, one of the world's outstanding and most noteworthy black and white photographers. The technical caliber of his work is superb, his vision exciting and strong." Numerous publications have cited Busch's technical expertise in inventing and building photographic equipment for large format photography. Al Weber comments, "Busch's genius is his ability to combine his artistic talent with an uncanny technical expertise in a way which has placed him in a unique position within the international photographic field. By those who are familiar with his work, he is considered one of the most talented and accomplished large format black and white photographers anywhere."

Lot: 96 - Sandro Miller, American (b. 1958), portrait from American Bikers, lithograph, 26"H x 19"W (sheet)

Sandro Miller American, (b. 1958) portrait from American Bikers lithograph Biography from Photo.com: Born in 1958 in Elgin, Illinois, Sandro Miller is an American photographer (working professionally as "Sandro") known for his expressive images and his close work with actor John Malkovich and the other ensemble members of Chicago's Steppenwolf Theatre Company. Sandro is married to

Lot: 97 - Two William Coupon photographic prints featuring celebrity and "Cultures Captured" portraits: including David Byrne, Miles Davis, and more 40"H x 26"W (sheet, largest)

Two William Coupon photographic prints featuring celebrity and "Cultures Captured" portraits: including David Byrne, Miles Davis, and more Uncut proof from the press.

Lot: 98 - "En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Michael Jordan and Sugar Ray Leonard 40"H x 28"W (One)

"En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Michael Jordan and Sugar Ray Leonard

Lot: 99 - "En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Jodie Foster and other portraits

"En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Jodie Foster and other portraits

Lot: 100 - "En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Ron Howard, "Bones&Branches," "Box Figures," and other portraits 40"H x 28"W (One)

"En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Ron Howard, "Bones&Branches," "Box Figures," and other portraits One print is double sided.

Lot: 101 - "En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Sugar Ray Leonard 19 3/4"H x 27 3/4"W (sheet, each)

"En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Sugar Ray Leonard

Lot: 102 - "En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Ron Howard, Michael Jordan, and other portraits 40"H x 28"W (One)

"En Passant" excerpts by Dennis Manarchy 2 uncut proof posters featuring Ron Howard, Michael Jordan, and other portraits

Lot: 103 - Vintage black and white photographic prints / exhibition posters, 7pc; Chicago, portraits, photomontage, etc. 28"H x 22"W (One)

Vintage black and white photographic prints / exhibition posters, 7pc; Chicago, portraits, photomontage, etc. (2) Jay King, "Chicago 1967," Chicago Center for Contemporary Photography of Columbia College exhibition poster, 1982. The Graphic Works of Scott Mutter, The Pilgrimage Series No. 1-forest 1989. Fred Leavitt, Chicago Photographs, "Rooftop," from the book, Fred leavitt's chicago, 1983. Fred Leavitt, Pullman: Portrait of a Landmark Community, Paul Waggoner Gallery exhibition poster, 1982. Chicago Water Tower, William Gutmann, 1992. Mark B. Sluder, Portrait of Whoopi Goldberg, The Light Factory exhibition poster, 1985.

Lot: 104 - Lot of 7 black and white prints of historic photographs: including street scenes, a female nude bather, and a vintage Baltimore pastoral landscape. 14" x 17 1/4" (largest, female nude bather)

Lot of 7 black and white prints of historic photographs: including street scenes, a female nude bather, and a vintage Baltimore pastoral landscape. Horse-drawn streetcar in snow, rainy day with 3 pedestrians holding umbrellas, 1899 Windsor Hotel fire NYC, New York Herald Building in Herald Square, (2) standing female nude bather surrounded by foliage, "Baltimore Site #2" postcard by James DuSel, 1996.

Lot: 105 - Pair of Southwest landscape photographic prints: Joshua tree at dusk, desert landscape 17 1/2"H x 46 3/4"W (each, sheet)

Pair of Southwest landscape photographic prints: Joshua tree at dusk, desert landscape

Lot: 106 - Urban street scene and symbolic photographic prints, 4pc: "Chicago" unhoused man sleeping outside the Office of the Secretary of the State, by Jim Lukas, edition 3/100, pencil signed lower right, artist's stamp verso, 19

Urban street scene and symbolic photographic prints, 4pc: "Chicago" unhoused man sleeping outside the Office of the Secretary of the State, by Jim Lukas, edition 3/100, pencil signed lower right, artist's stamp verso, 1999. "New York, N.Y." Please, NO Pissing or Shitting-People Live Here, Jim Lukas, edition 29/200, pencil signed lower right, artist's stamp verso, 1988. "Alleys & Fire Escapes: no. 82, Detroit, MI" by Xavier Nuez, 2005, edition 2/250, signed and dated lower right. "Choices" by Brian Forbes.

Lot: 107 - Fine art photography group, 5pc: Jane Hinton (1936-2020), North 400 #1, silver print, 2/25, 1991; John Charbonneau, #147 adobe steps with lilies, 35/250; John Charbonneau, #8 adobe structure, 30/200; Joel Richter, Femini

Fine art photography group, 5pc: Jane Hinton (1936-2020), North 400 #1, silver print, 2/25, 1991; John Charbonneau, #147 adobe steps with lilies, 35/250; John Charbonneau, #8 adobe structure, 30/200; Joel Richter, Femininity I, 2003, pencil signed; Monon trail winter scene. John Charbonneau: artist's stamp verso. Jane Hinton: artist's label verso.

Lot: 108 - Vintage Siesta Lounge Chair by Ingmar Relling for Westnofa 38 1/2"H x 26"W

Vintage Siesta Lounge Chair by Ingmar Relling for Westnofa

Lot: 109 - MCM Mid-Century Modern formica and chrome expandable kitchen table 30 1/4"H x 48"W(with leaves out)

MCM Mid-Century Modern formica and chrome expandable kitchen table

Lot: 110 - Contemporary Post Modern 1980s black lacquer demi lune table and matching mirror 31 1/4"H x 45"W (table)

Contemporary Post Modern 1980s black lacquer demi lune table and matching mirror Made by Empire Art Products.

Lot: 111 - Steve Silver Co. contemporary wood and metal side table and white laminate display pedestal stand 36"H x 12"W (white podium)

Steve Silver Co. contemporary wood and metal side table and white laminate display pedestal stand

Lot: 112 - Chinese red lacquer altar table with gilt carved floral motif, 4 drawer console

Chinese red lacquer altar table with gilt carved floral motif, 4 drawer console

Lot: 113 - Asian furniture, 2pc: Korean 18 drawer apothecary cabinet medicine chest and carved wood display plant stand 32 1/2"H x 18 1/2"W(apothecary cabinet)

Asian furniture, 2pc: Korean 18 drawer apothecary cabinet medicine chest and carved wood display plant stand

Lot: 114 - Child’s size antique Victorian oak step back china cabinet cupboard bookcase 45" x 24" x 12"

Child's size antique Victorian oak step back china cabinet cupboard bookcase

Lot: 115 - Antique rolltop C scroll desk with brass handles. 40 1/2"H x 64"W x 32"D

Antique rolltop C scroll desk with brass handles. This item requires third party shipping or local pickup.

Lot: 116 - Contemporary maple executive office desk 30 1/4"H x 72"W

Contemporary maple executive office desk

Lot: 117 - Antique rocking chair with caned seat and back 33 1/2"H x 20"W x 30 1/2"D

Antique rocking chair with caned seat and back

Lot: 118 - Pair of antique Victorian chairs 36 1/2"H x 24"W (largest)

Pair of antique Victorian chairs In need of restoration.

Lot: 119 - Antique domed-top wooden steamer trunk with interior storage tray 18 3/4"H x 27 3/4"W x 15 3/4"D

Antique domed-top wooden steamer trunk with interior storage tray

Lot: 120 - Antique hardwood drop leaf gate leg table 28"H x 36"W x 14"D

Antique hardwood drop leaf gate leg table

Lot: 121 - Antique 3-shelf wall cabinet cupboard with lace panels

Antique 3-shelf wall cabinet cupboard with lace panels

Lot: 122 - Pair of antique floor lamps: cast iron bridge arm, brass and metal torchiere 59"H x 14 1/2"W (larger)

Pair of antique floor lamps: cast iron bridge arm, brass and metal torchiere

Lot: 123 - Antique hand-painted floral Success hurricane oil kerosene lamp with electrical conversion 23"H x 7"DIA.

Antique hand-painted floral Success hurricane oil kerosene lamp with electrical conversion

Lot: 124 - Vintage Tiffany style slag stained glass chandelier pendant hanging light fixture with vining leaves 14"H x 18 1/2"DIA.

Vintage Tiffany style slag stained glass chandelier pendant hanging light fixture with vining leaves

Lot: 125 - Antique group, 2pc: Eastlake picture / mirror frame and molded glass globe lamp shade 40"H x 25 3/4"W(frame)

Antique group, 2pc: Eastlake picture / mirror frame and molded glass globe lamp shade

Lot: 126 - Federal style eglomise mirror with rural landscape 27"H x 12 3/4"W

Federal style eglomise mirror with rural landscape

Lot: 127 - Vintage heavy giltwood framed wall mirror 35 1/4"H x 23 1/4"W(mirror sight), 43 1/2"H x 31 1/4"W(frame)

Vintage heavy giltwood framed wall mirror

Lot: 128 - Seth Thomas Eclipse walnut cased mantle clock with 8 day time, half hour strike, and alarm 24 1/2"H x 14"W

Seth Thomas Eclipse walnut cased mantle clock with 8 day time, half hour strike, and alarm

Lot: 129 - Sessions Art Deco "Boy and Dog" electric mantle clock 11"H x 9 1/2"W

Sessions Art Deco "Boy and Dog" electric mantle clock

Lot: 130 - Vintage Art Nouveau style brass peacock hearth fan / fireplace screen with neoclassical style figures 34 1/2"H x 48"W (open)

Vintage Art Nouveau style brass peacock hearth fan / fireplace screen with neoclassical style figures

Lot: 131 - Antique Victorian / Edwardian cast iron and oak dictionary library stand; Bible / Book / music. 40 1/2"H x 21 1/2"W

Antique Victorian / Edwardian cast iron and oak dictionary library stand; Bible / Book / music.

Lot: 132 - Vintage valise suitcase with Yale locks and abundance of travel stickers, including Naples, King David Hotel, Hotel Colombia, Cairo, and Pan American Airways 32 1/2"H x 20 1/2"W

Vintage valise suitcase with Yale locks and abundance of travel stickers, including Naples, King David Hotel, Hotel Colombia, Cairo, and Pan American Airways

Lot: 133 - Antiquities, 3pc: small trunk chest with storage divider and clothes, Frank Siddallls Soap primitive wooden box, folk art painted fireplace bellows 6"H x 16"W x 10 1/2"D (Largest)

Antiquities, 3pc: small trunk chest with storage divider and clothes, Frank Siddallls Soap primitive wooden box, folk art painted fireplace bellows

Lot: 134 - Lot of 3 vintage baskets / storage boxes: bamboo rattan basket, small chest, wicker picnic basket 11"H x 14"W x 11 1/2"D (Largest)

Lot of 3 vintage baskets / storage boxes: bamboo rattan basket, small chest, wicker picnic basket

Lot: 135 - Vintage hardwood copper-lined humidor box 9"H x 14"W

Vintage hardwood copper-lined humidor box Lid is cracked.

Lot: 136 - Flora Burke, Indiana (20th century), floral still life, watercolor on paper, 18"H x 14"W(sight), 26 1/4"H x 22"W(frame)

Flora Burke Indiana, (20th century) floral still life watercolor on paper Signed lower left.

Lot: 137 - Pat Banks, Kentucky (20th/21st century), Hibiscus at Dusk, watercolor on Arches paper, 23"H x 30"W(paper), 32 1/4"H x 40 1/4"W(frame)

Pat Banks Kentucky, (20th/21st century) Hibiscus at Dusk watercolor on Arches paper Signed lower right. Gallery label verso. Biography from PatBanksWatercolors.com: Pat works from her studio in Northern Madison Country, Kentucky USA. She has worked on special commissions and is included in corporate and private collections. Which include work for University of Kentucky Appalachian Center, St. Joseph Hospital, Johnson and Johnson, Louisville Zoo and many more. She has illustrated three children's books and is working on the third book in the Appalachian series for the University Press of Kentucky. She is a juried member of the Kentucky Guild of Artists and Craftsmen and a juried exhibitor with the Kentucky Arts Council, Kentucky Crafted. She is a veteran teaching artist for the Kentucky Arts Council Berea learn Shops and the Berea College Promise Neighborhood program.

Lot: 138 - Rosemary Butterbaugh, Indiana (20th/21st century), String Beans, watercolor, 15 1/4"H x 11 1/2"W(sight), 25"H x 19"W(frame)

Rosemary Butterbaugh Indiana, (20th/21st century) String Beans watercolor Signed lower right.

Lot: 139 - Two vintage watercolor paintings: Peggy Brown (Indiana, b. 1934), winter landscape with trees; Willett (20th century), Sacre Coeur-Paris, from the Vincent Price Collection for Sears, c. 1960s 10"H x 14"W(sight), 17 1/2"H

Two vintage watercolor paintings: Peggy Brown (Indiana, b. 1934), winter landscape with trees; Willett (20th century), Sacre Coeur-Paris, from the Vincent Price Collection for Sears, c. 1960s Both signed lower.

Lot: 140 - Jacobina Oele Trump, Dutch (20th/21st century), male portrait, acrylic on paper, 23 1/2"H x 18 1/2"W(sight), 29 3/4"H x 24 3/4"W

Jacobina Oele Trump Dutch, (20th/21st century) male portrait acrylic on paper Signed lower right. Biography from ArtMajeur.com: Born on a small island in the South of The Netherlands, Jacobina Oele Trump developed an artist's eye in her childhood. Surrounded by beautiful, waterfront landscape, Jacobina studied the subtle light which inspired many famous artists before her. She started drawing and painting at a very early age. This resulted in years of study at the prestigious Royal Academy of Fine Arts in The Hague. After getting a bachelor's degree she became a teacher at the same institution and exhibited a talent for guiding aspiring artists in their journeys from painters to artists. In 1994, Jacobina moved to the Caribbean, St Vincent and The Grenadines. There she focused on her furniture painting and home interior finishes on the island of Mustique. As interest grew, she became the Artist in Residence at The Cotton House, an exclusive resort on the Island. It was visited by many famous people. The Government of St Vincent and The Grenadines commissioned her to develop a comprehensive art program for the local school on the island of Canouan where she moved to. On Canouan she met her husband Keith Trump with whom she moved to Miami in the year 1995. Besides painting her ongoing series of oil paintings of Tropical Landscapes, Jacobina has successfully developed her own company OELE LTD. The company specializes in interior finishes of all sorts, murals and colour advice

Lot: 141 - Vintage sunset landscape watercolor painting depicting the silhouette of a man and dog walking near the riverbank 12 1/2"H x 18"W(sight), 19 1/2"H x 24 1/2"W(frame)

Vintage sunset landscape watercolor painting depicting the silhouette of a man and dog walking near the riverbank

Lot: 142 - Tiete Lycklama, Dutch American (20th/21st century), Native American figural group, watercolor on paper, 17"H x 27"W(sight), 27 1/4"H x 37 1/2"W(frame)

Tiete Lycklama Dutch American, (20th/21st century) Native American figural group watercolor on paper Signed lower left.

Lot: 143 - David Cheng, China (20th century), male portrait, 1963, oil on canvas, 20"H x 16"W(stretcher), 24 1/4"H x 20 1/2"W(frame)

David Cheng China, (20th century) male portrait, 1963 oil on canvas Signed lower left.

Lot: 144 - Thanhlan G., Vietnamese (20th century), village scene, Oil on canvas mounted to board, 13 1/2"H x 27 1/4"W (board), 16 1/4"H x 29 1/2"W (frame)

Thanhlan G. Vietnamese, (20th century) village scene Oil on canvas mounted to board Signed lower right.

Lot: 145 - Edmund Darch Lewis, Pennsylvania (1835-1910), Coastal Landscape with boats at sea, watercolor painting, 13"H x 27"W

Edmund Darch Lewis Pennsylvania, (1835-1910) Coastal Landscape with boats at sea watercolor painting signed lower right.

Lot: 146 - after J.M.W. Turner, British (1775-1851), Sheerness, 19th century, watercolor copy of Turner's painting, 6 1/2"H x 9 1/2"W

after J.M.W. Turner British, (1775-1851) Sheerness, 19th century watercolor copy of Turner's painting Signed with initials "VB" lower left.

Lot: 147 - Hiroshi Honda, Japan / New York (b.1910), cityscape view from park, watercolor on rice paper, 18 1/4"H x 24 3/4"W

Hiroshi Honda Japan / New York, (b.1910) cityscape view from park watercolor on rice paper signed lower right. Biography from Wikipedia: Hiroshi Honda (1910–1970) was an American painter who was born in Hilo, Hawaii, to Japanese parents who had immigrated to Hawaii at the turn of the 20th century. He was sent to Kumamoto at age six to study and help with the family business, and while there studied sumi-e ink painting. He was conscripted into the Japanese Air Force as a young man, and served for seven years before being wounded and discharged. He returned to Hilo in 1939 and took a job teaching at a local Japanese language school, occasionally doing commercial painting work on the side. In 1940, he met a Nisei woman, Sadako Hashida, and the couple married and moved to Honolulu soon after.[1] Once in Honolulu, Honda began teaching at a Nu'uanu Japanese school, and he spent the morning of the December 7, 1941 attack on Pearl Harbor at the school. Upon returning home, he was arrested by military police and eventually interned at Sand Island. His wife gave birth to the couple's first child in May 1942, and a few months later, upon learning that Honda would be transferred to an internment camp on the mainland, volunteered to accompany him along with her father and sister. Honda was removed from the transport ship at the last minute, resulting in his separation from the family for several months; Sadako and the others were first sent to Jerome, Arkansas, before being transferred to California. Later, in 1943, Sadako's father and sister were assigned to Manzanar, while Honda, Sadako, and their infant son were reunited in the maximum-security Tule Lake Segregation Center.[1] While in Tule Lake, the couple had two more children, a daughter and a second son,[1] and Honda produced many drawings and watercolor paintings.[2] After the war, the Hondas moved to New York, where Hiroshi studied under Yasuo Kuniyoshi, while Sadako worked as a seamstress to support the family. In 1949, the family moved back to Hilo, but Honda soon grew dissatisfied working for his wife's family's agriculture business and returned to New York alone. Sadako eventually remarried to Honda's brother, who had provided financial support to the family after Honda left. Little information on Honda's later life exists on record, but sources suggest that he remained in New York and remarried, as well.[1] The Honolulu Museum of Art, which owns a large collection of Hiroshi Honda's works, has held two solo exhibitions of this artist— Reflections of Internment: The Art of Hawaii's Hiroshi Honda in 1994[3] and Hiroshi Honda: Detained in 2012.[2]

Lot: 148 - Barbara Rogers Houseworth, Indiana (1925-2015), 5 still lifes, 3 watercolors on paper / gouache on board / mixed media on paper, 15"H x 22"W (largest)

Barbara Rogers Houseworth Indiana, (1925-2015) 5 still lifes 3 watercolors on paper / gouache on board / mixed media on paper Gouache painting signed with initials lower right. Barbara Rogers' talent as an artist was noted early; when she was just a girl, she drew fashion paper dolls on the floor of her bedroom and later at school she was allowed time in an empty classroom to draw

Lot: 149 - Barbara Rogers Houseworth, Indiana (1925-2015), series of 5 abstract compositions, gouache on paper, 7 1/4"H x 10"W (one)

Barbara Rogers Houseworth Indiana, (1925-2015) series of 5 abstract compositions gouache on paper Unsigned. Barbara Rogers' talent as an artist was noted early; when she was just a girl, she drew fashion paper dolls on the floor of her bedroom and later at school she was allowed time in an empty classroom to draw whatever she wanted. She studied Fine Art at Indiana University,

Lot: 150 - Barbara Rogers Houseworth, Indiana (1925-2015), 2 abstract portraits, mixed media on board, 21"H x 15"W (largest)

Barbara Rogers Houseworth Indiana, (1925-2015) 2 abstract portraits mixed media on board Unsigned. Barbara Rogers' talent as an artist was noted early; when she was just a girl, she drew fashion paper dolls on the floor of her bedroom and later at school she was allowed time in an empty classroom to draw whatever she wanted. She studied Fine Art at Indiana University, graduating in

Lot: 151 - Barbara Rogers Houseworth, Indiana (1925-2015), 3 abstract compositions, oil on board, 20"H x 16"W (largest)

Barbara Rogers Houseworth Indiana, (1925-2015) 3 abstract compositions oil on board Barbara Rogers' talent as an artist was noted early; when she was just a girl, she drew fashion paper dolls on the floor of her bedroom and later at school she was allowed time in an empty classroom to draw whatever she wanted. She studied Fine Art at Indiana University, graduating in 1946. She married on

Lot: 152 - Barbara Rogers Houseworth, Indiana (1925-2015), 3 abstract compositions, oil on board / oil on canvas, 36" x 16" (largest)

Barbara Rogers Houseworth Indiana, (1925-2015) 3 abstract compositions oil on board / oil on canvas Unsigned. Barbara Rogers' talent as an artist was noted early; when she was just a girl, she drew fashion paper dolls on the floor of her bedroom and later at school she was allowed time in an empty classroom to draw whatever she wanted. She studied Fine Art at Indiana University,

Lot: 153 - Four abstract acrylic paintings on paper 24 1/2" x 34" (largest)

Four abstract acrylic paintings on paper

Lot: 154 - James Spencer Russell, Indiana, New York (1915-2000), 2 abstract compositions, 1958, mixed media on paper, 18” x 24 (one)

James Spencer Russell Indiana, New York, (1915-2000) 2 abstract compositions, 1958 mixed media on paper Signed and dated lower right. Biography from Indiana State Museum: James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 155 - James Spencer Russell, Indiana, New York (1915-2000), abstract, 1958, mixed media with sand on paper, 14"H x 20"W(sight), 21 1/4"H x 27 1/4"W(frame)

James Spencer Russell Indiana, New York, (1915-2000) abstract, 1958 mixed media with sand on paper Signed and dated lower right. Biography from Indiana State Museum: James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 156 - James Spencer Russell, Indiana, New York (1915-2000), 2 abstract compositions, 1958, mixed media on paper, 18"H x 24"W - one

James Spencer Russell Indiana, New York, (1915-2000) 2 abstract compositions, 1958 mixed media on paper Signed and dated lower right. Minor tears on edges. Biography from Indiana State Museum: James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 157 - James Spencer Russell, Indiana, New York (1915-2000), abstract, 1958, mixed media on paper, 17 3/4"Hx 23 3/4"W

James Spencer Russell Indiana, New York, (1915-2000) abstract, 1958 mixed media on paper Signed lower right. Biography from Indiana State Museum: James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 158 - James Spencer Russell, Indiana (1915-2000), Clyde series - Squares, 1-7, Horizontal, Chapelle du Rosaire, graphite on paper, 29"H x 23"W (One)

James Spencer Russell Indiana, (1915-2000) Clyde series - Squares, 1-7, Horizontal, Chapelle du Rosaire graphite on paper Each signed lower right and titled lower left in pencil. James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 159 - James Spencer Russell, Indiana (1915-2000), Joseph series - Maple, Clones, Malcom X, Joe Lee Wilson, graphite on paper, 29"H x 23"W (One)

James Spencer Russell Indiana, (1915-2000) Joseph series - Maple, Clones, Malcom X, Joe Lee Wilson graphite on paper Each signed lower right and titled in pencil lower left. James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 160 - James Spencer Russell, Indiana (1915-2000), Family - Theorem / Seurat, Floyd - Meno, graphite on paper, 29" x 23 1/4" (one sheet)

James Spencer Russell Indiana, (1915-2000) Family - Theorem / Seurat, Floyd - Meno graphite on paper Each signed lower right. James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 161 - James Spencer Russell, Indiana (1915-2000), 3 Wiley Maple Baseball Scenes, graphite on paper, 29" x 23 1/4" (one sheet)

James Spencer Russell Indiana, (1915-2000) 3 Wiley Maple Baseball Scenes graphite on paper Each signed lower right. James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 162 - James Spencer Russell, Indiana (1915-2000), Garden of Eden series, graphite on paper, 29" x 23 1/4" (one sheet)

James Spencer Russell Indiana, (1915-2000) Garden of Eden series graphite on paper Each signed, one titled "Garden - Extra" lower left. James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 163 - James Spencer Russell, Indiana (1915-2000), Equal signs / =0 / Is, graphite on paper, 29" x 23 1/4" (one sheet)

James Spencer Russell Indiana, (1915-2000) Equal signs / =0 / Is graphite on paper Each signed lower right. James Spencer Russell (1915-2000) was born in Monticello, Indiana, but spent much of his life in New York City. He studied with Raymond Johnson at the University of New Mexico where he received his BFA, and with Donald Oenlenger at Yale University where he received his MFA. Russell exhibited his work in New York City with the Ruth White Gallery at 42 East 57th Street. His first one-man exhibition with the gallery, "Constructions", ran from April 21 through May 16, 1964. The exhibition was reviewed in The New York Times by Brian O'Doherty, the preeminent New York art critic of the era. Russell continued to exhibit all across the U.S. from 1961 to the 1990s, and was considered a pioneer of set design for conversion to color television, working at NBC Television in the 1950's. His one-man shows of watercolors and drawings resulted in the inclusion of pieces in the movies Midnight Cowboy and John and Mary. An avid jazz fan, his work was on the cover of Chico Freeman's album titled Chico., and exhibited at the American Federation of the Arts, the Rhode Island School of Design and at Southern Illinois University before he retired to his hometown of Kewanna, Indiana.

Lot: 164 - Gerald G. Boyce, Indiana, Illinois (1925 - 1999), Benjamin and Philadelphia Greenwood, Chancel, Church of St. Mary, St. Mary, Cray, Kent,1972, charcoal rubbings, 43 1/2"H x 35 3/4"W(sight), 44 1/2"H x 36 1/4"W(frame)

Gerald G. Boyce Indiana, Illinois, (1925 - 1999) Benjamin and Philadelphia Greenwood, Chancel, Church of St. Mary, St. Mary, Cray, Kent,1972 charcoal rubbings Pencil signed right. Biography from the Archives of askART: The following information was submitted by Marianne Hamilton: Education: BS, University of Wisconsin (1949) MFA, University of Iowa, (1950) He further studied at the University of Illinois, Indiana University, Oxford University in England, and independent study/research at the British Museum, London. Boyce began working for the University of Indianapolis in 1950 as an adjunct faculty member in the Art Department. He was full professor in the Art Department upon his retirement from the University. He taught at Fresno State during the summer of 1951, and was an adjunct faculty member at DePauw and Indiana Universities. He led several student trips to Europe. Boyce served in the United States Air Force during the last two years of WWII. He has a Memorial Scholarship at the University of Indianapolis. Source: website of the University of Indianapolis

Lot: 165 - John Carroll, American (1892 - 1959), 2 female portraits, graphite and charcoal on paper / lithograph, 13 1/4"H x 10 1/4"W(sight), 18"H x 14"W(mat) - one

John Carroll American, (1892 - 1959) 2 female portraits graphite and charcoal on paper / lithograph Both pencil signed. Biography from the Archives of askART: John Carroll was a painter famous for his portraits of dreamy, diaphanous women. He also painted landscapes but his portraits became his signature pieces. He painted his subjects in an idealistic way using sweeping strokes and a full brush. Carroll was born on a train while his family was traveling through Wichita, Kansas in 1892. His father was originally from West Virginia but decided to move the family to California in 1892. Carroll grew-up in San Francisco and spent most of his summers on a nearby ranch. He developed an interest in art at an early age and after studying in public school attended the Mark Hopkins Art Academy in San Francisco, California. He continued his studies at the Mark Hopkins Art Academy for three years before becoming an engineering student at the University of California Berkeley for two years (1913-1915). In 1915 he studied art in Cincinnati, Ohio, where an early influence was Frank Duveneck, with whom he studied. After a brief involvement with the U.S. Navy in World War I, Carroll moved to Macon, Georgia where he continued to paint. He eventually resettled in New York and was a member of the Woodstock art colony before 1922. While living in New York Carroll designed stained-glass windows for Tiffany &Co. in New York City and also made picture frames for his artist friends. He received his first critical acclaim when he won an award for his art at the Pennsylvania Academy of the Arts, Philadelphia. Carroll went on to teach at the Art Students League in New York and won an award for his art at the Pennsylvania Academy of the Arts, Philadelphia. He became an instructor at the Art Students League in New York in 1926 and traveled to Europe the following year on a Guggenheim Fellowship. In 1930 he became head of the painting department at the Detroit Society of Arts and Crafts. During this period Carroll developed a flair for a painting portraits, exaggerating the delicate qualities of his female subjects, which gave the women an otherworldly appearance. He returned to the Art Students League in New York in 1944 and continued to teach there and exhibit his art in New York. He maintained a studio in New York City but also spent great deal of time on his three hundred acre ranch in East Chatham, New York. Carroll died in Albany, New York in 1959.

Lot: 166 - Henry Koerner, Pennsylvania / Germany, Austria (1915 - 1991), child seated on sofa, pen and ink on paper, 15"H x 18 1/2"W

Henry Koerner Pennsylvania / Germany, Austria, (1915 - 1991) child seated on sofa pen and ink on paper signed lower left. Laid on board. Biography from the Archives of askART: Painter Henry Koerner was born in Vienna in 1915 to Jewish parents and trained there as a graphic designer. He immigrated to the United States in 1938 after Hitler came to power. In New York, he won prizes in the National War Poster Competition. He enlisted in the U.S. Army, serving in the Office of Strategic Services in Washington and London. In 1943 he began to paint; in 1945 he was shipped to Germany to draw Nazi war criminals in the Nuremberg Trials. His work was given urgency in 1946 when, returning to Vienna, he learned that his parents (Leo and Fanny Koerner) and brother (Kurt) had died in extermination camps in Belorussia and Poland. In 1947, Henry Koerner had his first one-man show in Berlin, the first exhibition of an artist in post-war Germany. Dealing directly with the trauma of war and loss, his "magic realist" pictures caused a public sensation in the ruined capital. Returning to the U.S. later that year, he had acclaimed exhibitions in New York, Pittsburgh and Philadelphia. His paintings were acquired by major museums, including the Whitney Museum of American Art, which holds three of his works. In 1953 he settled in Pittsburgh and until his death in 1991 divided his time between there and Vienna. Koerner painted (always from life) over 50 Time Magazine covers between 1955 and 1967, including covers of John. F. Kennedy and Robert F. Kennedy. He was honored, after his death in 1991, by retrospectives in the Austrian National Gallery and the Frick Art Museum in Pittsburgh. The Henry Koerner Center, serving emeritus faculty as a place to meet and work, opened at Yale University in January 2003. Located in the Pierpont House at Yale, it was made possible by a gift from Lisbet Rausing and Joseph Koerner '80, through the Fanny and Leo Koerner Charitable Trust. Joseph Koerner is Henry Koerner's son. Yale President Richard C. Levin described Henry Koerner as "a massively prolific artist who, distant from mainstream 20th-century art, produced an eccentric corpus unusual for its humor, formal beauty and spiritual purpose. A great portraitist of the experience of survival, Koerner is appropriately honored by the center."

Lot: 167 - Karl Knaths, American (1891 - 1971), 3 figural sketches, graphite on paper, 8"H x 6 1/4"W (sight), 13"H x 11"W (mat)

Karl Knaths American, (1891 - 1971) 3 figural sketches graphite on paper Stamped with initials lower right and "Estate of Karl Knaths" verso. Biography from Spanierman Gallery: A painter recognized for his highly individual interpretation of Cubism, Karl Knaths was born in Eau Claire, Wisconsin, in 1891. He grew up in the Midwest, and in 1912, he moved to Chicago, where he studied at the School of the Art Institute for four years. In 1913, he saw the Chicago exhibition of the groundbreaking Armory Show and was immediately drawn to the modernist work from Paris, especially the art of Paul Cézanne. Massachusetts in 1919. His earliest work was inspired by the art of the Impressionists. However, after fraternizing with many of the local artists who had experienced the progressive art life of Paris, and by studying the examples of advanced European art in books and magazines, Knaths became deeply influenced by Cubism. By the late 1920s, he had evolved a very personal approach to this aesthetic, basing his abstract, but still recognizable compositions on seascapes and still life subjects. During the 1930s, Knaths developed a complex theoretical basis for his painting. He began to structure his pictures according to strict rules of composition and color, inspired by the ideas of such artists as Piet Mondrian and Wassily Kandinsky. Using the classification system of colors developed by Wilhelm Ostwald, he would preselect the colors for his palette before starting to paint, for in Knath's view, color, like music, could be organized according to a system of notation. In this respect, each of Knath's canvases became a unique color composition, since the artist never used the same arrangement more than once. Throughout his career, Knaths drew his iconography from his Provincetown environment, depicting the local fisherfolk, docks, shanties, dunes, and moors, and the familiar objects in his house. As his commitment to Abstraction developed, he was invited to exhibit with the American Abstract Artists group in 1936. He was also active as a teacher and lecturer, giving annual courses at the Phillips Collection in Washington, D.C. from 1937 until 1950, and was affiliated, at various times, with Black Mountain College and the Skohegan (Maine) School of Painting and Sculpture. Duncan Phillips, Knaths first and for many years his only patron, did much to establish the artist's reputation. Despite Knath's innovative attitudes, he did work in relative isolation for much of his career, making only the occasional visit to New York or Boston and never feeling the need to travel to Europe. Knaths died in Provincetown in 1971. Examples of his poetic, Cubist-inspired paintings can be found in the collections of the Metropolitan Museum and the Whitney Museum of American Art in New York, as well as at the Art Institute of Chicago, the Museum of Fine Arts in Boston, and many more. In 1973, a major retrospective of his work was circulated to six American museums by the International Exhibitions Foundation.

Lot: 168 - Lawrence Lebduska, New York, Maryland / Germany (1894 - 1966), Dag Hammarskjold, / John F. Kennedy JFK, 1961, political portraits, crayon and pencil on paper, 16"H x 13"W (Sight), 20"H x 16"W (Mat)

Lawrence Lebduska New York, Maryland / Germany, (1894 - 1966) Dag Hammarskjold, / John F. Kennedy JFK, 1961, political portraits crayon and pencil on paper Both signed lower left. Biography from the Archives of askART: Born in Baltimore, Maryland to a Bohemian family, Lawrence Lebduska learned art related crafts at the age of five on a return trip to Bohemia. He was educated in Leipzig where he learned the stained glass craft. At the age of 18 he returned to the United States and his first job was with Elsie de Wolfe for whom he did wall decorations. In 1912, he began decorative mural painting and painting on canvas for pleasure. Although he had no formal art training, his fanciful animal scenes, portraits and pseudo-historical themes, had bold colors and subjects resembling Fauvre or French experimental painting. His work made quite an impression in the 1930s and is credited for inspiring Abby Aldrich Rockefeller to assemble her collection of folk art. During the 1940s, he was largely forgotten, with the public preoccupied with the onset of World War II, his career "skidded to the point where he was reduced to living in vermin-infested backrooms in Greenwich Village and the Bowery;" ill and an alcoholic. He would trade his paintings for beer and cigarettes. Occasionally he would travel uptown to dealers who used to compete for his work. In the 1960s, a Long Island dealer, Eva Lee, was fascinated by one of his vividly colored still lifes of flowers and set out on a search for the artist. She found him confined to a bed in a cheap attic room. She obtained medical care, took him home to Douglastown, Long Island, took care of him and helped him recover from alcoholism. As a result he regained his health and began to paint again producing dozens of canvases. As a result he was given his first one-man show in twenty years at the Krasner Gallery. Lebduska died in 1966 at the age of 70, leaving behind a large collection of his work. Source: Michael David Zellman, 300 Years of American Art

Lot: 169 - Lawrence Lebduska, New York, Maryland / Germany (1894 - 1966), "Stubborn", donkey cart on path, 1961, crayon and pencil on paper, 16"H x 13"W (Sight), 20"H x 16"W (Mat)

Lawrence Lebduska New York, Maryland / Germany, (1894 - 1966) "Stubborn", donkey cart on path, 1961 crayon and pencil on paper Unsigned. Biography from the Archives of askART: Born in Baltimore, Maryland to a Bohemian family, Lawrence Lebduska learned art related crafts at the age of five on a return trip to Bohemia. He was educated in Leipzig where he learned the stained glass craft. At the age of 18 he returned to the United States and his first job was with Elsie de Wolfe for whom he did wall decorations. In 1912, he began decorative mural painting and painting on canvas for pleasure. Although he had no formal art training, his fanciful animal scenes, portraits and pseudo-historical themes, had bold colors and subjects resembling Fauvre or French experimental painting. His work made quite an impression in the 1930s and is credited for inspiring Abby Aldrich Rockefeller to assemble her collection of folk art. During the 1940s, he was largely forgotten, with the public preoccupied with the onset of World War II, his career "skidded to the point where he was reduced to living in vermin-infested backrooms in Greenwich Village and the Bowery;" ill and an alcoholic. He would trade his paintings for beer and cigarettes. Occasionally he would travel uptown to dealers who used to compete for his work. In the 1960s, a Long Island dealer, Eva Lee, was fascinated by one of his vividly colored still lifes of flowers and set out on a search for the artist. She found him confined to a bed in a cheap attic room. She obtained medical care, took him home to Douglastown, Long Island, took care of him and helped him recover from alcoholism. As a result he regained his health and began to paint again producing dozens of canvases. As a result he was given his first one-man show in twenty years at the Krasner Gallery. Lebduska died in 1966 at the age of 70, leaving behind a large collection of his work. Source: Michael David Zellman, 300 Years of American Art

Lot: 170 - Helen Briggs Duckwall, Indiana (1912-1988), pair of child portraits, pastel on paper, 11"H x 8 1/4"W (Sight), 22"H x 18 3/4"W (Frame)

Helen Briggs Duckwall Indiana, (1912-1988) pair of child portraits pastel on paper Signed lower. From in.gov: Duckwall is well known for her portraits of children and women in pastel, which she executed on commission through Lyman Brothers, Inc., in the late 1930's. Born in Sheridan, Indiana, she attended John Herron School of Art and the Philadelphia School of Fine Arts.

Lot: 171 - Two Framed works on paper: Mary Jo Demyer (Indiana, 20th/21st c.), black and white oak leaf print, pencil signed lower right; intricate color ink drawing depicting fish 8 1/2"H x 11 1/2"W(sight), 13"H x 16"W(frame) - lar

Two Framed works on paper: Mary Jo Demyer (Indiana, 20th/21st c.), black and white oak leaf print, pencil signed lower right; intricate color ink drawing depicting fish

Lot: 172 - Barb Stahl, Indiana (20th/21st Century), abstract, oil on canvas, 36"H x 57 1/4"W

Barb Stahl Indiana, (20th/21st Century) abstract oil on canvas Signed lower left. Biography from the artist's website: Barbara Stahl is an accomplished professional artist living and working in Indianapolis. In 2021 she was accepted into the National Association of Women Artists (N.A.W.A) Established in 1889, N.A.W.A. is the oldest women's fine art organization in the United States. Barbara is the first woman and the first abstract artist to be in the Indiana State Library's permanent collection. She was a Creative Renewal Arts Fellow for the Arts Council of Indianapolis in 2017/18. Stahl has been in several-juried group and solo shows throughout the region. She holds a BFA from IU Bloomington and a MFA from University of Pennsylvania, Philadelphia. Barbara is the owner of Stahl Studios Inc.

Lot: 173 - Pair of night life paintings: abstract trumpet player jazz musician, dancing couple night club scene 24 1/2"H x 19 3/4"W(sight), 26"H x 21 1/4"W(frame)

Pair of night life paintings: abstract trumpet player jazz musician, dancing couple night club scene Dancing couple, acrylic on leather canvas with sewn appliques, signed and dated lower left, 1997. Trumpet player, oil on canvas, signed T. Mercy? lower left.

Lot: 174 - Stephen Stoller, Indiana, New York (b.1945), abstract figural group, oil on canvas, 12 1/4"H x 24 1/2"W

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

Lot: 175 - Vladimir (Val) Stekly, American (1944-1989), Geppetto creates Pinocchio, oil on canvas, 24"H x 18"W

Vladimir (Val) Stekly American, (1944-1989) Geppetto creates Pinocchio oil on canvas Stekly, an Indiana native, was active as an illustrator/artist in San Francisco. He died in an auto accident.

Lot: 176 - Vladimir (Val) Stekly, American (1944-1989), Roman Gladiator, 1977, oil on canvas, 24"H x 20"W

Vladimir (Val) Stekly American, (1944-1989) Roman Gladiator, 1977 oil on canvas Signed lower right. Stekly, an Indiana native, was active as an illustrator/artist in San Francisco. He died in an auto accident.

Lot: 177 - F. Musser, (20th century), figural abstract, oil on board

F. Musser (20th century) figural abstract oil on board Signed lower right.

Lot: 178 - Mae Alice Engron, Indiana (1933-2007), 2 seated female nude figures with moonlit sky, oil on canvas, 37 1/2"H x 42" W (sight), 40" x 44" (frame)

Mae Alice Engron Indiana, (1933-2007) 2 seated female nude figures with moonlit sky oil on canvas Signed with initials lower right. Biography from the Archives of askART: Mae Alice Engron was born, raised and died in Indianapolis, Indiana. After injuries sustained working as a civil servant, she attended Herron School of Art, receiving a Bachelor of Fine Arts degree in 1984, at the age of 42. She was an abstract painter who primarily painted with oil on canvas, although early in her practice, she also painted on foil to reflect light. Inspired by organic forms and patterns drawn from nature, her works center on floral abstractions, nudes, and traditional geometric abstraction and her own unique understanding of color. Mae's signature on her pieces – MAE – is as recognizable as her work. Mae was a featured artist in many exhibitions in Indianapolis, Indiana, specifically the Indiana State Museum, Indiana Black Expo, Indiana Art League, Indianapolis, Public School Business Center. Her work is in the collection of the Smithsonian American Art Museum, the Indiana State Museum, as well as PepsiCo and in private collections throughout the US and Germany. In 1991, Mae was included in "There But for the Grace: a tribute to pathfinders and visionaries", a group show of national artists at Gallery Tanner in Los Angeles. The inclusion in Gallery Tanner's exhibition on groundbreaking artists situates Mae as a seminal figure in abstraction. At the height of her career, she was one of few black women painters in pure abstraction following the death of Alma Thomas in 1978. She said, "I paint the way I feel. When my life is in order and everything is running smoothly, I paint the geometric. When I am down, I paint lines. When I feel love, I paint flowers. When I am feeling easy, I paint flowing paintings…" Her imagery resembles tradition African American textiles as well as highlights an iconography of shape made more significant and expressive through rich color palettes. There is also a palpable sense of humor in Mae's work. Her mood paintings are a culmination of her understanding of the color, the medium and of herself. In November 2016, Quotidian, an LA roving gallery, mounted "Mae Engron: No Date No Title." As part of the exhibition programming, Tavis Smiley and curator Jill Moniz had a conversation about Mae's practice and her emotionally charged abstracts. Quotidian produced the No Date No Title catalog, the only catalog to date of Engron's work. Written and submitted by Jill Moniz, phd, curator of the artist's estate.

Lot: 179 - Mae Alice Engron, Indiana (1933-2007), figural group, oil on unstretched canvas, 33 1/2"H x 52"W

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

Lot: 180 - Mae Alice Engron, Indiana (1933-2007), reclined nude, oil on unstretched canvas, 34"H x 38"W

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

Lot: 181 - Mae Alice Engron, Indiana (1933-2007), abstract, oil on canvas, 48"H x 47"W

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

Lot: 182 - Mae Alice Engron, Indiana (1933-2007), abstract, oil on canvas, 26"H x 33 3/4"W

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

Lot: 183 - Mae Alice Engron, Indiana (1933-2007), street scene, oil on unstretched canvas, 31 1/2"H x 37"W

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

Lot: 184 - Mae Alice Engron, Indiana (1933-2007), sunny landscape with orange irises, oil on canvas, 37"H x 27"W (stretcher), 39 1/2"H x 29 1/2"W (frame)

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

Lot: 185 - Pair of vintage autumn landscape oil paintings on canvas: mountain landscape with river and trees, interior forest scene 27 1/4"H x 39 1/2"W (largest, frame)

Pair of vintage autumn landscape oil paintings on canvas: mountain landscape with river and trees, interior forest scene Signed lower right. One canvas is loose from stretcher.

Lot: 186 - Pair of vintage still life oil paintings on canvas: floral still life with vase, still life with violin and sheet music 20"H x 24 1/4"W (largest)

Pair of vintage still life oil paintings on canvas: floral still life with vase, still life with violin and sheet music Signed lower.

Lot: 187 - Trio of landscape oil paintings in vintage frames: seascape with rocky shore, autumn forest with deer, pine trees with deer by a stream 17 3/4"H x 23 3/4"W (Sight) 20 1/2"H x 2 1/2"W (Frame) (One)

Trio of landscape oil paintings in vintage frames: seascape with rocky shore, autumn forest with deer, pine trees with deer by a stream

Lot: 188 - African Nkisi Nkondi power figure, nail fetish, DRC 41 1/2"H x 19"W

African Nkisi Nkondi power figure, nail fetish, DRC

Lot: 189 - African tribal carved wood head bust 9"H x 2 3/4"W x 4 1/2"D

African tribal carved wood head bust

Lot: 190 - African tribal carved wood female figure head bust 9 1/2"H x 3"W x 4 1/4"D

African tribal carved wood female figure head bust Cracks throughout the wood.

Lot: 191 - African tribal Djembe drum with hide cover and webbed cording, 21"H x 10"W

African tribal Djembe drum with hide cover and webbed cording Wear to drum head on one edge.

Lot: 192 - African souvenir group, 5pc: vintage West African straw safari hat, African Tonga Binga woven basket, African carved wood souvenir jewelry trinket box, tooled leather clutch handbag depicting an Egyptian landscape, Egypt

African souvenir group, 5pc: vintage West African straw safari hat, African Tonga Binga woven basket, African carved wood souvenir jewelry trinket box, tooled leather clutch handbag depicting an Egyptian landscape, Egyptian small ceramic bust on pedestal

Lot: 193 - Tribal artifacts, 6pc: Papua New Guinea mudman tusk pendant, bean and seed necklace (broken), African carved wood figural comb, figural dragon wood carving, gilt papier mache ceremonial covering, and framed textile. 10 1

Tribal artifacts, 6pc: Papua New Guinea mudman tusk pendant, bean and seed necklace (broken), African carved wood figural comb, figural dragon wood carving, gilt papier mache ceremonial covering, and framed textile.

Lot: 194 - Group of 3 prints and artworks relating to Africa and African subjects, including Mystic South Africa by Gayle Ullman, photograph of the Gold Mask of King Tutankhamun, and original artwork by Alexander O. Gyamfi 37 1/4"H

Group of 3 prints and artworks relating to Africa and African subjects, including Mystic South Africa by Gayle Ullman, photograph of the Gold Mask of King Tutankhamun, and original artwork by Alexander O. Gyamfi

Lot: 195 - Four vintage Art Institute of Chicago Asian art exhibition posters 18"H x 24"W (One)

Four vintage Art Institute of Chicago Asian art exhibition posters ARTIST UNKNOWN (LATE 17TH CENTURY) DOVES AND RHODODENDREON (Two-panel folding screen painted in colors and gold on paper). SESSONS SHUKEI (1504-1589) LANDSCAPE OF FOUR SEASONS (Right Screen) (Painted in sumi and color on paper). CHINESE, UNKNOWN (LATE 18TH, EARLY 19TH CENTURY) TAOIST IMMORTAL AND ATTENDANT (K'ossu tapestry with painted details). JAPANESE (LATE 17TH CENTURY) ONE OF A PAIR OF SCREENS, SUBJECT OF FOREIGNERS (NAMBAN).

Lot: 196 - Set of 5 framed Chinese silk embroidery textiles depicting vases 14 1/2"H x 10 1/2"W (Sight), 20 1/4"H x 16 1/4"W (Frame) (One)

Set of 5 framed Chinese silk embroidery textiles depicting vases

Lot: 197 - Pair of Chinese framed works: carved hardstone scenic panel depicting tree branches and cranes, silk embroidery landscape textile with pagoda and cherry blossom branches. 10 3/4"H x 13 3/4"W (Sight), 13 1/4"H x 16 1/4"W

Pair of Chinese framed works: carved hardstone scenic panel depicting tree branches and cranes, silk embroidery landscape textile with pagoda and cherry blossom branches.

Lot: 198 - Chinese artifacts, 2pc: framed embroidered silk robe with dragon motif and embroidered silk landscape panel with birds, and carved reticulated wood screen panel with immortal figure 41 1/2"H x 33 3/4"W (frame)

Chinese artifacts, 2pc: framed embroidered silk robe with dragon motif and embroidered silk landscape panel with birds, and carved reticulated wood screen panel with immortal figure

Lot: 199 - Framed Hmong Paj Ntaub needlepoint applique quilt square 15 3/4"H x 16 1/4"W (Sight), 17 1/4"H x 17 1/2"W (Frame)

Framed Hmong Paj Ntaub needlepoint applique quilt square

Lot: 200 - 2 hand wrought horse riding spurs and reproduction Chinese dart pistol gun weaponry 3 1/2"H x 17 1/2"W x 3 1/2"D (Largest)

2 hand wrought horse riding spurs and reproduction Chinese dart pistol gun weaponry

Lot: 201 - Reproduction Chinese carved hardstone ceremonial artifacts 14 1/4"H x 3 1/2"W x 1 1/4"D (Largest)

Reproduction Chinese carved hardstone ceremonial artifacts

Lot: 202 - Reproduction Chinese weaponry, 3pc; pair Liujiao Dao deer horn knives with dragon motif and axe handle?

Reproduction Chinese weaponry, 3pc; pair Liujiao Dao deer horn knives with dragon motif and axe handle?

Lot: 203 - Reproduction Chinese dagger with sheath and stone blade 19 3/4"H x 3 3/4"W (dagger with sheath)

Reproduction Chinese dagger with sheath and stone blade

Lot: 204 - Pair of reproduction Chinese dart weapons 13 1/2"H x 1 1/4"W (larger)

Pair of reproduction Chinese dart weapons

Lot: 205 - Four Reproduction Chinese weapons including two metal whips, a straight sword and a hook sword 21"H x 2"W (straight sword)

Four Reproduction Chinese weapons including two metal whips, a straight sword and a hook sword

Lot: 206 - 13 piece Asian reproduction metal collection including a spade coin, 10 darts and two dagger axe head blades 4 1/2"H x 10 1/2"W (largest)

13 piece Asian reproduction metal collection including a spade coin, 10 darts and two dagger axe head blades

Lot: 207 - Three Reproduction Asian weapons including two axe heads and spear tip 5"H x 9"W (largest)

Three Reproduction Asian weapons including two axe heads and spear tip

Lot: 208 - Reproduction Asian weapons including an axe, iron crow? and pair of fighting claw gloves 27 1/2"H x 11 1/4"W (axe)

Reproduction Asian weapons including an axe, iron crow? and pair of fighting claw gloves

Lot: 209 - Pair of reproduction daggers, weaponry 16 1/4"H x 3 1/4"W (larger)

Pair of reproduction daggers, weaponry

Lot: 210 - Four Chinese Famille Rose porcelain plates 10"H x 13"W (Largest)

Four Chinese Famille Rose porcelain plates

Lot: 211 - Chinoiserie blue and white porcelain vessels, 5pc: 2 ginger jars, koi fish vase, octagonal bowl, Canton Collection by Two's Company decorative boot vase. 12 1/4"H x 5 1/2"Diam. (largest)

Chinoiserie blue and white porcelain vessels, 5pc: 2 ginger jars, koi fish vase, octagonal bowl, Canton Collection by Two's Company decorative boot vase.

Lot: 212 - Japanese Kutani hand-painted porcelain tea service with geisha scenes, 9pc: 4 cups, 4 saucers, teapot 9 3/4"H x 6 1/2"W (teapot)

Japanese Kutani hand-painted porcelain tea service with geisha scenes, 9pc: 4 cups, 4 saucers, teapot Chips present on cup rims, one plate repaired.

Lot: 213 - Japanese hand-painted scenic porcelain tea service, 4pc: cup, sugar, creamer, teapot 4 1/4"H x 7 1/2"W(teapot)

Japanese hand-painted scenic porcelain tea service, 4pc: cup, sugar, creamer, teapot

Lot: 214 - Korean blue and white porcelain wine ewer jar with dragon motif and lug handles 11 1/4"H x 7 1/2"Diam. (with stand)

Korean blue and white porcelain wine ewer jar with dragon motif and lug handles

Lot: 215 - Nippon-To Art Swords of Japan boxed book, The Walter A. Compton Collection, Japan House Gallery, Japan Society, Inc, 1976

Nippon-To Art Swords of Japan boxed book, The Walter A. Compton Collection, Japan House Gallery, Japan Society, Inc, 1976

Lot: 216 - Chinese carved reclined nude female doctor's doll

Chinese carved reclined nude female doctor's doll

Lot: 217 - Chinese carved reclined nude female doctor's doll

Chinese carved reclined nude female doctor's doll

Lot: 218 - Chinese carved reclined nude female doctor's doll

Chinese carved reclined nude female doctor's doll

Lot: 219 - Japanese carved okimono figure

Japanese carved okimono figure

Lot: 220 - Japanese lacquer and gilt box with 8 Oshie art geisha dolls, comb sheath doll with figural leg comb, 13 watercolor painted envelopes, bookmark, and 2 hand-dyed paper cut art works. 10” x 7” x 1.5” (box)

Japanese lacquer and gilt box with 8 Oshie art geisha dolls, comb sheath doll with figural leg comb, 13 watercolor painted envelopes, bookmark, and 2 hand-dyed paper cut art works. Box is cracked.

Lot: 221 - Lot of Chinese souvenirs, 7pc: 2 scrolls, "The Tea Ceremony" book, 4 porcelain dolls 16"H x 3 1/2"W x 2"D (Largest)

Lot of Chinese souvenirs, 7pc: 2 scrolls, "The Tea Ceremony" book, 4 porcelain dolls

Lot: 222 - Asian souvenir decor group, 5pc: pair of Japanese geisha dolls, pair of Japanese etched pagoda landscape scene metal vases , Chinese? red silk embroidered pajama set. 15 1/4"H (largest doll)

Asian souvenir decor group, 5pc: pair of Japanese geisha dolls, pair of Japanese etched pagoda landscape scene metal vases , Chinese? red silk embroidered pajama set. Pajamas are child-sized and tags are marked "L".

Lot: 223 - Antique Hina Ningyo Japanese emperor and empress dolls 12"H x 10"W x 4"D (Largest)

Antique Hina Ningyo Japanese emperor and empress dolls

Lot: 224 - Lot of Chinese children's clothes and shoes: embroidered satin qipao dresses, shirt and pant sets, and velcro slippers 14"H (Top to bottom, one shirt)

Lot of Chinese children's clothes and shoes: embroidered satin qipao dresses, shirt and pant sets, and velcro slippers

Lot: 225 - 1Pablo Picasso, Spain (1881-1973), Naked Woman and Flute Player (Femme nue et joueuse de flute), 1932 (1975 edition), lithograph on Arches paper, 19"H x 24 3/4"W

1Pablo Picasso Spain, (1881-1973) Naked Woman and Flute Player (Femme nue et joueuse de flute), 1932 (1975 edition) lithograph on Arches paper Printed and published in France by Le Vent d'Arles and SPADEM. Stamp-signed "Picasso" lower right corner. Vibrant colors with strong impression. Embossed stamp of Euro Art.

Lot: 226 - Pablo Picasso, Spain (1881-1973), The Owl (Le Hibou), 2001 edition, screenprint, 23 1/4"H x 19 1/2"W

Pablo Picasso Spain, (1881-1973) The Owl (Le Hibou), 2001 edition screenprint Printed and published by Edition Acte and Sabam, Belgium.

Lot: 227 - Pablo Picasso, Spain (1881-1973), The Taste of Happiness (Le Gout du Bonheur), 1970 edition, lithograph on Arches paper, 13"H x 9 3/4"W(paper), 19 3/4"H x 15 3/4"W(mat)

Pablo Picasso Spain, (1881-1973) The Taste of Happiness (Le Gout du Bonheur), 1970 edition lithograph on Arches paper Printed and published by Dietz Schunemann, Bremen, Germany.

Lot: 228 - Pablo Picasso, Spanish (1881-1973), artist looking out to a female nude covering herself with a cloak, lithograph, 11"H x 8 3/4"W(paper), 19 3/4"H x 15 3/4"W(mat)

Pablo Picasso Spanish, (1881-1973) artist looking out to a female nude covering herself with a cloak lithograph published by G. Hatje in Stuttgart, 1956.

Lot: 229 - Pablo Picasso, Spanish (1881-1973), three lithographs from L'Espace et la Flûte, 1958, 8"H 5 1/2"W(paper), 11 3/4"H x 9 1/2"W(mat) - one

Pablo Picasso Spanish, (1881-1973) three lithographs from L'Espace et la Flûte, 1958 Printed and published by Gallimard

Lot: 230 - Three high-quality facsimiles of prints by Henri Matisse (France, 1869-1954) and Fernand Léger (France, 1881-1955) 19 1/4"H x 15 1/2"W (one)

Three high-quality facsimiles of prints by Henri Matisse (France, 1869-1954) and Fernand Léger (France, 1881-1955)

Lot: 231 - Three French lithographs by Jean-François Raffaëlli (1850-1924), Alfred Philippe Roll (1846-1919), and Jean-Louis Forain (1852-1931) 12 3/4"H x 10"W (one)

Three French lithographs by Jean-François Raffaëlli (1850-1924), Alfred Philippe Roll (1846-1919), and Jean-Louis Forain (1852-1931)

Lot: 232 - Charles Jacque, France (1813-1894), A Flock of Sheep Coming out of its Pen (La sortie du troupeau), 1876, etching on thick paper, 12 1/2"H x 10"W

Charles Jacque France, (1813-1894) A Flock of Sheep Coming out of its Pen (La sortie du troupeau), 1876 etching on thick paper Signed and dated in plate.

Lot: 233 - The Graphic Arts (Die Graphischen Kunste), Vienna, 1893 15 1/2"H x 12"W

The Graphic Arts (Die Graphischen Kunste), Vienna, 1893 Collection contains numerous original prints in various techniques, including etchings and copper and steel engravings, along with a number of reproductions by Austrian and German artists

Lot: 234 - Charles Paul Renouard, France (1845-1924), two etchings: Break (Repos) ; palace courtyard, two etchings, 15 1/4"H x 11"W(paper), 19 3/4"H x 12 3/4"W(mat)

Charles Paul Renouard France, (1845-1924) two etchings: Break (Repos) ; palace courtyard two etchings Both hand-signed and titled in pencil. Crisp and early impressions. Both have collector stamps verso.

Lot: 235 - Paul Renouard, France (1845-1924), Prisonnier auxiliaire, etching on thick paper, 12 3/4"H x 10"W

Paul Renouard France, (1845-1924) Prisonnier auxiliaire etching on thick paper

Lot: 236 - Henri Fantin-Latour, France (1836-1904), The Nymph, lithograph on cream wove paper, 12 3/4"H x 9 3/4"W(paper), 15 3/4"H x 11 3/4"W(mat)

Henri Fantin-Latour France, (1836-1904) The Nymph lithograph on cream wove paper Signed in lithographic stone lower right.

Lot: 237 - Johan Jongkind, Dutch (1819-1891), Demolition of the Francs-Bourgeois Street, 1875, etching on laid paper, 11 1/2"H x 16 1/2"W

Johan Jongkind Dutch, (1819-1891) Demolition of the Francs-Bourgeois Street, 1875 etching on laid paper Watermark of stylized letters. Signed and dated in plate.

Lot: 238 - Luigi Rossini, Italy (1790-1857), The Arch of Augustus, Fano, Italy, 1855, engraving on thick paper laid on cardboard, 21 1/4"H x 17 1/2"W(paper), 22 1/4"H x 17 1/2"W(mat)

Luigi Rossini Italy, (1790-1857) The Arch of Augustus, Fano, Italy, 1855 engraving on thick paper laid on cardboard From Rossini's famous series of views of Roman monuments. Strong impression.

Lot: 239 - Hokusai , Japan (1760-1849), three prints from 100 Views of Mt. Fuji, woodcut, 8 3/4"H x 5 1/2"W(paper), 12"H x 8 1/4"W (mat) - one

Hokusai Japan, (1760-1849) three prints from 100 Views of Mt. Fuji woodcut Crisp, even impressions. Printed in the early Meiji period, probably around 1870. Published by Sinakuya, Nagoya. Stamps from the Kabutoya Gallery (San Francisco) on sleeves.

Lot: 240 - Three neoclassical prints by Francesco Bartolozzi (Italy, 1727-1815) after drawings by Giovanni Battista Cipriani (Italy, 1727-1785), stipple engravings on thick paper 9"H x 9 3/4"W (largest)

Three neoclassical prints by Francesco Bartolozzi (Italy, 1727-1815) after drawings by Giovanni Battista Cipriani (Italy, 1727-1785), stipple engravings on thick paper

Lot: 241 - Jan Both, Dutch (1610-1652), A Donkey Driver on Via Appia, Italy, etching on fine paper, 8"H x 11"W(paper), 19 3/4"H x 13 3/4"W(mat)

Jan Both Dutch, (1610-1652) A Donkey Driver on Via Appia, Italy etching on fine paper Signed in plate lower left. Catalogue: Hollstein 6, Bartsch 6, Le Blanc II

Lot: 242 - Anthonie Waterloo, Dutch (1609-1690), three fishermen on a little bridge, etching, 5"H x 7"W(print), 19 3/4"H

Anthonie Waterloo Dutch, (1609-1690) three fishermen on a little bridge etching

Lot: 243 - Anthonie Waterloo, Dutch (1609-1690), Edge of the Forest, with Town in the Background, etching on laid paper, 9"H x 11 1/4"W(paper), 13 3/4"H x 19 3/4"W(mat)

Anthonie Waterloo Dutch, (1609-1690) Edge of the Forest, with Town in the Background etching on laid paper Signed in the plate. The first plate from Waterloo's series of large landscapes.

Lot: 244 - Herman van Swanevelt, Dutch (1603-1655), Balaam, the Angel and the Talking Donkey, etching on laid paper, 10"H x 12 3/4"W(paper), 13 3/4"H x 19 3/4"W(mat) - larger

Herman van Swanevelt Dutch, (1603-1655) Balaam, the Angel and the Talking Donkey etching on laid paper Signed in plate. Published in Rome with royal privileges. Sharp impression.

Lot: 245 - Folio from Virgil's Georgica, published in Lyon in 1517, woodcut, original text and commentary in Latin 11 1/4"H x 7 1/2"W(paper), 12 1/2"H x 9 1/2"W(mat)

Folio from Virgil's Georgica, published in Lyon in 1517, woodcut, original text and commentary in Latin

Lot: 246 - Antonio del Pollaiuolo, Italy (d. 1498), Battle of the Nudes, 1475, engraving on thick laid paper, 10 1/4"H x 15"W(paper), 15 3/4"H x 18 1/4"W(mat)

Antonio del Pollaiuolo Italy, (d. 1498) Battle of the Nudes, 1475 engraving on thick laid paper Late impression or heliogravure.

Lot: 247 - Folio from the Nuremberg Chronicle, 1493 Latin edition 18 3/4"H x 12 3/4"W

Folio from the Nuremberg Chronicle, 1493 Latin edition Six woodcuts representing popes, bishops (the Council of Pisa), an emperor, etc. Ink-rich impression.

Lot: 248 - Sebastian Münster, German (1488-1552), Map of Germany, mid 16th century, copper engraving on laid paper, 14 1/2"H x 16 3/4"W

Sebastian Münster German, (1488-1552) Map of Germany, mid 16th century copper engraving on laid paper "Upside-down" map with south at the top and north at the bottom. Map represents The Low Countries, Austria, Switzerland, parts of Poland, Prussia, France, etc. German text verso

Lot: 249 - Two folios from Cosmographia Universalis by Sebastian Munster (German, 1488-1552), German edition, circa 1550 13 1/4"H x 8"W (one)

Two folios from Cosmographia Universalis by Sebastian Munster (German, 1488-1552), German edition, circa 1550 A scene depicting Wilhelm Tell and his son; and a map of Switzerland (Lake Neuchâtel, Bern etc.)

Lot: 250 - Urs Graf, Swiss (1485-1529), The Last Supper, woodcut on laid paper, 2 3/4"H x 2 1/4"W(paper), 15 1/2"H 12 1/2"W(mat)

Urs Graf Swiss, (1485-1529) The Last Supper woodcut on laid paper Latin text verso. Monogram close to lower edge. Collector stamp of Friedrich Augustus II, King of Saxony (1797-1854). Strong, even impression.

Lot: 251 - Hans Burgkmair the Elder, German (1473-1531), People from Calicut (Kozhikode, India), c. 1518, woodcut on laid paper, 12"H x 16"W(paper), 13 1/2"H x 19 3/4"W(mat)

Hans Burgkmair the Elder German, (1473-1531) People from Calicut (Kozhikode, India), c. 1518 woodcut on laid paper Large watermark including a bunch of grapes. From the Triumph des Kaisers Maximilian I series.

Lot: 252 - after Albrecht Dürer, Germany (1471-1528), Saint Jerome in His Study, 1514, engraving, 19 1/2"H x 14 1/2"W

after Albrecht Dürer Germany, (1471-1528) Saint Jerome in His Study, 1514 engraving Original heliogravure by the Bundesdruckerei, Berlin. Stamp verso.

Lot: 253 - after Albrecht Dürer, Germany (1471-1528), The Holy Trinity, 1511, woodcut, 20"H x 14 3/4"W

after Albrecht Dürer Germany, (1471-1528) The Holy Trinity, 1511 woodcut Original heliogravure by the Staatsdruckerei, Berlin. Stamp verso.

Lot: 254 - Three antique maps (17th-18th century) representing India, Spain, and part of Russia 14 1/2"H x 10"W (largest)

Three antique maps (17th-18th century) representing India, Spain, and part of Russia

Lot: 255 - J.V. Schley Cape of Good Hope hand-colored map engraving, c. 1748 8 1/4"H x 6"W(sight), 16 1/4"H x 14 1/4"W(frame)

J.V. Schley Cape of Good Hope hand-colored map engraving, c. 1748

Lot: 256 - Collection of 28 original heliogravures by Amand Durand after prominent early printmakers, including Schongauer and Rembrandt 12 1/2"H x 17"W (book)

Collection of 28 original heliogravures by Amand Durand after prominent early printmakers, including Schongauer and Rembrandt All prints have Durand's stamp verso.

Lot: 257 - Group of 10 prints (17th-20th century) on various topics in various techniques 19 1/4"H x 14 1/4"W (largest)

Group of 10 prints (17th-20th century) on various topics in various techniques

Lot: 258 - Group of 10 prints (17th-20th century) on various topics in various techniques 16 3/4"H x 14"W (largest)

Group of 10 prints (17th-20th century) on various topics in various techniques

Lot: 259 - Group of 10 prints (17th-20th century) on various topics in various techniques 15 1/4"H x 12 1/4"W (largest)

Group of 10 prints (17th-20th century) on various topics in various techniques

Lot: 260 - Group of 10 prints (17th-20th century) on various topics in various techniques 14 3/4"H x 18 1/4"W (one larger)

Group of 10 prints (17th-20th century) on various topics in various techniques

Lot: 261 - Group of 10 prints (17th-20th century) on various topics in various techniques 14"H x 10 1/2"W(sight), 20"H x 16 1/2"W(mat)

Group of 10 prints (17th-20th century) on various topics in various techniques

Lot: 262 - Walter Payton Chicago Bears signed sports memorabilia with COA 20"H x 29 1/2"W(frame)

Walter Payton Chicago Bears signed sports memorabilia with COA Includes game action shot and a collage with an autograph and the inscription "A Legend Among Us."

Lot: 263 - Golf group, 3pc: Pair of prints depicting golf courses and a framed Masters Tournament towel: Wayland Moore (American, b. 1935) Golfers, serigraph, 23"H x 31"W (Sight), 32 3/4"H x 40 3/4"W (Frame)

Golf group, 3pc: Pair of prints depicting golf courses and a framed Masters Tournament towel: Wayland Moore (American, b. 1935) Golfers, serigraph, numbered 25/50 lower left and signed in pencil lower right. J. Murray, Desert Highlands Golf Club, Scottsdale, Arizona. Numbered 215/5000 lower left. Signed in pencil lower right.

Lot: 264 - Pair of Secession Golf Club Beaufort, SC prints: one aerial photographic print of the course and one lithographic print representing the Legacy of the Logo 29 1/4"H 32 1/4"W(largest frame)

Pair of Secession Golf Club Beaufort, SC prints: one aerial photographic print of the course and one lithographic print representing the Legacy of the Logo

Lot: 265 - Golf themed lithographic prints, 4pc: artist signed & numbered Bobby Jones "The Gallery", signed 1991 PGA Championship Crooked Stick Golf Club print by Charles Warren Mundy, 30 1/2"H x 41 1/2"W (largest, frame)

Golf themed lithographic prints, 4pc: artist signed & numbered Bobby Jones "The Gallery", signed 1991 PGA Championship Crooked Stick Golf Club print by Charles Warren Mundy, Ben Hogan hitting a 1-iron shot at the 1950 U.S. Open at Merion Golf Club print from a Life Magazine photograph by Hy Peskin, Augusta National Golf Club by Mark King.

Lot: 266 - Three golf ball display racks containing a large collection of vintage golf balls 20 3/4"H x 25 1/2"W x 3"D (One)

Three golf ball display racks containing a large collection of vintage golf balls

Lot: 267 - Dale Earnhardt / Goodwrench / Wheaties advertising group, 10pc: Dale Earnhardt Goodwrench life-size cardboard standup, Dale Earnhardt Wheaties cardboard standup advertiser, Dale Earnhardt Wheaties boxes and advertising p

Dale Earnhardt / Goodwrench / Wheaties advertising group, 10pc: Dale Earnhardt Goodwrench life-size cardboard standup, Dale Earnhardt Wheaties cardboard standup advertiser, Dale Earnhardt Wheaties boxes and advertising print

Lot: 268 - Baseball wall decor, 2pc: Cal Ripken Jr. 2131 home plate plaque, MLB team pennant "Play Ball" canvas print 29 1/2"H x 23 1/2"W (Largest)

Baseball wall decor, 2pc: Cal Ripken Jr. 2131 home plate plaque, MLB team pennant "Play Ball" canvas print

Lot: 269 - Randy Owens, Alessandro Nannini Benetton F1 racing serigraph, signed & numbered, 1990 16 1/4"H x 23 1/2"W (Sight), 21 1/2"H x 28 1/2"W (Frame)

Randy Owens, Alessandro Nannini Benetton F1 racing serigraph, signed & numbered, 1990 Pencil signed by Owens and Nannini, 123/130.

Lot: 270 - Vehicle posters, 3pc: Harley Davidson, Indian Motorcycle, 1976 Dodge Challenger by Gene William Bacha, 2008 16 3/4"H x 26"W (Largest)

Vehicle posters, 3pc: Harley Davidson, Indian Motorcycle, 1976 Dodge Challenger by Gene William Bacha, 2008 Indian motorcyle poster photography by Robert McKendrick and design by Buchanan Design.

Lot: 271 - Trio of framed vintage BMW classic car black and white posters with photos by Jean Marie Bottequin, 1980s 37 1/2" x 25 1/2" (each)

Trio of framed vintage BMW classic car black and white posters with photos by Jean Marie Bottequin, 1980s BMW 327 Sport, BMW 328 Mille Miglia, BMW M-1 1979. "L'Art, Le Style & L'Auto. Musee D'Art Moderne de la ville de paris".

Lot: 272 - Classic car prints group, 4pc: 6 Ken Dallison signed 1988 first day of issue / first day cover envelopes; 3 Greg Padginton classic car framed lithographs: "Good 'Ole Boys", pencil signed lower right, B.A.T.; "Spirit of A

Classic car prints group, 4pc: 6 Ken Dallison signed 1988 first day of issue / first day cover envelopes; 3 Greg Padginton classic car framed lithographs: "Good 'Ole Boys", pencil signed lower right, B.A.T.; "Spirit of America" 4th Annual Car & Automotive art show, color lithograph; "Spirit of Ecstasy " 3rd Annual Car & Automotive art show 1983, limited edition color lithograph poster, deluxe edition on opalesque silk paper, glass is cracked lower left.

Lot: 273 - Lot of 6 die cast model cars: Maisto Lexus SC 430, 1958 Chevrolet Impala, Ferrari F355 Spider, Porsche 911 Carrera, Bburago Dodge Viper Coupe, 1960 Plymouth Valiant 3"H x 4"H x 9"D (one)

Lot of 6 die cast model cars: Maisto Lexus SC 430, 1958 Chevrolet Impala, Ferrari F355 Spider, Porsche 911 Carrera, Bburago Dodge Viper Coupe, 1960 Plymouth Valiant

Lot: 274 - Reproduction toys, 3pc: papier mache carousel horse, stuffed sheep pull toy, tin model tugboat 11 1/2"H x 6"W x 18"D (Largest)

Reproduction toys, 3pc: papier mache carousel horse, stuffed sheep pull toy, tin model tugboat

Lot: 275 - Pair of vintage tabletop games: carrom board, inlaid wood double-sided parcheesi? and chess / checkers game board 28 3/4"H x 28 3/4"W (larger)

Pair of vintage tabletop games: carrom board, inlaid wood double-sided parcheesi? and chess / checkers game board

Lot: 276 - Vintage Austin Productions Chess Players sculpture, c. 1971 9 1/2"H x 12"W x 5"D

Vintage Austin Productions Chess Players sculpture, c. 1971 chip on chair seat.

Lot: 277 - J. Kuppler, When I Grow Up, painted plaster bust on wood base, 10"H x 7 1/4"W

J. Kuppler When I Grow Up painted plaster bust on wood base 93/500.

Lot: 278 - Richard Hager, Florida (20th century), female bust, bronze mounted to wood plaque, 7"H x 5 1/2"W

Richard Hager Florida, (20th century) female bust bronze mounted to wood plaque Artist card attached verso.

Lot: 279 - Unknown fine art sculpture by Bloomington, Indiana artist, male figure, carved soap, mounted in black shadowbox frame. 16"H x 9"W

Unknown fine art sculpture by Bloomington, Indiana artist, male figure, carved soap, mounted in black shadowbox frame.

Lot: 280 - Rhonda Wegner Taylor, American (20th/21st century), harmonica player / trumpet player, 2 folk art punched tin metal wall hanging sculptures with candle holders? verso, 31"H x 15 1/2"W (larger)

Rhonda Wegner Taylor American, (20th/21st century) harmonica player / trumpet player 2 folk art punched tin metal wall hanging sculptures with candle holders? verso Signed lower.

Lot: 281 - Art exhibition posters, 4pc: Robert Motherwell: 1983 Chicago International Art Exhibition, Edward Hopper "Nighthawks" Art Institute of Chicago, Robert Nickle: 1979 Cranbook Academy of Art Museum, Noel Daggett: 1981 Art E

Art exhibition posters, 4pc: Robert Motherwell: 1983 Chicago International Art Exhibition, Edward Hopper "Nighthawks" Art Institute of Chicago, Robert Nickle: 1979 Cranbook Academy of Art Museum, Noel Daggett: 1981 Art Expo NY

Lot: 282 - Art exhibition posters, 4pc: Diego Rivera "Flower Day" Los Angeles County Museum of Art, Ignacio Gomez "Iron Eyes Cody," "As in a Vision" The Elizabeth Cole Butler Collection: Philbrook Art Center OK (x2) 38"H x 26"W (On

Art exhibition posters, 4pc: Diego Rivera "Flower Day" Los Angeles County Museum of Art, Ignacio Gomez "Iron Eyes Cody," "As in a Vision" The Elizabeth Cole Butler Collection: Philbrook Art Center OK (x2)

Lot: 283 - Art exhibition posters, 2pc: The National Center for the Study of Frank Lloyd Wright, 1988; 150 Years of Chicago architecture: Museum of Science and Industry, 1985/86. 33 1/4"H x 25"W (Largest)

Art exhibition posters, 2pc: The National Center for the Study of Frank Lloyd Wright, 1988; 150 Years of Chicago architecture: Museum of Science and Industry, 1985/86.

Lot: 284 - Three Winifred Godfrey art exhibition posters: "White Cyclamen" RAHR-West Art Museum (x2), "Blue Delphinium" Prince Galleries Chicago 39"H x 23 1/2"W (Largest)

Three Winifred Godfrey art exhibition posters: "White Cyclamen" RAHR-West Art Museum (x2), "Blue Delphinium" Prince Galleries Chicago

Lot: 285 - Rogier Gregoire, (20th century), Crystal Visions / Crystal Visions 2, 2 photographic prints, 40"H x 28"W (sheet, each)

Rogier Gregoire (20th century) Crystal Visions / Crystal Visions 2 2 photographic prints Unsigned. Ink marks upper right of Crystal Visions 2.

Lot: 286 - Rogier Gregoire, (20th century), Crystal Visions / The Delft Vase, 2 photographic prints, 40"H x 28"W (largest)

Rogier Gregoire (20th century) Crystal Visions / The Delft Vase 2 photographic prints Unsigned.

Lot: 287 - Albert Swayhoover, Florida (b. 1931), Osprey Point, offset lithograph, 20 3/4"H x 30 1/4"W(sight), 31 1/2"H x 41 1/4"W(frame)

Albert Swayhoover Florida, (b. 1931) Osprey Point offset lithograph Gallery label verso. Biography from the Archives of askART: The following is from the artist: For 40 years, Albert Swayhoover has been creating paintings intended to capture the total experience of nature with a focus on achieving superb technique and unique textural imagery. Swayhoover is committed to using the painting knife. Forsaking the traditional brushes, and using only a series of knives, his goal is to breathe life into delicate beach grasses as well as fierce storm clouds. He also strives for beautifully structured composition with subtle shifts of color and modulating of impastos to create an immediate environmental experience on canvas. " I love the sounds and sights of boat yards, marsh grass blowing in the wind, old weathered buildings and rocky shores. All of these give me pleasure and inspiration for my work. My idea of a perfect afternoon is to sit on a dock sketching a harbor scene or to follow a stone wall and discover a wonderful old farm on a snowy hillside." Albert Swayhoover was born in New York City. He studied art at New York College at Farmingdale and at the School of Visual Arts, dividing his time between painting and a successful career in advertising. The demand for his canvases increased steadily and, in 1966, he left advertising to devote himself totally to painting. " I am a self taught painter. I did not want to be influenced by other artists. This I believe is the only way to achieve successes in the art world today. You must develop a distinct style and stick to it." He is the recipient of over 25 awards, including the Solomon R. Guggenheim Award given by the Salmagundi Club. He has had over 40 successful one-man shows in leading galleries across America. Some of his works hang in important private collections as well as the corporate collections IBM, Chase Manhattan CBS and others.

Lot: 288 - Tom Lovell, New York, New Mexico (1909 - 1997), Professor Lowe's Balloon, 1975, lithographic print, 20"H x 30 3/4"W (Sheet)

Tom Lovell New York, New Mexico, (1909 - 1997) Professor Lowe's Balloon, 1975 lithographic print Pencil signed lower left, edition 565/1500, 1992 Greenwich Workshop print. Provenance: Altermann Galleries, NM Biography from the Archives of askART: A well-known illustrators in New York City and then a painter of Western subjects, Tom Lovell paid great attention to details in his work and, because of this, seldom completed more than a dozen major oil paintings a year. Lovell was born in New York City and attended high school in Nutley New Jersey. As valedictorian of his class, he spoke on the "Ill Treatment of the American Indian by the U.S. Government," a harbinger of his depictions of the West. In 1931, he received a Bachelor of Fine Arts from Syracuse University in New York. For thirty-nine years he was a freelance illustrator for many well-known magazines including Colliers, McCalls, and National Geographic. He was also known as a pulp illustrator, associated with "Dime Mystery" where his "ingenuity at picturing the bizarre instruments of torture dreamed up in the pulp writers' imaginations was nothing short of remarkable". (Haining 135). In 1975, he and his wife moved to Santa Fe, New Mexico, and that same year, he was elected to the Cowboy Artists of America. Many of his paintings focus on historical western subjects such as relations between white men and Indians and early expeditions. Sources include: Walt Reed, Illustrator in America Peggy and Harold Samuels, Encyclopedia of Artists of the American West Peter Haining, American Pulp Magazines

Lot: 289 - John Buxton, Pennsylvania, North Carolina (b. 1939), Kinsman to the Shawnee, 2004, lithographic print, 28 1/4"H x 18 1/4"W (Sheet)

John Buxton Pennsylvania, North Carolina, (b. 1939) Kinsman to the Shawnee, 2004 lithographic print Pencil signed lower right, edition 27/50, artist's proof. 2005 Greenwich Workshop print. Includes COA. Biography from the Archives of askART: A product of North Carolina born in 1939, John Buxton traces his family ancestry back to pre-revolutionary days which just happens to provide the

Lot: 290 - Mort Kunstler, (1931 - 2025) New York, Letter From Home, lithographic print, 2001, 25 1/4"H x 20 3/4"W (Sheet)

Mort Kunstler (1931 - 2025), New York Letter From Home lithographic print, 2001 Signed and inscribed lower. Biography from the Archives of askART: Known for his Civil War genre paintings, Mort Kunstler studied art at Brooklyn College, U.C.L.A., and Pratt Institute in Brooklyn. He became a successful illustrator in New York and received assignments including numerous book and magazine publishers. He was affiliated with the National Geographic Magazine, and through their assignments of historical subject matter, learned the value of accuracy by working with historians. He also did illustrations for The Saturday Evening Post, Newsweek, and Argosy. In the early 1970s, his work began attracting the attention of collectors. His first paintings were primarily Western subject matter, and from 1977 he has had nine one-man shows at the Hammer Gallery in New York City. In 1982, he had a commission from CBS to do a painting for the television mini series "Blue and Gray," and this activity directed his attention to the Civil War. A painting, The High Water Mark, was very correct in its details and was unveiled on July 2, 1988 at the Gettysburg National Military Park in celebration of the anniversary of the battle. He has also completed an official U.S. postal stamp commemorating the Buffalo Soldiers during the Civil War.

Lot: 291 - Lithographic print based on an original work by Mary Dulon featuring palm trees and stucco style home 33 1/2"H x 24"W(sight), 46"H x 36"W(frame)

Lithographic print based on an original work by Mary Dulon featuring palm trees and stucco style home

Lot: 292 - Troy Burt, Indiana (1965-2025), landscape and portrait prints, 4 posters, 46 3/4"H x 34 3/4"W (One)

Troy Burt Indiana, (1965-2025) landscape and portrait prints 4 posters Unsigned.

Lot: 293 - Emanuel Mattini, Iranian (b. 1966), Melodium II, mixed media print, 13 1/2"H x 13 1/2"W (sight), 25"H x 25"W (frame)

Emanuel Mattini Iranian, (b. 1966) Melodium II mixed media print AKA Babak Emanuel? Pencil signed lower right, edition 20/175. Biography from Art Works Gallery BC: Babak Emanuel is an artist strongly influenced by music -- his works are melodies played in textured forms, brilliant in colour, exciting and fresh in design, a metamorphosis of the extension of music into art, of the human form transposed to music, music to art, art to human expression, human expression to the rhythm of life. The quieting play of sound, the expression of scale relating to the yin and yang of colour and motion, in his life a swell as his art. His sound of art is a freshness of style and approach - a blend of the modern with the antique reflecting an age of quality - quality of meaning, quality of image. These qualities were ingrained in Babak in his native Shiraz, Iran, the famed valley of poets and philosophers, where he was born in 1966. The teachings of these poets and philosophers were furthered at the Atlanta Institute of Art where he graduated in June of 1987 after extensive studies in painting and photography. This marriage of the discipline of photography with the controlled freedom of painting is evident in his use of perspective. Also an accomplished serigrapher, he applies these skills in his present painting style - a style which reflects his thoughts, soul and dreams is recognizable to the viewers as uniquely Babak. Babak's work appears in galleries and private collections throughout the world.

Lot: 294 - Alan Davie, Scottish (1920 - 2014), I, abstract composition, lithograph, 24 3/4"H x 35 1/4"H

Alan Davie Scottish, (1920 - 2014) I, abstract composition lithograph Pencil signed lower right, edition 60/75. Biography from the Archives of askART: Born in Scotland in 1920 Alan Davie studied at Edinburgh College of Art between 1937 and 1940. In 1942 he won the Guthrie Award for the best painting by a young artist at the Scottish Royal Academy summer exhibition. Davie went on to gain international recognition and today he is considered by many to be one of the most important British artists of the post-war era. His work can be seen in galleries and museums worldwide; in Britain these include the Tate and the Scottish National Museum of Modern Art. Davie is also an accomplished jewelry designer and jazz musician. Davie travelled widely and in Venice became influenced by other painters of the period, such as Paul Klee, Jackson Pollock and Joan Miró, as well as by a wide range of cultural symbols. In particular, his painting style owes much to his affinity with Zen. Having read Eugen Herrigel's book Zen in the Art of Archery (1953) he has assimilated the spontaneity which Zen emphasizes Declaring that the spiritual path is incompatible with planning ahead, he has attempted to paint as automatically as possible, which is intended to bring forth elements of his unconscious. Like Pollock, many of Davie's works have been executed by standing above the painting, which is laid on the ground. He adds layers of paint until sometimes the original painting has been covered over many times. However, despite the speed at which he works (he has usually had several paintings on the go at once), he is adamant that his images are not pure abstraction, but all have significance as symbols. As well as painting, whether on canvas or paper (he has stated that he prefers to work on paper), Davie has recently produced several screenprints. He found a public for his work on the continent and in America some time before the British art public could reconcile itself to his mixture of ancient and newly invented of symbols and his explosive brushwork. His paintings appear at once apocalyptic and triumphant. In his lectures Davie stressed the importance of improvisation as his chosen method. His stance was that of an inspired soothsayer resisting the inroads of rational civilization. Source: Trinity House Fine Art Consultants, http://www.trinityhousepaintings.com/Davie-Alan-DesktopDefault.aspx?tabid=45&tabindex=44&artistid=66428

Lot: 295 - William Gropper, New York (1897 - 1977), Watergate Series #10 / Lawyers / The Budget / Watergate Series #8 / The Opposition / Watergate Series #5, 6 color lithographs on wove paper, 22"H x 30"W (one)

William Gropper New York, (1897 - 1977) Watergate Series #10 / Lawyers / The Budget / Watergate Series #8 / The Opposition / Watergate Series #5 6 color lithographs on wove paper All pencil signed and numbered ed of 200, and one AP Roman numeral edition. Biography from the Archives of askART: New-York born artist William Gropper was a painter and cartoonist who, with caricature style, focused on social concerns, and was actively engaged in support of the organized labor movement throughout his career. During the 1930s, working as a part of the Federal Arts Project, he produced some of the most gripping social protest works of the Great Depression. Subjects included industrial strikes and incidents of strike breaking, especially in the coal mining and steel-production centers. He did much illustration-cartoon work for the New York Tribune newspaper, Vanity Fair magazine and the politically 'left-wing' publication, "New Masses." Gropper's painting, Youngstown Strike, has received much attention for its strong, social-realist impact and was apparently prompted by the extended strikes staged in 1936-37 by workers at the Youngstown Sheet and Tube Company, Youngstown, Ohio. During these years chaos frequently reigned throughout much of the city. In one incident, following a savage confrontation with police guards by workers and their families, the police tear gassed and shot at the workers; two strikers were killed and twenty-eight injured. Gropper visited Youngstown during this period, and commented on the incident in an article and a series of descriptive action sketches published in The Nation. Some of his other pieces focused on the hypocrisy of government figures, especially members of the United States Senate. As a young man, William Gropper was a student of Robert Henri and George Bellows at the Ferrer School from 1912 to 1915. He did fine-art painting on the side until the early 1920s, and had his first solo exhibition in 1936. In 1938, he completed a mural for the Department of the Interior in Washington DC. Sources: Howard E Wooden at Butlerart.com Dictionary of American Art by Matthew Baigell

Lot: 296 - Savo Radulovic, Yugoslavia / New York (1911-1991), portraits, 3 sheets with 6 hand colored lithographs each, 22"H x 30"W(one)

Savo Radulovic Yugoslavia / New York, (1911-1991) portraits 3 sheets with 6 hand colored lithographs each All pencil signed, titled, and numbered 9, 23, and 44/50. Biography from the Archives of askART: Born in Montenegro, Yugoslavia, Savo Radulovic settled in New York City where he became a painter in abstract style, graphic artist, and teacher. He was the owner and director of the Artists Little Gallery from 1946 into the 1970s. He studied at the Saint Louis School of Fine Arts, Washington University in St. Louis; the Fogg Museum of Art at Harvard University on a Carnegie Fellowship; and in Rome, Italy on a Fulbright Scholarship at the Academie Belle Arte, 1949 to 1950. He exhibited at the National Academy of Design, the Pennsylvania Academy of the Fine Arts and in galleries in St. Louis Missouri, New York and Pennsylvania. He exhibited at the Midtown Gallery, St. Louis, December, 1939; the A.C.A. Gallery, New York, Sept/Oct. 1940, and the St. Louis Art Center, November of an unstated year. In addition to museum collections, his work is in the History Section of the War Department of the Pentagon in Washington DC and in the art collection of William and Mary College in Williamsburg, Virginia. Radulovic was very prominent in St. Louis in the 1930s, and is remembered for being the charismatic and enthusiastic leader of the avant-garde artists and creative people of the day, not least because he operated a place called "Little Bohemia" where artists hung out, drank coffee and beer, ate sandwiches, philosophized, and exhibited their work. He was first successful with batik work, but later settled more on painting. He left St. Louis in 1941 to join the Army, where he served as an official War Dept. artist. Savo Radulovic died in December of 1991. Sources include: Peter Falk, Who Was Who in American Art

Lot: 297 - Andrew Wyeth, Four Seasons, 12 reproductions an Art in America Publication 19"H x 15"W

Andrew Wyeth, Four Seasons, 12 reproductions an Art in America Publication

Lot: 298 - Raphael Soyer, New York / Russia (1899-1987), Seated Woman, 1979, lithograph

Raphael Soyer New York / Russia, (1899-1987) Seated Woman, 1979 lithograph Pencil signed lower right, 66/275. Biography from the Archives of askART: Born in Borisoglebsk, Russia in 1899, Raphael Soyer is identified as a Social Realist* painter because of his interest in the common man, although he avoided subjects that were particularly critical of society. Soyer moved with his family to the Lower East Side of New York City in 1913, after they were deported from Russia by the Tsarist regime. His father, a Hebrew teacher and writer, encouraged artistic and intellectual pursuits. His popularity with his students in Russia and his liberal ideas led to problems for him with the authorities, and he was forced to leave with his family. Soyer left school at sixteen to help support the family. He attended free classes at Cooper Union* and at the National Academy of Design*. Guy Pene du Bois, a teacher at the Art Students League*, recognized his talent and introduced him to Charles Daniel, who gave him his first solo exhibition in 1929. The success of this event secured his position as a professional artist. The experience of immigrant life in the United States provided him with a rich source of imagery for his art, which was sensitive, penetrating portrayals including transients, shoppers, dancers, and fellow artists. Near his studio in Manhattan's Lower East Side he observed his fellow New Yorkers. His subjects were portrayed with strong, flat colors, which evoked a sense of isolation. Common themes were intimate studies of solitary women, often nudes, and portraits of fellow artists, reflecting his great affection and admiration for them. Soyer's most frequent model was himself, often posed with pencil or brush in hand, as in Self-Portrait ca. 1927, and his work was mainly in oil and lithography*. He did not accept commissions for portraits because his interest was with the private person and the effects of the modern world on the psyche, rather than a public facade. Artists he admired, such as Rembrandt, Degas, and Eakins, he felt were dedicated to showing their times truthfully, and emphasized inner character more than physical beauty. Both of Soyer's brothers, Moses and Isaac, were also artists. With his identical twin Moses, he painted murals for the post office in Kingessing, Pennsylvania. He also taught at the Art Students League. He was a co-founder of Reality magazine and champion of Realism* at a time when Abstract Expressionism* dominated the American art scene. The Depression's economic difficulties could be seen in his subjects, and unemployed men caught Soyer's eye. Women at work became a theme with Soyer after 1940. On November 4, 1987, he died in New York.

Lot: 299 - Eugene Gustavovich Berman, Russian (1899 - 1972), Spanish Steps/Mexican Interlude, 1948, village scene, lithograph

Eugene Gustavovich Berman Russian, (1899 - 1972) Spanish Steps/Mexican Interlude, 1948, village scene lithograph Signed with initials in the plate. Biography from the Archives of askART: From Russia, Eugene Berman became a painter known for his imaginary landscapes and for his Baroque* stage set designs including for ballets and the Metropolitan Opera in New York. In France, he became

Lot: 300 - Ervine Metzl, American (1899 - 1963), landscape with house, 1941, lithograph

Ervine Metzl American, (1899 - 1963) landscape with house, 1941 lithograph Pencil signed and dated lower right.

Lot: 301 - Two print portfolios: William Blake, Illustrations of the Book of Job, 1979 and Maurice Utrillo, 16 color prints, 1953. 15"H x 11 1/2"W (Utrillo)

Two print portfolios: William Blake, Illustrations of the Book of Job, 1979 and Maurice Utrillo, 16 color prints, 1953.

Lot: 302 - Jack Levine, American (1915-2010), The General, 1962/63 / Prussian General (State Two) "Double Eagle", 1966, 2 etchings, 19 3/4"H x 25 3/4"W (Largest)

Jack Levine American, (1915-2010) The General, 1962/63 / Prussian General (State Two) "Double Eagle", 1966 2 etchings Pencil signed lower right. The General: edition 14/100; Prussian General: 78/100. Biography from the Archives of askART: Born and raised in the south end of Boston, Jack Levine created social satirical pieces exposing the foibles and venals sins of mobsters and politicians, underworld characters whose actions are obviously insincere. He also satirized the middle class and created paintings of Biblical subjects. He enrolled in art classes at the Museum Fine Arts School of Boston and came under the influence of Dr. Denman Ross of Harvard University who, recognizing talent, gave him free art lessons. Levine was especially interested in the Old Masters at the Fogg Museum at Harvard. In 1935, he became a W.P.A. artist, using his experience growing up in a lower class neighborhood in his subject matter. He developed a modern Social Realism while borrowing from the techniques of Rembrandt and El Greco, something he calls "Old Master Pudding." He also learned methods from satirists Honore Daumier, Francisco Goya, and George Grosz. Levine's technique was to apply slashing strokes of color in thin layers of oil and then glaze, making his surfaces sparkle. His lampoons of rich people were especially suited to this method because their skin glitters and seems to corrode with light. Memberships include the National Institute of Arts and Letters and the American Academy of Arts and Letters.

Lot: 303 - Jack Levine, American (1915-2010), The King - Hebrew King, 1949 / Maimonides II, 1964, 2 lithographs, 26 3/4"H x 21"W (Largest)

Jack Levine American, (1915-2010) The King - Hebrew King, 1949 / Maimonides II, 1964 2 lithographs Pencil signed lower right. The King: edition 24/50; Maimonides II: edition 44/100. Biography from the Archives of askART: Born and raised in the south end of Boston, Jack Levine created social satirical pieces exposing the foibles and venals sins of mobsters and politicians, underworld characters whose actions are obviously insincere. He also satirized the middle class and created paintings of Biblical subjects. He enrolled in art classes at the Museum Fine Arts School of Boston and came under the influence of Dr. Denman Ross of Harvard University who, recognizing talent, gave him free art lessons. Levine was especially interested in the Old Masters at the Fogg Museum at Harvard. In 1935, he became a W.P.A. artist, using his experience growing up in a lower class neighborhood in his subject matter. He developed a modern Social Realism while borrowing from the techniques of Rembrandt and El Greco, something he calls "Old Master Pudding." He also learned methods from satirists Honore Daumier, Francisco Goya, and George Grosz. Levine's technique was to apply slashing strokes of color in thin layers of oil and then glaze, making his surfaces sparkle. His lampoons of rich people were especially suited to this method because their skin glitters and seems to corrode with light. Memberships include the National Institute of Arts and Letters and the American Academy of Arts and Letters.

Lot: 304 - Jack Levine, American (1915-2010), Love Careless Love, 1965 / Artist and the Muse - Self Portrait with Muse, 1966, 2 etchings, 22"H x 29 3/4"W (Largest)

Jack Levine American, (1915-2010) Love Careless Love, 1965 / Artist and the Muse - Self Portrait with Muse, 1966 2 etchings Pencil signed lower right. Love Careless Love: edition 70/100; Artist and the Muse: edition 61/100. Biography from the Archives of askART: Born and raised in the south end of Boston, Jack Levine created social satirical pieces exposing the foibles and venals sins of mobsters and politicians, underworld characters whose actions are obviously insincere. He also satirized the middle class and created paintings of Biblical subjects. He enrolled in art classes at the Museum Fine Arts School of Boston and came under the influence of Dr. Denman Ross of Harvard University who, recognizing talent, gave him free art lessons. Levine was especially interested in the Old Masters at the Fogg Museum at Harvard. In 1935, he became a W.P.A. artist, using his experience growing up in a lower class neighborhood in his subject matter. He developed a modern Social Realism while borrowing from the techniques of Rembrandt and El Greco, something he calls "Old Master Pudding." He also learned methods from satirists Honore Daumier, Francisco Goya, and George Grosz. Levine's technique was to apply slashing strokes of color in thin layers of oil and then glaze, making his surfaces sparkle. His lampoons of rich people were especially suited to this method because their skin glitters and seems to corrode with light. Memberships include the National Institute of Arts and Letters and the American Academy of Arts and Letters.

Lot: 305 - Jack Levine, American (1915-2010), Reception in Miami, 1967 / Marianne and The Goddess of Liberty, 1967, 2 lithographs, 21 3/4"H x 29 3/4"W (one)

Jack Levine American, (1915-2010) Reception in Miami, 1967 / Marianne and The Goddess of Liberty, 1967 2 lithographs The Dinner Party: edition 110/120. Marianne and The Goddess of Liberty: pencil signed lower right, edition 32/125. Biography from the Archives of askART: Born and raised in the south end of Boston, Jack Levine created social satirical pieces exposing the foibles and venals sins of mobsters and politicians, underworld characters whose actions are obviously insincere. He also satirized the middle class and created paintings of Biblical subjects. He enrolled in art classes at the Museum Fine Arts School of Boston and came under the influence of Dr. Denman Ross of Harvard University who, recognizing talent, gave him free art lessons. Levine was especially interested in the Old Masters at the Fogg Museum at Harvard. In 1935, he became a W.P.A. artist, using his experience growing up in a lower class neighborhood in his subject matter. He developed a modern Social Realism while borrowing from the techniques of Rembrandt and El Greco, something he calls "Old Master Pudding." He also learned methods from satirists Honore Daumier, Francisco Goya, and George Grosz. Levine's technique was to apply slashing strokes of color in thin layers of oil and then glaze, making his surfaces sparkle. His lampoons of rich people were especially suited to this method because their skin glitters and seems to corrode with light. Memberships include the National Institute of Arts and Letters and the American Academy of Arts and Letters.

Lot: 306 - Jack Levine, American (1915-2010), Marianne and The Goddess of Liberty, 1967 / Blue Angel, 1967, 2 lithographs, 29 1/2"H x 22 3/4"W (Largest)

Jack Levine American, (1915-2010) Marianne and The Goddess of Liberty, 1967 / Blue Angel, 1967 2 lithographs Pencil signed lower. Marianne and The Goddess of Liberty: edition 42/125; Blue Angel: edition 66/120. Biography from the Archives of askART: Born and raised in the south end of Boston, Jack Levine created social satirical pieces exposing the foibles and venals sins of mobsters and politicians, underworld characters whose actions are obviously insincere. He also satirized the middle class and created paintings of Biblical subjects. He enrolled in art classes at the Museum Fine Arts School of Boston and came under the influence of Dr. Denman Ross of Harvard University who, recognizing talent, gave him free art lessons. Levine was especially interested in the Old Masters at the Fogg Museum at Harvard. In 1935, he became a W.P.A. artist, using his experience growing up in a lower class neighborhood in his subject matter. He developed a modern Social Realism while borrowing from the techniques of Rembrandt and El Greco, something he calls "Old Master Pudding." He also learned methods from satirists Honore Daumier, Francisco Goya, and George Grosz. Levine's technique was to apply slashing strokes of color in thin layers of oil and then glaze, making his surfaces sparkle. His lampoons of rich people were especially suited to this method because their skin glitters and seems to corrode with light. Memberships include the National Institute of Arts and Letters and the American Academy of Arts and Letters.

Lot: 307 - Vladimir Griegorovich Tretchikoff, Russian (1913 - 2006), Basuto Girl,1952, lithographic print, 25"H x 21"W (frame)

Vladimir Griegorovich Tretchikoff Russian, (1913 - 2006) Basuto Girl,1952 lithographic print Frame backing is loose.

Lot: 308 - Marjorie Christine Bates, (1883 - 1962), Eagle Tower, Caernarfon Castle, offset lithograph, 8"H x 5 1/2"W (Sight), 15 1/2"H x 11 1/4"W (Frame)

Marjorie Christine Bates (1883 - 1962) Eagle Tower, Caernarfon Castle offset lithograph Titled in pencil lower.

Lot: 309 - Edna Hibel Plotkin, American (1917 - 2015), Allyson, offset lithograph

Edna Hibel Plotkin American, (1917 - 2015) Allyson offset lithograph Includes COA. Biography from the Archives of askART: Edna Hibel, a painter of sentimental pictures of children, has had a more than 60-year career as painter and lithographer and promoter of peace through exhibitions of her artwork. She was born in 1917 in Boston, Massachusetts. Her parents were Abraham and Lena

Lot: 310 - Framed Royal delft glazed porcelain maritime scene art tile 5 1/4"H x 4"W(sight), 13"H x 11 1/2"W(frame)

Framed Royal delft glazed porcelain maritime scene art tile

Lot: 311 - Father Pefkis Byzantine icon "St. George Slaying the Dragon" painting with gold leaf on board, signed lower right, signature and wax seal verso, 1999.

Father Pefkis Byzantine icon "St. George Slaying the Dragon" painting with gold leaf on board, signed lower right, signature and wax seal verso, 1999.

Lot: 312 - Belgrad cityscape painting with gold leaf on board, signed 15 1/4"H x 19 1/2"W(board), 23 1/4"H x 27 1/2"W(frame)

Belgrad cityscape painting with gold leaf on board, signed

Lot: 313 - Pair of framed figural works: Michael Chryssanthakis hand made Greek landscape art tile panel, and Jacob Samuels pretzel vendor market scene on etched and painted glass/plastic? 9 1/2"H x 7 1/2"W(sight), 14"H x 12"W(fram

Pair of framed figural works: Michael Chryssanthakis hand made Greek landscape art tile panel, and Jacob Samuels pretzel vendor market scene on etched and painted glass/plastic?

Lot: 314 - Pair vintage provincial landscape plaques, Turner wall hangings 11 3/4"H x 17 1/4"W

Pair vintage provincial landscape plaques, Turner wall hangings

Lot: 315 - Vintage portrait / cityscape art group, 5pc: After Sir Thomas Lawrence, Pinkie (Sarah Barrett Moulton), print., 19 1/2"H x 15 1/2"W (largest, frame)

Vintage portrait / cityscape art group, 5pc: After Sir Thomas Lawrence, Pinkie (Sarah Barrett Moulton), print. After Thomas Gainsborough, The Blue Boy (Master Jonathan Buttall), print. Pedro Vargas, Paris - Place du Tertre, art print. flower cart art print. Paris cityscape oil painting.

Lot: 316 - Three vintage gilt framed prints: Eugene Garin (1922-1994) seascape lithographic print on board; Circle of Rembrandt, The Man with the Golden Helmet, lithographic print; Frank Moss Bennett (1874 - 1953), The Landlord's S

Three vintage gilt framed prints: Eugene Garin (1922-1994) seascape lithographic print on board; Circle of Rembrandt, The Man with the Golden Helmet, lithographic print; Frank Moss Bennett (1874 - 1953), The Landlord's Story, lithograph with hand-painted embellishment.

Lot: 317 - Vintage print group, 4pc: Friedrich Gortitz (1890 - 1973), Dinkelsbuhl, Germany, color etching, pencil signed; La Minerve fantasy airship, lithograph; Montmarte, Maurice Utrillo, lithgraphic print; Eglise de Strins, Maur

Vintage print group, 4pc: Friedrich Gortitz (1890 - 1973), Dinkelsbuhl, Germany, color etching, pencil signed; La Minerve fantasy airship, lithograph; Montmarte, Maurice Utrillo, lithgraphic print; Eglise de Strins, Maurice Utrillo, lithographic print (frame is cracked).

Lot: 318 - Pair of landscape lithographic prints: Bridget Austin, Lakeview Meadow, 35/450, artist's proof; Bev Williams, wisteria vines, 28/950, 1985 (printed 1988). 40 3/4"H x 33"W (frame, largest)

Pair of landscape lithographic prints: Bridget Austin, Lakeview Meadow, 35/450, artist's proof; Bev Williams, wisteria vines, 28/950, 1985 (printed 1988). Pencil signed.

Lot: 319 - Framed vintage print group: 4pc: landscape print with hand-painted embellishment after Thomas Gainsborough in ornate gilt frame, made in Italy; La Scapigliata, after Leonardo da Vinci, lithographic print in velvet border

Framed vintage print group: 4pc: landscape print with hand-painted embellishment after Thomas Gainsborough in ornate gilt frame, made in Italy; La Scapigliata, after Leonardo da Vinci, lithographic print in velvet bordered gilt frame; Currier & Ives "Evening" from American Winter Scenes lithograph; S.A. Burden Tea Dealer Grocer advertisement.

Lot: 320 - Pair of signed and numbered still life prints: Jeffrey Hanson Varilla, still life with musical instruments, edition 1/20, printers proof; Robert L. Wallis, still life with wood working tools, edition 4/400. 41 1/2"H x 31

Pair of signed and numbered still life prints: Jeffrey Hanson Varilla, still life with musical instruments, edition 1/20, printers proof; Robert L. Wallis, still life with wood working tools, edition 4/400. Both pencil signed lower.

Lot: 321 - Graciela Rodo Boulanger, Bolivian (b. 1935), Promenade a Trois / Peacock for Sophie / An Elephant for Kris / A Koala for Sandra, 4 offset lithographs, 24"H x 19"W (Sight), 33"H x 28"W (Frame, Largest)

Graciela Rodo Boulanger Bolivian, (b. 1935) Promenade a Trois / Peacock for Sophie / An Elephant for Kris / A Koala for Sandra 4 offset lithographs

Lot: 322 - Two signed and numbered prints: Bernard Buffet (French, 1928-1999), Canal, drypoint engraving, 1968; Hilda Chancellor Pope (British, 1913 - 1976), Midsummer Night, lithograph. 17"H x 23 1/4"W(sight), 23 1/4"H x 29 1/4"W(

Two signed and numbered prints: Bernard Buffet (French, 1928-1999), Canal, drypoint engraving, 1968; Hilda Chancellor Pope (British, 1913 - 1976), Midsummer Night, lithograph. Canal: pencil signed lower center, edition 124/250. Midsummer Night: pencil signed lower right, edition 179/275, Collector's Guild, NY print.

Lot: 323 - Blakely Bering, Texas (21st century), Tidal 2, LARGE lithographic print, 24"H x 54"W(sight), 32"H x 62"W(frame)

Blakely Bering Texas, (21st century) Tidal 2 LARGE lithographic print Pencil signed lower right, 131/2000. Biography from BlakelyBering.com: Blakely Bering is a Houston-based fine artist and creative visionary known for her captivating abstract paintings and whimsical Bunlife artwork. Her vibrant and playful designs blend rich palettes and dynamic patterns, bringing joy and inspiration to homes and hearts. Blakely's work, recognized for its uplifting essence, continues to enchant art lovers and brighten everyday moments.

Lot: 324 - Pat Lambrecht-Hould, American (20th/21st century), Georgia's Champion, canvas print with painted embellishment, 48"H x 35 1/2"W(stretcher), 54"H x 41 1/2"W(frame)

Pat Lambrecht-Hould American, (20th/21st century) Georgia's Champion canvas print with painted embellishment Signed lower right, edition 29/250. From YJContemporary.com: Pat Lambrecht-Hould received her formal training at the University of Montana, Montana State University, and Eastern Montana College. She Majored in Applied Arts and started out working as a sculptor, later going into oil painting, and has spent the last 25 years working in transparent watercolor and acrylics. Pat now works exclusively in mixed media, her work being done on a gold leafed surface where she uses the leaf as a reflected light source. The work is very experimental and lends itself to the abstract, incorporating many different images into the paintings. Named as Outstanding Young Woman in America and listed in the Worlds Who's Who of Women, Pat's works have been accepted in many national and regional shows. Pat is a past president of the Midwest Watercolor Society, past director of Fine Arts for the Montana Institute of the Arts and a past director/owner of Beartooth Watercolor Workshops. "My work is about a journey, primarily abstract...it incorporates a love for color and experimentation with mixed media. I work on very large canvases that are gold, copper, and silver leafed using the leaf as a reflected light source for many intriguing acrylic glazes over each area...it's exciting and constantly changing with one's natural light source...the work is a process of layering, with multiple design elements incorporated into the paintings...It is truly a fusion of many layers of leafing, collage and acrylic glazes." Pat teaches, jurors, and lectures for groups across the country. She lives with her husband Stan and has studios in Wickenburg, Arizona and Lakeside, Montana. Pat is represented by several galleries located throughout the United States.

Lot: 325 - Group of 3 decorative offset lithographic prints depicting nature and floral still lifes 44"H x 56"W (Largest)

Group of 3 decorative offset lithographic prints depicting nature and floral still lifes

Lot: 326 - Robert Steel, American (21st century), gritty urban Washington DC street scenes, including "See No Evil", 3 lithographs, 17"H x 12"W (largest)

Robert Steel American, (21st century) gritty urban Washington DC street scenes, including "See No Evil" 3 lithographs All signed in the print.

Lot: 327 - John Nelson, The Miles Mask / Street Vendor, 2 lithographic prints, 21 1/4"H x 18"W(sight), 26"H x 30"W(mat)- larger

John Nelson The Miles Mask / Street Vendor 2 lithographic prints The Miles Mask: 65/175, Street Vendor: 254/750.

Lot: 328 - Pair of jazz musician prints: "Miles Davis" by Bruni Sablan and "Two Musicians" by James Weeks 30"H x 23 1/2"W(sight), 35 1/4"H x 28 3/4"W(frame) - larger

Pair of jazz musician prints: "Miles Davis" by Bruni Sablan and "Two Musicians" by James Weeks

Lot: 329 - Trio of abstract figural musician prints: "Blues Duo" by Adeola Davies Aiyeloja; "Fire Spitters III" by Michael Borman; "Made for Miles" by Michael Borman 10 1/2"H x 16 1/2"W(sight), 16 3/4"H x 22 3/4"W(frame) - largest

Trio of abstract figural musician prints: "Blues Duo" by Adeola Davies Aiyeloja; "Fire Spitters III" by Michael Borman; "Made for Miles" by Michael Borman Blues duo: pencil signed lower right, edition 192/250. COA verso. Fire Spitters: pencil signed lower right. Signed, titled, and dated verso, 1996. Made for Miles: pencil signed lower right. Signed, titled, and dated verso, 1996.

Lot: 330 - Dane Tilghman, American (20th/21st century), Luther 4 / Blues & Bass, musician portraits, 2 lithographs, 13 1/2"H x 10 1/2"W(sight), 20"H x 16"W(mat) - one

Dane Tilghman American, (20th/21st century) Luther 4 / Blues & Bass, musician portraits 2 lithographs Both signed lower right. Luther 4: edition 6/250. Blues & Bass: edition 5/250.

Lot: 331 - Figural print group, 5pc: "The Red Umbrella Down By The River" by Allen Stringfellow; "Rebirth" by Annie Lee; "The Safety Patrol" Chicago Art Institute print by Bisa Butler; portrait of 3 seated women wearing head wraps,

Figural print group, 5pc: "The Red Umbrella Down By The River" by Allen Stringfellow; "Rebirth" by Annie Lee; "The Safety Patrol" Chicago Art Institute print by Bisa Butler; portrait of 3 seated women wearing head wraps, signed P(F)iston? lower left; "Every Vote Counts" by Diana Shannon-Young, commemorating the 34th Annual Legislative Conference, signed and inscribed lower left.

Lot: 332 - Four vintage U.S. Air force art collection posters 16 3/4"H x 20 3/4"W (One)

Four vintage U.S. Air force art collection posters LAUNCHING AN ATLAS ICBM by Ralph Iligan DISCOVERER XII, VANDENBERG AFB, by Bob Poole STORM OVER KELLY AFB by Enrique Ponce de Leon AIRPLANE OVER WATER by Emerson R. Terry

Lot: 333 - Decorative lithographic print 2pc group: Carolyn Blish (American, b. 1928), Daydream, offset lithograph, 18 1/2"H x 25 1/4"W (Sight), 28"H x 34 1/4"W (Frame)

Decorative lithographic print 2pc group: Carolyn Blish (American, b. 1928), Daydream, offset lithograph, signed and numbered 146/1500 lower right Robert Moak, Star of India 1863, offset lithographic print, signed lower edge with pencil drawn illustration of a ship

Lot: 334 - George Gawehn, Indiana (1924-2013), North Side High, etching, 9"H x 11 1/4"W(sight), 14 1/4"H x 16 3/4"W(frame)

George Gawehn Indiana, (1924-2013) North Side High etching Pencil signed lower right.

Lot: 335 - Indiana artist architectural and portrait group, 4pc: "Notre-Dame Cathedral" by K.P. Singh (India / Indiana, b. 1931), lithograph, pencil signed lower right, edition 2/75, 2003. 13"H x 11"W(sight), 25"H x 22"W(frame) - l

Indiana artist architectural and portrait group, 4pc: "Notre-Dame Cathedral" by K.P. Singh (India / Indiana, b. 1931), lithograph, pencil signed lower right, edition 2/75, 2003. "City Market" and "Walker Theater" by Steven (Skoalar) Keller, limited edition giclee prints, hand-signed. Caricature of man smoking pipe, ink on paper, signed Swartz-Indianapolis News lower right, water stain lower left.

Lot: 336 - Lot of 5 architectural prints: Harry Allen Davis Jr. (1914-2006), Bona Thompson Memorial; Guy Dessapt (b.1938), L'Arc de Triomphe; Guy Dessapt, (b. 1938), La Tour Eiffel; Craig S. Holmes, Golden Gate Bridge, Wren Buildin

Lot of 5 architectural prints: Harry Allen Davis Jr. (1914-2006), Bona Thompson Memorial; Guy Dessapt (b.1938), L'Arc de Triomphe; Guy Dessapt, (b. 1938), La Tour Eiffel; Craig S. Holmes, Golden Gate Bridge, Wren Building?

Lot: 337 - Lot of 6 vintage decorative prints: Pierre-Auguste Renoir, Two Young Girls at the Piano; Heywood Hardy, A Ride on the Beach; Frank Caldwell, harbor scene; Mary Bertrand, floral still life, 1977; Dawna Darton, potted gera

Lot of 6 vintage decorative prints: Pierre-Auguste Renoir, Two Young Girls at the Piano; Heywood Hardy, A Ride on the Beach; Frank Caldwell, harbor scene; Mary Bertrand, floral still life, 1977; Dawna Darton, potted geraniums, 1984; clematis botanical study

Lot: 338 - Wade Heath Art Deco Flaxman Ware hand-painted art pottery vase 6 3/4"H x 5 1/2"Diam.

Wade Heath Art Deco Flaxman Ware hand-painted art pottery vase

Lot: 339 - Iridescent art glass vase with polished rim. 6 3/4"H

Iridescent art glass vase with polished rim. Signed "L.C.T." under base. Not believed to be by Tiffany.

Lot: 340 - Greek black-figure hydria water vessel and lekythos oil jar 9 1/2"H x 7 1/2"W x 5"DIA. (Largest)

Greek black-figure hydria water vessel and lekythos oil jar Hydria upper rim has been repaired.

Lot: 341 - Three studio art pottery bowls: iridescent green bowl, pair of Japanese bowls with incised design 3"H x 7 1/4"Diam. (largest)

Three studio art pottery bowls: iridescent green bowl, pair of Japanese bowls with incised design All three signed under base.

Lot: 342 - Sterling silver weighted candlesticks, 4pc: Pair Lamerie 3-light candelabras, pair Duchin Creations candle holders 6"H x 11"W x 4"DIA. (Largest)

Sterling silver weighted candlesticks, 4pc: Pair Lamerie 3-light candelabras, pair Duchin Creations candle holders

Lot: 343 - Baccarat French crystal "Hugo" inkwell 5 3/4"H x 5 1/2"W

Baccarat French crystal "Hugo" inkwell Marked at base, 341/450.

Lot: 344 - LARGE lot of glassware: Pair of Orrefors "Marin" modernist crystal bowls, 8 French Luminarc faceted wine glasses with black stems, bud vase, peace dove aperitif, Indiana Glass Pebble Leaf divided relish trays and plate,

LARGE lot of glassware: Pair of Orrefors "Marin" modernist crystal bowls, 8 French Luminarc faceted wine glasses with black stems, bud vase, peace dove aperitif, Indiana Glass Pebble Leaf divided relish trays and plate, Federal glass plates, pressed glass candy dish, Depression glass bowl, Avon lidded candy dish, French holly Christmas tree round platters, horse-drawn sleigh winter scene platters, snowman ceramic square plate, pressed glass dishes. Chips present.

Lot: 345 - Collection of vintage glass: Mikasa peppermint red art glass bowl with scalloped edge, paperweight kerosene finger lamp, pair of 1940s hand-painted bud vases, 5 1/2"Diam. (bowl)

Collection of vintage glass: Mikasa peppermint red art glass bowl with scalloped edge, paperweight kerosene finger lamp, pair of 1940s hand-painted bud vases, etched grape cluster pink glass bud vase, pair of hand-painted violet flower dishes, milk glass diamond pattern bowl.

Lot: 346 - Art glass / crystal group, 12pc: Staiger Germany Cristal De' Arque France desk/mantle clock, crystal footed bowl, hand bell, paperweights, quatrefoil pillar candle plate / trivet, oval vessel. 4"H x 7 1/2"DIA. (Largest)

Art glass / crystal group, 12pc: Staiger Germany Cristal De' Arque France desk/mantle clock, crystal footed bowl, hand bell, paperweights, quatrefoil pillar candle plate / trivet, oval vessel.

Lot: 347 - Decorative Crafts brass and glass raised vase 3pc. group 17 1/2"H x 6"W x 4 3/4"DIA.

Decorative Crafts brass and glass raised vase 3pc. group

Lot: 348 - Group of pink depression glass, 6pc: plates, serving bowl, candy dishes. 12"W (largest dish handle to handle)

Group of pink depression glass, 6pc: plates, serving bowl, candy dishes. One candy dish missing lid. Including Jeanette Cherry Blossom dinner plate, waffle pattern cake plate, Anchor Hocking Coronation serving bowl, Lancaster Petal serving plate.

Lot: 349 - Group of 11 demijohns, jugs / bottles / jars in shades of green, blue, and clear 16"H x 8 3/4"DIA. (Largest)

Group of 11 demijohns, jugs / bottles / jars in shades of green, blue, and clear

Lot: 350 - Lot of vintage barware: Kraftware ice bucket, 2 German wildlife ceramic flasks, equestrian bottle stopper, German Flachmann soldier glass flask, Italian leather wrapped decanter, German Muster Geschützt beer growler with

Lot of vintage barware: Kraftware ice bucket, 2 German wildlife ceramic flasks, equestrian bottle stopper, German Flachmann soldier glass flask, Italian leather wrapped decanter, German Muster Geschützt beer growler with figural handle, Always Elvis Frontenac Blanc D'oro wine bottle, Henninger Kaiser Pilsner small keg, Grolsch beer bottle collection.

Lot: 351 - Vintage vessel group, 5pc: 3 German beer steins, reservist infantry regiment / regimental, "Autoist" Sportman shaving mug, Sevres monogrammed Napoleon gilt porcelain pitcher, 12"H x 4 3/4"DIA. (Largest)

Vintage vessel group, 5pc: 3 German beer steins, reservist infantry regiment / regimental, "Autoist" Sportman shaving mug, Sevres monogrammed Napoleon gilt porcelain pitcher, (with crack), Beer steins: President McKinley (Mac Kinley) portrait, playing cards.

Lot: 352 - Vintage decor group, 27pc: Art Nouveau Bavaria signed cream, sugar, and 2 salt cellar set, Columbia Encaustic Tile Company Art Nouveau art pottery tile, weighted silver salt and pepper, French art pottery mustard pot, ha

Vintage decor group, 27pc: Art Nouveau Bavaria signed cream, sugar, and 2 salt cellar set, Columbia Encaustic Tile Company Art Nouveau art pottery tile, weighted silver salt and pepper, French art pottery mustard pot, hand-painted glass cabinet vase, leaf form ring trinket dishes, blue and white ceramic cat figure, blue milk glass cat on nest lid only, "rings and things" bone china trinket dish, Georg Jensen pewter salt and pepper set of 4, Salamander Pottery two faced moon ornament bell, Allyson Nagel Humpty Dumpty egg figurine, Lenox snowflake handbell, porcelain angel figurine, blue and white porcelain planter, Gone With the Wind "Scarlett at the Twelve Oaks" by William Chambers china music box.

Lot: 353 - Rosenthal Continental Germany dinnerware 23pc. group: 11 bread and butter plates, 12 fruit/dessert sauce bowls 6"DIA. (Plate)

Rosenthal Continental Germany dinnerware 23pc. group: 11 bread and butter plates, 12 fruit/dessert sauce bowls

Lot: 354 - Bernardaud "Ber10" Limoges porcelain dinnerware, 27pc: 9 cups, 11 saucers, 7 bowls, creamer

Bernardaud "Ber10" Limoges porcelain dinnerware, 27pc: 9 cups, 11 saucers, 7 bowls, creamer

Lot: 355 - Vintage porcelain tableware, 34pc: Heinrich & Co. Bavaria porcelain 6 cups and 10 saucers, MZ Altrohlau CM-R Czechoslovakia covered sugar bowl, hand-painted floral reticulated porcelain dish, 15 Noritake Nippon porcelain

Vintage porcelain tableware, 34pc: Heinrich & Co. Bavaria porcelain 6 cups and 10 saucers, MZ Altrohlau CM-R Czechoslovakia covered sugar bowl, hand-painted floral reticulated porcelain dish, 15 Noritake Nippon porcelain salt and pepper shakers, 2 salt cellars, stopper

Lot: 356 - Vintage decor group, 18pc: Native American Santa Clara Blackware pottery bowl, Native American Acoma polychrome pottery wedding vase, hardstone drink coasters, carved alabaster owl paperweight, green glass paperweight, a

Vintage decor group, 18pc: Native American Santa Clara Blackware pottery bowl, Native American Acoma polychrome pottery wedding vase, hardstone drink coasters, carved alabaster owl paperweight, green glass paperweight, agate slice, carved wood elephant figurine, frosted glass dish, glass pressed flower suncatchers, stained glass suncatchers, miniature tabletop picture frames.

Lot: 357 - Natural decor, 3pc: carved hardstone egg, ammonite fossil on stand, conch shell 4"H x 3"W x 8"D (Largest)

Natural decor, 3pc: carved hardstone egg, ammonite fossil on stand, conch shell

Lot: 358 - LARGE collection of Russian / Soviet Union pins, including 1980 Moscow Summer Olympics, Victory Day (9 May), Soviet Border Guard badges, and vintage military badges, among many more 1 1/2"H x 3/4"W (One)

LARGE collection of Russian / Soviet Union pins, including 1980 Moscow Summer Olympics, Victory Day (9 May), Soviet Border Guard badges, and vintage military badges, among many more

Lot: 359 - Collection of antique 19th Century / early 20th US commemorative pins, medals, badges, and jewelry from various organizations / events. 1 1/4"DIA. (One)

Collection of antique 19th Century / early 20th US commemorative pins, medals, badges, and jewelry from various organizations / events. Col. A.L. Hawkins, 10th Regiment, 1899 Spanish-American War, St. Louis 1904, Master Plumbers Convention, AP Mechanic, Efficiency Honor Fidelity good conduct medal, Cub Scouts, Army infantry officer's collar insignia, trench art brass bullet pin, Egg-O-See tin advertising heart bookmark, sterling silver and turquoise ring (broken), brass and turquoise snake brooch (pin back broken), and more.

Lot: 360 - Three vintage Culver Military uniforms with patches

Three vintage Culver Military uniforms with patches

Lot: 361 - Opportunity lot of vintage jewelry: Marvella, Hattie Carnegie, Deltah, Eisenberg, Monet, Vogue, Napier, Trifari, Castlecliff 2"H x 8 3/4"W x 5"D (Red box)

Opportunity lot of vintage jewelry: Marvella, Hattie Carnegie, Deltah, Eisenberg, Monet, Vogue, Napier, Trifari, Castlecliff earrings, brooches, pendants, stick pins, eye glass holder, necklaces, cufflinks, Great Blue Heron champleve pin, bowling league pins and patches.

Lot: 362 - Lot of 8 vintage / antique items: Zeiss Ikon Ikonta folding camera with leather case, Joseph Lucas brass "Captain" oil bicycle lamp, copper oil can, Sligh Germany quartz mantle clock, hypodermic syringe in wooden case, 2

Lot of 8 vintage / antique items: Zeiss Ikon Ikonta folding camera with leather case, Joseph Lucas brass "Captain" oil bicycle lamp, copper oil can, Sligh Germany quartz mantle clock, hypodermic syringe in wooden case, 2 vesta case scenic matchbox holders, makeup vanity mirror with metal stand.

Lot: 363 - Antique carpentry and office tools, 5pc: wood block hand plane, moulding plane, adjustable wrench, brass postal scale, front desk counter service bell. 6 1/4"H x 15"W x 2 3/4"D (Largest)

Antique carpentry and office tools, 5pc: wood block hand plane, moulding plane, adjustable wrench, brass postal scale, front desk counter service bell.

Lot: 364 - Vintage Sunbonnet Sue applique hand pieced multi-color quilt 82"H x 74"W

Vintage Sunbonnet Sue applique hand pieced multi-color quilt Tear in fabric as shown.

Lot: 365 - Vintage textile group: 48 star USA flag, masonic ceremonial clothing, floral embroidered hankies 34 1/4"H x 21 1/4"W(flag)

Vintage textile group: 48 star USA flag, masonic ceremonial clothing, floral embroidered hankies

Lot: 366 - DKNY men's tan suede leather side lace up vest 22"Pit to pit, 26"Neck to bottom hem

DKNY men's tan suede leather side lace up vest Missing one side lace, shows minor wear. Size L.

Lot: 367 - Vintage F.E. Olds & Son Ambassador trombone, California

Vintage F.E. Olds & Son Ambassador trombone, California

Lot: 368 - Lot of 2 vintage wooden violin cases, 32”L (Largest)

Lot of 2 vintage wooden violin cases

Lot: 369 - Collection of vintage records and record sleeves, including Buddy Holly, B.B. King, Roy Orbison, Joe Cocker, Phil Collins, and more 12 1/4"H x 12 1/4"D (One)

Collection of vintage records and record sleeves, including Buddy Holly, B.B. King, Roy Orbison, Joe Cocker, Phil Collins, and more

Lot: 370 - Lot of 3 antique framed portrait photographs 16 1/4"H x 13 1/4"W (Sight), 22"H x 19"W (Frame) (Largest)

Lot of 3 antique framed portrait photographs

Lot: 371 - Pair of framed collections of vintage joker playing cards 27 3/4"Hx 19"W (Sight), 35 3/4"H x 27"W (Frame) (One)

Pair of framed collections of vintage joker playing cards

Lot: 372 - Pair of framed collections of vintage joker playing cards 28"H x 20"W (Sight), 36"H x 28 1/4"W (Frame) (One)

Pair of framed collections of vintage joker playing cards

Lot: 373 - Group of 3 framed collections of vintage joker playing cards 18 3/4"H x 14"W (Sight), 24 3/4"W x 20"W (Frame) (one)

Group of 3 framed collections of vintage joker playing cards

Lot: 374 - Set of 6 Magnolia Home building construction prints 27"H x 22"W (Frame, One)

Set of 6 Magnolia Home building construction prints

Lot: 375 - Opportunity lot wall decor, 11pc: 25th Annual Shrimp Festival Gulf Shores Alabama, "If You Believe in Women-Hold my Hand," Ruth Orkin "American Girl in Italy," American flag flown over the USA Capitol, Presidential dolla

Opportunity lot wall decor, 11pc: 25th Annual Shrimp Festival Gulf Shores Alabama, "If You Believe in Women-Hold my Hand," Ruth Orkin "American Girl in Italy," American flag flown over the USA Capitol, Presidential dollar holder, America's Fighting Men by Peter Copeland prints, replica of the United States Declaration of Independence, flamingo wall hanging, Colts memorabilia, seascape canvas prints.

Lot: 376 - Opportunity lot wall decor, 17pc: H. Hargrove, "Covered Bridge in Snow," 2 Horton golf club prints, carousel horse, Norman Rockwell "Doctor and the Doll" print, Paul Nzalamba "Mother and Child" print, Thomas Kinkade "The

Opportunity lot wall decor, 17pc: H. Hargrove, "Covered Bridge in Snow," 2 Horton golf club prints, carousel horse, Norman Rockwell "Doctor and the Doll" print, Paul Nzalamba "Mother and Child" print, Thomas Kinkade "The Light of Peace" print, Jimi Hendrix painting, Daniel Patrick Kessler "Green Trouble I" cat print, Bible verse sports print, Thomas Kinkade "A Quiet Evening" print, landscape photograph, abstract painting, schoolhouse cross stitch, female portrait print, 2 10x13 white picture frames.

Lot: 377 - Lot of framed vintage art, 4pc: 2 floral still life oil paintings and 2 landscape color prints 13 1/4"H x 15 1/4"W (frame, largest)

Lot of framed vintage art, 4pc: 2 floral still life oil paintings and 2 landscape color prints Prints signed E.W. lower right.

Lot: 378 - The Marvelous Land of Oz by L. Frank Baum, 1904, The Reilly & Britton Co., first edition? 9 1/2"H x 7"W x 1"D

The Marvelous Land of Oz by L. Frank Baum, 1904, The Reilly & Britton Co., first edition? The sequel to The Wonderful Wizard of Oz. Appears to be first edition but missing title page. Spine damage and loose pages.

Lot: 379 - Collection of antique and vintage books, including the 9 volume set Works of Alexandre Dumas and 2 volume set The Family Mark Twain 10 1/4"H x 7 1/4"W x 1 1/4"D (One)

Collection of antique and vintage books, including the 9 volume set Works of Alexandre Dumas and 2 volume set The Family Mark Twain Alexandre Dumas collection published in 1893 by Peter Fenleon Collier, New York The Family Mark Twain published 1972 by Harper & Row

Lot: 380 - Large collection of books regarding the Civil War, Abraham Lincoln, and the Presidency: The War for the Union, Ordeal of the Union, and The Emergence of Lincoln series by Allan Nevins, Scribners 9 1/2"H x 6 1/2"W x 1 1/2

Large collection of books regarding the Civil War, Abraham Lincoln, and the Presidency: The War for the Union, Ordeal of the Union, and The Emergence of Lincoln series by Allan Nevins, Scribners Abraham Lincoln: The War Years 4 volume set and Abraham Lincoln: The Prairie Years 2 volume set by Carl Sandburg, Harcourt, Brace, & World publishers The Glorious Burden: The American Presidency by Stefan Lorant, Harper & Row publishers

Lot: 381 - Collection of 18 antique educational books on American / Indiana history, WWI, William McKinley, grammar and composition, arithmetic, human physiology, and Walker's dictionary 7 1/2"H x 5"W x 1 1/4"D (One)

Collection of 18 antique educational books on American / Indiana history, WWI, William McKinley, grammar and composition, arithmetic, human physiology, and Walker's dictionary

Lot: 382 - Collection of 19 antique books on poetry, classic literature, and adventure, including works by Mark Twain, James Whitcomb Riley, Washington Irving, Jonathan Swift, Arabian Nights, Homer's Illiad, and many more 7 1/2"H x

Collection of 19 antique books on poetry, classic literature, and adventure, including works by Mark Twain, James Whitcomb Riley, Washington Irving, Jonathan Swift, Arabian Nights, Homer's Illiad, and many more

Lot: 383 - Six Arts & Crafts design books: The Arts & Crafts House, Adrian Tinniswood, Mitchell Beazley, 1999., 11 1/4"H x 9 1/2"W x 3/4"D (largest)

Six Arts & Crafts design books: The Arts & Crafts House, Adrian Tinniswood, Mitchell Beazley, 1999. Arts & Crafts Design in America: A State by State Guide, James Massey & Shirley Maxwell, Chronicle Books, San Fancisco, 1998. Utopian Craftsman: The Arts and Crafts Movement from the Cotswolds to Chicago, Lionel Lambourne, Van Nostrand Reinhold Co., 1982. The Arts and Crafts Movement: A Study of its Sources, ideals and influence on design theory, Gillian Naylor, Trefoil Publications, London, 1990. The Arts & Crafts Cabin, Robbin Obomsawin, Gibbs Smith, Salt Lake City, 2004. Encyclopedia of Arts and Crafts: The International Arts Movement 1850-1920, Wendy Kaplan, Grange Books, 1998.

Lot: 384 - Group of 8 vintage Shortridge High School (1930-1933) and Indiana University (1934-1937) Arbutus yearbooks 12 1/2"H x 9 3/4"W x 1 3/4"D (One)

Group of 8 vintage Shortridge High School (1930-1933) and Indiana University (1934-1937) Arbutus yearbooks

Lot: 385 - Antique ephemera group: railroad company passes, portrait photographs, Chesterfield cigarette advertisement, Radio City Music Hall program, 1910 engagement book, Hagstrom's Map of New York Theatres, "Whaling and Fishing"

Antique ephemera group: railroad company passes, portrait photographs, Chesterfield cigarette advertisement, Radio City Music Hall program, 1910 engagement book, Hagstrom's Map of New York Theatres, "Whaling and Fishing" by Charles Nordhoff, Western Union

Lot: 386 - Eight educational posters mounted to foam board: American history, science

Eight educational posters mounted to foam board: American history, science Map of America by Jodocus Hondius, Ecology, history of baseball, American inventors, the American colonists, country music history, explorers and the new world, famous Americans in history.

Lot: 387 - Collection of circus, theater, ballet, and newspaper ephemera: The Illustrated London News, 1848, Bolshoi Ballet's Swan Lake, Don Juan at the Alhambra Theatre, and Ringling Bros. and Barnum & Bailey Circus 1971 edition 1

Collection of circus, theater, ballet, and newspaper ephemera: The Illustrated London News, 1848, Bolshoi Ballet's Swan Lake, Don Juan at the Alhambra Theatre, and Ringling Bros. and Barnum & Bailey Circus 1971 edition

Lot: 388 - Collection of 5 theater and musical posters, including 3 from Clowes Memorial Hall, Indianapolis, IN: A Whitman Portrait by Paul Shyre, concert dedicated to Bernhard Heiden, The Lettermen, and Twigs by George Firth 21 3/

Collection of 5 theater and musical posters, including 3 from Clowes Memorial Hall, Indianapolis, IN: A Whitman Portrait by Paul Shyre, concert dedicated to Bernhard Heiden, The Lettermen, and Twigs by George Firth

Lot: 389 - Chancel Window Tree of Life from the First Christian Church, Bloomington, IN, lithographic print and greeting card 20 1/4"H x 14"W (Largest)

Chancel Window Tree of Life from the First Christian Church, Bloomington, IN, lithographic print and greeting card

Lot: 390 - Pair of vintage print advertising zinc printing plates for a women's professional protection cream hair product 8"H x 9"W (Largest)

Pair of vintage print advertising zinc printing plates for a women's professional protection cream hair product

Lot: 391 - Two rustic fence panels: 5 rail green painted wood fence and metal chain link 48 1/4"H x 96"W (metal fencing)

Two rustic fence panels: 5 rail green painted wood fence and metal chain link