Fine Art Discovery LIVE: Paintings, Works on

Lot: 1 - Alice Baber, American (1928-1982), figural grouping, fireworks celebration, oil on canvas, 31"H x 41"W(stretcher), 37"H x 47"W(frame)

Alice Baber American, (1928-1982) figural grouping, fireworks celebration oil on canvas Significant paint flaking, instability, and restretched poorly. No signature present. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber

Lot: 2 - Alice Baber, American (1928-1982), party scene, figural grouping, oil on canvas, 40"H x 30"W(stretcher)

Alice Baber American, (1928-1982) party scene, figural grouping oil on canvas Unsigned. Paint flaking, scratches, scuffs, loss, and small hole on edge. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice

Lot: 3 - Alice Baber, American (1928-1982), abstract chickens/birds, oil pastel on canvas, 29 1/2"H x 35"W(stretcher)

Alice Baber American, (1928-1982) abstract chickens/birds oil pastel on canvas Unsigned. Scratches, scuffs, loss, and small hole / tears on edge. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber

Lot: 4 - Alice Baber, American (1928-1982), farmer's market scene, oil on canvas, 40 3/4"H x 30 1/2"W(stretcher)

Alice Baber American, (1928-1982) farmer's market scene oil on canvas Unsigned. Scratches, scuffs, loss, chips, flaking to surface. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in

Lot: 5 - Alice Baber, American (1928-1982), abstract, oil on canvas, 24"H x 30"W(stretcher)

Alice Baber American, (1928-1982) abstract oil on canvas Faint signature verso? Scratches, scuffs, and loss to paint. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of

Lot: 6 - Alice Baber, American (1928-1982), figural grouping, oil on canvas, 40 1/2"H x 30 3/4"W(stretcher)

Alice Baber American, (1928-1982) figural grouping oil on canvas Unsigned. Significant paint chipping and loss & two minor holes in canvas. Stapled to a support frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber

Lot: 7 - Alice Baber, American (1928-1982), abstract, oil on canvas, 41"H x 31"W(stretcher), 43 3/4"H x 33 3/4"W(frame)

Alice Baber American, (1928-1982) abstract oil on canvas Unsigned. Scratches, scuffs, loss. In need of cleaning and minor restoration. Stapled to a support frame. Framing not original. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice

Lot: 8 - Alice Baber, American (1928-1982), figural grouping / landscape with trees, double sided oil on canvas, 42 1/2"H x 32 1/2"W(stretcher)

Alice Baber American, (1928-1982) figural grouping / landscape with trees double sided oil on canvas Unsigned. Paint chips and loss to both sides. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and

Lot: 9 - Alice Baber, American (1928-1982), interior scene with floral still life, oil on canvas, 40 1/2"H x 31"W(stretcher)

Alice Baber American, (1928-1982) interior scene with floral still life oil on canvas Unsigned. Stains, minor paint loss, ripped canvas. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice

Lot: 10 - Alice Baber, American (1928-1982), two figures, oil on canvas, 41"H x 31"W(stretcher)

Alice Baber American, (1928-1982) two figures oil on canvas Unsigned. Minor paint loss. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles

Lot: 11 - Alice Baber, American (1928-1982), nude musicians, figural grouping, oil on canvas, 40 3/4"H x 30 1/2"W(stretcher)

Alice Baber American, (1928-1982) nude musicians, figural grouping oil on canvas Unsigned. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer

Lot: 12 - Alice Baber, American (1928-1982), abstract, oil on canvas, 65"H x 52 1/2"W (stretcher)

Alice Baber American, (1928-1982) abstract oil on canvas Unsigned. In need of restoration. See photos. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter,

Lot: 13 - Alice Baber, American (1928-1982), abstract, oil on canvas, 72"H x 86"W (stretcher)

Alice Baber American, (1928-1982) abstract oil on canvas Signed with loss over signature. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer

Lot: 14 - Alice Baber, American (1928-1982), abstract, oil on canvas, 71"H x 49 1/2"W (stretcher), 73 1/4"H x 52"W (frame)

Alice Baber American, (1928-1982) abstract oil on canvas Unsigned. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice

Lot: 15 - Alice Baber, American (1928-1982), floral still life with pineapple, oil on canvas, 43"H x 33"W (frame)

Alice Baber American, (1928-1982) floral still life with pineapple oil on canvas Unsigned. In need of restoration. See photos. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of

Lot: 16 - Alice Baber, American (1928-1982), three musicians, oil on canvas, 39 1/2"H x 32"W (stretcher), 59 1/2"H x 46"W (frame)

Alice Baber American, (1928-1982) three musicians oil on canvas Unsigned. Major cracking, flaking, and paint loss. Paint surface is unstable. Attached to a home made wood frame stretcher and pieced frame. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer

Lot: 17 - Alice Baber, American (1928-1982), seated female nude, oil on unstretched canvas, 31"H x 43"W (canvas)

Alice Baber American, (1928-1982) seated female nude oil on unstretched canvas Unsigned. In need of restoration. See photos. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and

Lot: 18 - Alice Baber, American (1928-1982), x14 portraits, female nude, abstract compositions, street scene, mostly watercolor on paper, some gouache?, 42"H x 32"W (largest)

Alice Baber American, (1928-1982) x14 portraits, female nude, abstract compositions, street scene mostly watercolor on paper, some gouache? 2 signed. Damage present-tears, creasing, wrinkles. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and

Lot: 19 - Alice Baber, American (1928-1982), x6 abstract paintings, mixed media, watercolor, and gouache, 15 1/2"H x 18 1/4"W (frame, top left)

Alice Baber American, (1928-1982) x6 abstract paintings mixed media, watercolor, and gouache one signed. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of ovals, circles and free-forms that extolled

Lot: 20 - Alice Baber, American (1928-1982), four abstract, oil paintings on unstretched canvas, 50" x 67" (largest, top right)

Alice Baber American, (1928-1982) four abstract oil paintings on unstretched canvas All Unsigned. Extreme cracking, peeling, flaking, and paint loss. Estate find. Stored in a barn for over 40 years. This item is to be considered and sold in AS-IS condition. Biography from the Archives of askART: Abstract* painter, lithographer and feminist*, Alice Baber specialized in paintings of

Lot: 21 - Group of eight 16th-18th century prints, including a 1583 portrait by Martin Rota (1520-1583), the building of Noah's ark, and the image of a beggar by or after Jacques Callot 11 1/4"H x 14 3/4"W (Top right)

Group of eight 16th-18th century prints, including a 1583 portrait by Martin Rota (1520-1583), the building of Noah's ark, and the image of a beggar by or after Jacques Callot

Lot: 22 - Group of ten 17th-20th century prints on various subjects and in various techniques and styles, including an engraving after Murillo representing John the Baptist as a child, and a view of the Seine in the heart of Paris

Group of ten 17th-20th century prints on various subjects and in various techniques and styles, including an engraving after Murillo representing John the Baptist as a child, and a view of the Seine in the heart of Paris

Lot: 23 - Group of ten 17th-20th century prints on various subjects in various techniques and styles, including a 1791 caricature by Rowlandson (color lithograph), and a 1727 mezzotint portrait of King George II 12"H x 7 3/4"W (Si

Group of ten 17th-20th century prints on various subjects in various techniques and styles, including a 1791 caricature by Rowlandson (color lithograph), and a 1727 mezzotint portrait of King George II

Lot: 24 - Large collection of 18th-20th century drawings 19"H x 15"W (book measured)

Large collection of 18th-20th century drawings Most are 19th century French drawings, including portraits of artists, royalty, political figures, mythological scenes, animals, and more. Some bear collector stamps and many are signed. Several drawings are matted and all of them are protected by a bespoke hard case.

Lot: 25 - Antique French caricature satire prints, 8pc: including Honoré Daumier, Joseph-Louis-Hippolyte Bellangé, Horace Vernet, Nicolas Toussaint Charlet, 14 1/2"H x 11"W (largest sheet)

Antique French caricature satire prints, 8pc: including Honoré Daumier, Joseph-Louis-Hippolyte Bellangé, Horace Vernet, Nicolas Toussaint Charlet

Lot: 26 - Antique prints, 2pc: "Young Man with Arrow" engraving by Benedetto Montagna (Italian, 1481-1558) and "Fire," from the Four Elements series, etching by Cornelis Schut (Belgian, 1597-1655), 8"H x 5 3/4"W (image), 8 3/4"H x

Antique prints, 2pc: "Young Man with Arrow" engraving by Benedetto Montagna (Italian, 1481-1558) and "Fire," from the Four Elements series, etching by Cornelis Schut (Belgian, 1597-1655) small tear along edge of Young Man with Arrow

Lot: 27 - after Rembrandt van Rijn, Dutch (1609-1669), Beggar Man and Woman Behind a Bank, etching, 4 1/2"H x 3"W(paper)

after Rembrandt van Rijn Dutch, (1609-1669) Beggar Man and Woman Behind a Bank etching This artwork is an etching titled "Beggar Man and Woman Behind a Bank" originally created by the Dutch master Rembrandt van Rijn around 1630.The image depicts two ragged figures partially hidden behind a dirt bank or hillock.It is a well-known example of Rembrandt's genre scenes focusing on marginalized people, which he frequently explored during the early part of his career.Impressions of this etching were also created by later artists, such as Charles Amand Durand in the 19th century.

Lot: 28 - Robert Nanteuil, French (1623-1678), Hugues de Lionne, Marquis de Barny, etching, first state, 7"H x 4 3/4"W (sheet), 14 1/4"H x 11"W (matte, folded)

Robert Nanteuil French, (1623-1678) Hugues de Lionne, Marquis de Barny etching, first state From the George Binet Print Collection. Petitjean #127

Lot: 29 - Portrait of Bon Boullogne, hand colored print on laid paper after the original painting by Gilles Allou (French, 1670-1751) 11 3/4"H x 8"W(sight), 17 3/4"H x 13 3/4"W(frame)

Portrait of Bon Boullogne, hand colored print on laid paper after the original painting by Gilles Allou (French, 1670-1751) Engraved by Jacques-Nicolas Tardieu. Foxing present

Lot: 30 - Histoire Naturelle, Hermaphrodites, copper-plate intaglio engraving on handmade rag-laid paper, c.1770-1780 15 3/4"H x 9 3/4"W(paper), 19"H x 13"W(frame)

Histoire Naturelle, Hermaphrodites, copper-plate intaglio engraving on handmade rag-laid paper, c.1770-1780 Supplement plate 1, page 125. Foxing, staining and small tears along edges.

Lot: 31 - James Gillray "Two-Penny Whist" British satirical caricature hand colored print 8 1/2"H x 12 3/4"W(sight), 18 1/4"H x 22"W(frame)

James Gillray "Two-Penny Whist" British satirical caricature hand colored print

Lot: 32 - Edouard Manet, French (1832-1883), Portrait of Charles Baudelaire, 1865, etching, 11 3/4"H x 8 1/2"W(paper), 4"H x 3 1/2"W(plate)

Edouard Manet French, (1832-1883) Portrait of Charles Baudelaire, 1865 etching Signed in the plate. Printed by A. Salmon. This is a 1865 etching titled Portrait of Charles Baudelaire, Full Face by French artist Édouard Manet.The print features the poet Charles Baudelaire and was based on a photograph taken by Nadar.Text at the bottom left reads "Peint et Grave Par Manet 1865" (Painted and Engraved by Manet), with the printer "Imp. A. Salmon" on the lower right. 3 1/2" x 3"

Lot: 33 - Pierre-Auguste Renoir, France (1841-1919), Portrait of Louis Valtat from L'Album de douze lithographies orignales de Pierre-Auguste Renoir, ca. 1904, lithograph on cream wove paper with deckled edge, 14 1/2"H x 10 1/2"W(

Pierre-Auguste Renoir France, (1841-1919) Portrait of Louis Valtat from L'Album de douze lithographies orignales de Pierre-Auguste Renoir, ca. 1904 lithograph on cream wove paper with deckled edge Published by Ambroise Vollard. Catalogue raisonne: Delteil 38; Roger Marx 13; Stella 38. Strong and even impression. Signed in the lithographic stone lower right.

Lot: 34 - Max Klinger, German (1857-1920), Auf dem Turm (On the Tower) / Der Stier (The Bull), 2 etchings from the Zelt (The Tent) series, 8 3/4"H x 6 3/4"W (plate, each), 14"H x 9 3/4"W (sheet, each)

Max Klinger German, (1857-1920) Auf dem Turm (On the Tower) / Der Stier (The Bull) 2 etchings from the Zelt (The Tent) series Biography from the Archives of askART: Max Klinger was born in Leipzig, Germany in 1857. He was brought up in the correct milieu of provincial German society. He was aware of a split between his paintings and his more private graphics. Klinger the painter moved sedately between a professorship in Leipzig and his country vineyard, turning out the portraits and allegories his patrons sought and trying to ignore the themes that particularly haunted him: fetishism and an erotic consciousness of death. These themes dominated his strangest and best known series of etchings. Klinger died in 1920, after a career of prolonged and dull success. The paintings from which he earned a handsome living were promptly forgotten and his strange etchings, too. It is on the resonance of his imagery that Klinger's work depends for its enduring value. His strength was neurosis and the best of his etchings, with their strangely modern battles of id and antimacassar, are illustrations of a Freudian maxim: civilization is repression. Written and compiled by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Source: Robert Hughes in Time Magazine, August 30, 1971.

Lot: 35 - Anatomical écorché study of anterior human musculature and skeleton drawings 5 3/4"H x 10 3/4"W(paper of upper drawing), 29"H x 12"W(frame)

Anatomical écorché study of anterior human musculature and skeleton drawings skeleton signed Domenico Fiorentino

Lot: 36 - Joseph Henry Boston, American (1860-1954), still life with glazed pitcher and bananas, oil on canvas, 14"H x 18"W(stretcher), 17"H x 21"W(frame)

Joseph Henry Boston American, (1860-1954) still life with glazed pitcher and bananas oil on canvas Signed upper right. Craquelure, minor paint loss and possible repairs present. Biography from Butler Institute of American Art: Joseph H. Boston, a painter noted for society portraits as well as landscape and genre scenes. He was born in 1860 in Bridgeport, Connecticut and spent much of his career in New York where he was a member of the National Academy of Design, Salmagundi Club, Allied Artists of America and the National Arts Club. He was an instructor at the Brooklyn Institute of Arts and Sciences and did much painting in the Hudson River Valley and Adirondack Mountains.. His early art training was at the National Academy of Design School, which he attended for five semesters. He first exhibited there in 1884, and his work was represented in 58 of the Academy's exhibitions. Boston won a bronze medal at the Pan-American Exposition in Buffalo in 1901. In Brooklyn in 1902-03, he joined with William S. Barrett and other artists in the group called "The Brooklyn Ten", later called "The Society of Brooklyn Painters". These painters developed the Brooklyn New School of Art. Source: John Davis, "Joseph H. Boston", Paintings and Sculptures in the Collection of the National Academy of Design, David Dearinger, Editor, p. 59

Lot: 37 - Carle John Blenner, American (1862-1952), Kneeling Nude by Reflecting Pond, watercolor on paper, 9 3/4"H x 6 3/8"W (sight) 17"H x 14"w (frame)

Carle John Blenner American, (1862-1952) Kneeling Nude by Reflecting Pond watercolor on paper signed lower right. Biography from the Archives of askART: Carle J. Blenner was born in Richmond, Virginia in 1864. He was educated at Marburg, Germany, and graduated from the Yale University Art School. He studied for six years at the Academie Julien in Paris, under Bouguereau, Robert-Fleury, and Aman-Jean. He first exhibited at the Paris Salon in 1887, at age 23, and for the next three years. His first exhibitions in the United States were in New York, and these commenced around 1889. From the 1890s, he maintained a working studio on 57th Street in New York City for more than 50 years. Blenner's talent was recognized in the United States early on, as two of his paintings were selected for exhibition at the important 1893 Chicago World's Fair Columbian Exposition. He also exhibited regularly at the National Academy of Design and won their prestigious Hallgarten Prize in 1899. Additionally, Blenner won a medal in Boston in 1891, a medal at the Pan Am Expo in 1901, a medal at the St. Louis Expo in 1904, a medal in Charleston, South Carolina, and won prizes in Springfield, Massachusetts and in New Haven, Connecticut in 1932. The early years for Blenner were also his most successful commercially, as he was in high demand as a portraitist of the wealthy, titled and famous-- particularly women. His subjects included Lady Hamilton, granddaughter of the Duke of Cambridge; Mrs. Raymond White, Lady Chetwynde; and Madame Nordica, Isabel Irving and Evelyn Nesbitt of the theater. His male portraits were of such personalities as the Duke of Cambridge, the Earl of Yarmouth, Richard Henning and Henry Clay Pierce. From about 1915, Blenner turned to still-life studies of flowers, and he continued to reap awards for these and other works--the last in 1932. His florals reflect his superb training. However, his own sense of textures and his superior use of pigment in the service of light create not only unlabored representations, but revelations of the flowers' essence. Blenner was a member of several prominent art clubs and organizations including, the American Federation of Artists, the Greenwich Academy of Fine Arts, the Greenwich Art Association, the New Haven Paint and Clay Club, the Newport Art Association, Rhode Island, the Salmagundi Club, New York City, and the Washington Arts Club, Washington, D.C. His works can be found in the permanent collection of many American Art Museums. Blenner died in New Haven, Connecticut in 1952. Written and submitted July 2004 by Brad M. Aron who credits various reference books, including 300 Years of American Art by Michael Zellman, Who Was Who in American Art by Peter Falk, and Mantle Fieldings Dictionary of American Painters, Glenn Opitz, editor.

Lot: 38 - Bolton Coit Brown, American (1864-1936), The High Sierra, graphite drawing on paper, 10 1/2"H x 13"W (image), 14 1/4"H x 18 1/4"W (sheet)

Bolton Coit Brown American, (1864-1936) The High Sierra graphite drawing on paper pencil signed lower right. Biography from the Archives of askART: Bolton Coit Brown, born in 1864, was founder of the art department at Stanford University in Palo Alto, California, and subsequently became one of the founders in 1903 of the Woodstock Art Colony in New York. He also excelled as a

Lot: 39 - George Benjamin Luks, American (1867-1933), 2 portraiture studies of men and women, graphite on paper, 7 3/4"H x 5"W(paper), 10 1/2"H x 8 3/4"W(mat) - one

George Benjamin Luks American, (1867-1933) 2 portraiture studies of men and women graphite on paper Each stamped "Ex. Coll. of Caroline Luks" Biography from the Archives of askART George Luks was born on August 13, 1867 in Williamsport, Pennsylvania. Luks received his first art instruction from his parents who pursued painting as a hobby. At seventeen he entered the Pennsylvania Academy of Fine Arts. Later he went to Düsseldorf where he lived with a distant relative, a retired lion-tamer. He abandoned Düsseldorf for the more stimulating spheres of London and Paris. When he returned to America he worked as an artist for Philadelphia newspapers. In 1896 he was sent to Cuba as a war artist; rumor had it he was captured by the Spaniards and condemned to death as a spy, but he was deported instead and landed in New York, cold, hungry and broke. In 1894 he joined the staff of the "Philadelphia Press" as an illustrator. He moved into a one-room flat with fellow illustrator, Everett Shinn. Through his illustration work, Luks became acquainted with William Glackens, John Sloan and eventually Robert Henri and these artists including Shinn later became known as the Philadelphia Five. In April of 1896, after serving as a war correspondent in Cuba, Luks moved to New York City where he joined the staff of the "New York World" and began to draw a comic strip. He spent some time doing comic strips and then gave up newspaper work to devote his full energies to painting. His early experience as a newspaper artist had stimulated his interest in the American scene. Choosing the sidewalks of New York City as his province he proceeded to paint the subjects he saw there with a frankness that dismayed the academicians. He turned to landscape painting with enthusiasm. Luks taught at the Art Students League from 1920 through 1924 and he later conducted his own classes in his own studio. Luk's personality was as famous as his paintings. A loud, boastful but purportedly good-humored man, he was also a heavy drinker. On October 29, 1933, he was found dead on the streets of New York City, a casualty of a barroom brawl. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Sources include: The Metropolitan Museum of Art exhibition: Miniatures: The Eight From the internet, AskART.com

Lot: 40 - George Benjamin Luks, American (1867-1933), 2 figural studies; Delinquent Tax, Study, graphite on paper, 11"H x 8 1/2"W(paper), 14"H x 12"W(mat) - larger

George Benjamin Luks American, (1867-1933) 2 figural studies; Delinquent Tax, Study graphite on paper Each stamped "Ex. Coll. Caroline Luks" Biography from the Archives of askART George Luks was born on August 13, 1867 in Williamsport, Pennsylvania. Luks received his first art instruction from his parents who pursued painting as a hobby. At seventeen he entered the Pennsylvania Academy of Fine Arts. Later he went to Düsseldorf where he lived with a distant relative, a retired lion-tamer. He abandoned Düsseldorf for the more stimulating spheres of London and Paris. When he returned to America he worked as an artist for Philadelphia newspapers. In 1896 he was sent to Cuba as a war artist; rumor had it he was captured by the Spaniards and condemned to death as a spy, but he was deported instead and landed in New York, cold, hungry and broke. In 1894 he joined the staff of the "Philadelphia Press" as an illustrator. He moved into a one-room flat with fellow illustrator, Everett Shinn. Through his illustration work, Luks became acquainted with William Glackens, John Sloan and eventually Robert Henri and these artists including Shinn later became known as the Philadelphia Five. In April of 1896, after serving as a war correspondent in Cuba, Luks moved to New York City where he joined the staff of the "New York World" and began to draw a comic strip. He spent some time doing comic strips and then gave up newspaper work to devote his full energies to painting. His early experience as a newspaper artist had stimulated his interest in the American scene. Choosing the sidewalks of New York City as his province he proceeded to paint the subjects he saw there with a frankness that dismayed the academicians. He turned to landscape painting with enthusiasm. Luks taught at the Art Students League from 1920 through 1924 and he later conducted his own classes in his own studio. Luk's personality was as famous as his paintings. A loud, boastful but purportedly good-humored man, he was also a heavy drinker. On October 29, 1933, he was found dead on the streets of New York City, a casualty of a barroom brawl. Written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California. Sources include: The Metropolitan Museum of Art exhibition: Miniatures: The Eight From the internet, AskART.com

Lot: 41 - Frederick (Frank) Usher DeVoll, American (1873-1941), NYC street scene, charcoal on canvas on board, 10 1/4"H x 8 1/4" (sight), 13"H x 11"W (matte)

Frederick (Frank) Usher DeVoll American, (1873-1941) NYC street scene charcoal on canvas on board artist stamp verso. Biography from Hayden Galleries: Frederick Usher de Voll was an American landscapist born in Providence, Rhode Island. Known for his evocative depictions of New York City and Providence, he frequently exhibited at venues such as the National Academy of Design and the Pennsylvania Academy of the Fine Arts. A graduate of the Rhode Island School of Design, de Voll studied under notable artists William Merritt Chase, Charles W. Hawthorne, and Robert Henri, and later attended the Académie Julian in Paris. His New York paintings, often featuring landmarks like the Brooklyn Bridge and Central Park, were characterized by atmospheric moods, night scenes, and snowfall, using a violet-hued tonalist palette and quick, even brushwork. He won many awards during his lifetime including a silver medal at the Panama Pacific International Exposition in 1915 and the Senior Prize at the Providence Art Club's fifty-second annual exhibition in 1930.

Lot: 42 - Frederick Polley, Indiana (1875-1957), Memorial Carillon Tower, University of Wisconsin, 1922, graphite on paper, 19”H x 15”W

Frederick Polley Indiana, (1875-1957) Memorial Carillon Tower, University of Wisconsin, 1922 graphite on paper signed and dated lower right. Biography from the Archives of askART: The following is submitted by Kent Van Tyle who credits: Judith Vale Newton and Carol Weiss: "A Grand Tradition: The Art and Artists of the Hoosier Salon, 1925-1990". Published by the Hoosier Salon Patrons Association, Indianapolis, IN 1993 Frederick M. Polley. Painter, Printmaker, Illustrator, Writer and Teacher. Indianapolis, IN. Born 15 August 1875 in Union City, IN; died 9 Sept 1957, Brown County, IN. Studied Indiana University, Corcoran Art School, Washington, DC. Teachers included James R. Hopkins and William Forsyth. Exhibited: Society of Etchers, Brooklyn, NY, Philadelphia Society of Etchers, Library of Congress 1944 and 1945, Carnegie Institute 1945, Delgado Museum. Prizes include Hoosier Salon 1942 and 1943, Indiana Art Club 1939, 43, 45, New Orleans Art League 1943, Herron Art Institute 1934. His work is contained in the collections of the National Museum, Washington, DC, Herron Art Institute, Iowa State University, University of Pittsburgh. He was author/illustrator of "Our America, Historic Churches in America" and illustrator for "Indianapolis Old and New". Polley was illustrator for the "Indianapolis Star" (Sunday edition) 1924-47. Also illustrator for "Ladies Home Journal" and "Esquire". Taught at Herron Art School, Indiana University and Arsenal Technical High School, 1917-1941. He headed the graphic arts department of Arsenal Technical High School for many years.

Lot: 43 - Charles Sarka, New York, Illinois (1879 - 1960), Resting Camel and Tane Horoi, Adopted Boy, Moorea in 1903, two watercolor paintings on paper, 13 1/2"H x 13 3/4"W (larger)

Charles Sarka New York, Illinois, (1879 - 1960) Resting Camel and Tane Horoi, Adopted Boy, Moorea in 1903 two watercolor paintings on paper both pencil signed. from the estate of the artist Nernard Black Gallery and Davis Galleries NY. Biography from the Archives of askART: Charles Sarka was born to draw and paint, and he did both constantly from childhood until his death at age 81. His old friend the artist Paul Bransom asserted that, throughout his long life in art, "Sarka never drew a bad line." Sarka's travels as a young man produced a rich body of early work. He camped along the Indian River in turn-of-the century Florida and roamed Southern California on horseback. He journeyed to the South Seas, Hawaii, Egypt, Morocco, the Caribbean and Europe. With a delicate touch and an unselfconscious eye, he painted a record of the natural beauty he encountered and of the people he came to know. It is through this work, from the first peripatetic years of his career, that Sarka has been best known. Yet, for all his youthful wanderlust, Sarka spent most of his life rooted. He lived sixty years in New York City and for fifty years kept a summer camp on Canada Lake in the Adirondacks, among a small colony of artist friends. He made his living as an illustrator and muralist, but Sarka's passion was in the spontaneous paintings and drawings he did every day, works that shimmer with vitality and sheer creative joy. In New York, he often focused on the quotidian - a neighborhood streetscape or the view from his apartment window of rooftop chimney pots. At Canada Lake, too, where nature was his focus, he was less interested in grand majesty than in minor miracles: a patch of sunlit asters, or a rock outcropping in an autumnal wood. Over the long haul, some of Sarka's most successful works were small-scale sketches and paintings, uncluttered and intimate. Born in Chicago, Sarka apprenticed at age eleven in an engraving plant, sketching figures on blocks for the engravers. By age sixteen he was a staff artist on the Chicago Record. Sarka excelled as an artist reporter and was soon hired away by the New York Herald. In New York he met artist George "Pop" Hart, who was to be his traveling companion to Florida, Egypt and the South Seas. Between trips Sarka built his name as an illustrator for Collier's, Cosmopolitan, Harper's and other popular magazines. Sarka wed Grace Jones, sister of Haydon Jones, a well known artist reporter. They were married nearly fifty years, until his death in 1960. Works by Sarka are in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Chicago Art Institute, the National Portrait Gallery and other public and private collections. Written and submitted August 2004 by Jeffrey Jones, great nephew by marriage of the artist.

Lot: 44 - Charles Sarka, New York, Illinois (1879 - 1960), Orientalist scene and Flamboyant tree, two watercolor paintings on paper, 12"H x 18"W(sight), 16"H x 22"W

Charles Sarka New York, Illinois, (1879 - 1960) Orientalist scene and Flamboyant tree two watercolor paintings on paper Both signed lower right. Davis Galleries NY. Biography from the Archives of askART: Charles Sarka was born to draw and paint, and he did both constantly from childhood until his death at age 81. His old friend the artist Paul Bransom asserted that, throughout his long life in art, "Sarka never drew a bad line." Sarka's travels as a young man produced a rich body of early work. He camped along the Indian River in turn-of-the century Florida and roamed Southern California on horseback. He journeyed to the South Seas, Hawaii, Egypt, Morocco, the Caribbean and Europe. With a delicate touch and an unselfconscious eye, he painted a record of the natural beauty he encountered and of the people he came to know. It is through this work, from the first peripatetic years of his career, that Sarka has been best known. Yet, for all his youthful wanderlust, Sarka spent most of his life rooted. He lived sixty years in New York City and for fifty years kept a summer camp on Canada Lake in the Adirondacks, among a small colony of artist friends. He made his living as an illustrator and muralist, but Sarka's passion was in the spontaneous paintings and drawings he did every day, works that shimmer with vitality and sheer creative joy. In New York, he often focused on the quotidian - a neighborhood streetscape or the view from his apartment window of rooftop chimney pots. At Canada Lake, too, where nature was his focus, he was less interested in grand majesty than in minor miracles: a patch of sunlit asters, or a rock outcropping in an autumnal wood. Over the long haul, some of Sarka's most successful works were small-scale sketches and paintings, uncluttered and intimate. Born in Chicago, Sarka apprenticed at age eleven in an engraving plant, sketching figures on blocks for the engravers. By age sixteen he was a staff artist on the Chicago Record. Sarka excelled as an artist reporter and was soon hired away by the New York Herald. In New York he met artist George "Pop" Hart, who was to be his traveling companion to Florida, Egypt and the South Seas. Between trips Sarka built his name as an illustrator for Collier's, Cosmopolitan, Harper's and other popular magazines. Sarka wed Grace Jones, sister of Haydon Jones, a well known artist reporter. They were married nearly fifty years, until his death in 1960. Works by Sarka are in the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Chicago Art Institute, the National Portrait Gallery and other public and private collections. Written and submitted August 2004 by Jeffrey Jones, great nephew by marriage of the artist.

Lot: 45 - Georges Braque Galerie Maeght color lithograph exhibition poster 19 1/4"H x 17 3/4"W (Sight), 20"H x 18 1/2"W (Frame)

Georges Braque Galerie Maeght color lithograph exhibition poster

Lot: 46 - Tsuguharu Foujita, Japanese French (1886-1968), La Femme au Chat, 1927, dry point etching, 14"H x 17 1/2"W (plate), 20"H x 24"W (sheet)

Tsuguharu Foujita Japanese French, (1886-1968) La Femme au Chat, 1927 dry point etching signed in the plate lower right. Biography from Vanderbilt University: Predating Warhol with an art persona as radical as his work, the Japanese-French artist Léonard Tsuguharu Foujita (?? ??, 1886–1968) might have been a household name akin to Pablo Picasso and Henri Matisse (They were his colleagues in 1920s Paris—even closer friends included Chaim Soutine and Amedeo Modigliani). While working in Montparnasse, Foujita was highly acclaimed and commercially successful, known best for his paintings of women and cats, as well as a hybrid style that borrowed equally from Japanese calligraphy and the School of Paris avant-garde.

Lot: 47 - Karl Dehmann, German American (1886-1975), Metropolitan Museum, 1928, etching, 14 1/4"H x 19 1/4"W(mat)

Karl Dehmann German American, (1886-1975) Metropolitan Museum, 1928 etching pencil signed lower right. Foxing present. Biography from the Archives of askART: The following information was submitted by Judy Kahn, great niece of the artist Karl Dehmann was born in Hamburg, Germany in January, 1886 and lived in Brewster, New York until his death in 1975. He studied painting at the Art Institute in Hamburg with Professor Julius Wohlerns and later in Paris. His works span almost three quarters of a century and are represented in many private collections here and abroad. He exhibited in Germany prior to his emigration to the United States in 1928, and his works were displayed at the Hamburg Museum. In the United States he was a regular exhibitor at the Harlow Gallery before it's closing. He spent many years living and working in Brewster, New York, which held a solo exhibit of his work in the early 1970's. Mr. Dehmann is best known for his etchings and aquatints of New York City. These documents record with great fidelity the architecture, skylines, and harbors of the city during the thirties and forties. Each print is executed with a faithfulness to detail.

Lot: 48 - William Meyerowitz, Ukrainian American (1887-1981), Portrait Arrangement - Self Portrait With Wife, 1930, etching, 10"H x 8"W (plate), 12"H x 9 3/4'W (sheet)

William Meyerowitz Ukrainian American, (1887-1981) Portrait Arrangement - Self Portrait With Wife, 1930 etching pencil signed and dated lower right. Biography from the Archives of askART: A painter and etcher, William Meyerowitz came to the United States in 1908 and was a student at the National Academy of Design in New York. As a portraitist, he painted the likenesses of Alfred Einstein and other notables, and as an etcher, he was an innovator in color etching techniques. He was married to Theresa Bernstein, who also wrote a book about her husband. He belonged to numerous organizations including the Audubon Society of Artists, which he served as director from 1960 to 1967; the Rockport Art Association, and the North Shore Art Association at Gloucester. From 1930 to 1940, he taught at the Settlement House in New York and from 1940 to 1945 taught at the Modern School of Self Expression. Source: Peter Falk, "Who Was Who in American Art"

Lot: 49 - William Meyerowitz, Ukrainian American (1887-1981), The Philosophers-Lower Eastside NYC / Central Park New York, 1941, 2 etchings, 8"H x 10"W (plate), 10"H x 12"W (sheet) Central Park New York

William Meyerowitz Ukrainian American, (1887-1981) The Philosophers-Lower Eastside NYC / Central Park New York, 1941 2 etchings Pencil signed lower right. The Philosophers: numbered 33/50. Biography from the Archives of askART: A painter and etcher, William Meyerowitz came to the United States in 1908 and was a student at the National Academy of Design in New York. As a portraitist, he painted the likenesses of Alfred Einstein and other notables, and as an etcher, he was an innovator in color etching techniques. He was married to Theresa Bernstein, who also wrote a book about her husband. He belonged to numerous organizations including the Audubon Society of Artists, which he served as director from 1960 to 1967; the Rockport Art Association, and the North Shore Art Association at Gloucester. From 1930 to 1940, he taught at the Settlement House in New York and from 1940 to 1945 taught at the Modern School of Self Expression. Source: Peter Falk, "Who Was Who in American Art"

Lot: 50 - Mokuchu (Yoshijiro) Urushibara, Japanese (1888–1953), Mosque Ibu Touloun / In the Docks, from the Ten Woodcuts portfolio, 2 woodblock prints, 16 1/4"H x 17 3/4"W (frame)

Mokuchu (Yoshijiro) Urushibara Japanese, (1888–1953) Mosque Ibu Touloun / In the Docks, from the Ten Woodcuts portfolio 2 woodblock prints Chop marks lower left.

Lot: 51 - Louis Icart, France (1888-1950), Lady of the Camelias, 1927, hand colored etching and engraving, 17 1/2"H x 21 3/4"W(sight), 26 3/4"H x 31 1/2"W(frame)

Louis Icart France, (1888-1950) Lady of the Camelias, 1927 hand colored etching and engraving Signed lower right. Blind stamp lower left. Notation GIAA lower left. Copyright upper left. Biography from GallArt.com: Louis Icart was born in Toulouse, France. He began drawing at an early age. He was particularly interested in fashion, and became famous for his sketches almost immediately.

Lot: 52 - John Edward Costigan, American (1888 - 1972), The Woodsman / Cutting Fodder, 2 etchings, 11"H x 15"W (plate), 15 1/2"H x 20"W (sheet)

John Edward Costigan American, (1888 - 1972) The Woodsman / Cutting Fodder 2 etchings pencil signed lower right. Biography from the Archives of askART: Part of the following biography was contributed by Dan Costigan, son of the artist. A native of Providence, Rhode Island, John Costigan was a skilled landscape and figure painter who disdained portraits because "the subjects want flattering pictures." He was orphaned and raised in New York by his aunt and uncle, the parents of songwriter, George M. Cohan. Mainly self-taught, Costigan studied briefly at the Art Students League and worked as a lithographer of theater posters. From that job he learned the printing processes that he later used in his many etchings. He began making his name in the fine arts in 1920, and throughout the decade, reaped numerous important prizes for his oils, watercolors and prints. He served in the infantry in World War I and supported himself during the Depression with magazine illustration. For about a year during World War II, to remain financially solvent, he worked the night shift as a machine operator in a defense plant while continuing to paint and etch by day. In the late 1960s, he enjoyed a revival of interest in his fine arts talents when more than 50 pieces were borrowed from museums and private collections to be toured nationally in a Smithsonian-sponsored Costigan retrospective.

Lot: 53 - John Edwards Costigan, American (1888 - 1972), Mother and Child #4 / In the Fields, 2 etchings, 13 3/4"H x 8 1/2"W (plate), 16"H x 11 1/4"W (sheer) Mother and Child #4

John Edwards Costigan American, (1888 - 1972) Mother and Child #4 / In the Fields 2 etchings pencil signed lower right. Biography from the Archives of askART: Part of the following biography was contributed by Dan Costigan, son of the artist. A native of Providence, Rhode Island, John Costigan was a skilled landscape and figure painter who disdained portraits because "the subjects want flattering pictures." He was orphaned and raised in New York by his aunt and uncle, the parents of songwriter, George M. Cohan. Mainly self-taught, Costigan studied briefly at the Art Students League and worked as a lithographer of theater posters. From that job he learned the printing processes that he later used in his many etchings. He began making his name in the fine arts in 1920, and throughout the decade, reaped numerous important prizes for his oils, watercolors and prints. He served in the infantry in World War I and supported himself during the Depression with magazine illustration. For about a year during World War II, to remain financially solvent, he worked the night shift as a machine operator in a defense plant while continuing to paint and etch by day. In the late 1960s, he enjoyed a revival of interest in his fine arts talents when more than 50 pieces were borrowed from museums and private collections to be toured nationally in a Smithsonian-sponsored Costigan retrospective.

Lot: 54 - Unknown , French School (20th Century), two nudes, (Les Baigneuses), 1953, watercolor and ink on paper, 29"H x 35"W (frame)

Unknown French School, (20th Century) two nudes, (Les Baigneuses), 1953 watercolor and ink on paper signed FA Ditmeier or Meier, and dated lower right.

Lot: 55 - Maurice Becker, Russian American (1889-1975), watercolor on paper, 15'H x 14"W (Sight), 21"H x 20"W (Mat)

Maurice Becker Russian American, (1889-1975) watercolor on paper Hand signed lower left. Biography from Rachael Cozad Fine Art: Maurice Becker (Russian-born American, 1889-1975) Maurice Becker, a radical social reformer and prolific painter, is most well-known for his political cartoons from the 1910s-20s, and for American socialist publications including The Masses and The

Lot: 56 - Maurice Becker, Russian American (1889-1975), sunset seascape, 1942 / Country Fair, 1956, watercolor on paper, 15 1/4"H x 22 1/2"W (Sheet)

Maurice Becker Russian American, (1889-1975) sunset seascape, 1942 / Country Fair, 1956 watercolor on paper pencil signed and dated. Biography from Rachael Cozad Fine Art: Maurice Becker (Russian-born American, 1889-1975) Maurice Becker, a radical social reformer and prolific painter, is most well-known for his political cartoons from the 1910s-20s, and for American socialist

Lot: 57 - Gerald Leslie Brockhurst, British American (1890-1978), Youth, female nude, lithograph, 16"H x 8"W (image), 20 3/4"H x 13"W (board)

Gerald Leslie Brockhurst British American, (1890-1978) Youth, female nude lithograph signed artist proof, edition of 100. Biography from the Archives of askART: Born in the United Kingdom, he moved to the United States after 1939, and became an American citizen in 1949. Brockhurst had taken up etching in 1920, making it his favorite medium until 1947, when he completely abandonned printmaking. Central to his work is female beauty presented in detailed observation and with technical perfection. His women are mysterious, complicated and exciting, reflecting the artist's understanding of artistic traditions, portraiture, and the expression of allegory in the female image. His favorite subject in the 1920s was his exotic wife Anais, subject of such works as L'Eventail, 1921 and The Black Silk Dress, 1927. He fell in love with the artist's model Kathleen Woodward in 1929, who was the sitter for his famous etching called Adolescence in 1932. Kathleen became his second wife after he obtained a divorce in 1939, and the two moved to New Jersey. Kathleen died in 1995. Education: Birmingham School of Art; Royal Academy, London, England; also in Paris, France, and Milan, Italy. Exhibited: Royal Academy, London; Art Institute of Chicago, 1935 and 1940. Sources include: Peter Hastings Falk (ed.) Who Was Who in American Art www.thebrockhurstcollection.com (Daniel and Rosalyn Jacobs)

Lot: 58 - 1915 academic study male nude charcoal drawing, signed "Brown", early to mid 20th Century., 17 1/2”H x 23 1/2”W(sight),25 1/2"H x 19 1/2"W(frame)

1915 academic study male nude charcoal drawing, signed "Brown", early to mid 20th Century. signed and dated lower left

Lot: 59 - Academic study male nude charcoal drawing, signed "Brown", early-mid 20th Century. 17 1/2”H x 23 1/2”W(sight), 25 1/2"H x 19 1/2"W(frame)

Academic study male nude charcoal drawing, signed "Brown", early-mid 20th Century.

Lot: 60 - Max Ernst (German, 1891-1976) surrealist bookplate illustrations from "A Week of Kindness" and "Phallus Fascinum in Ancient Roman Religion" etching, 14"H x 9 3/4"W (plate), 19"H x 13 3/4"W (sheet)

Max Ernst (German, 1891-1976) surrealist bookplate illustrations from "A Week of Kindness" and "Phallus Fascinum in Ancient Roman Religion" etching 2 sheets, double sided, each side with 2 book plates from 1934 artist book Une Semaine de Bonte (A Week of Kindness) by Max Ernst, etching from the "Antiquities of Herculaneum"

Lot: 61 - Albert Kapp, New Jersey, New York. (1892 -1969), Blessing the Fleet, oil on board, 15 1/2"H x 19 1/2"W (sight), 20 3/4"H x 24 3/4"W (frame)

Albert Kapp New Jersey, New York., (1892 -1969) Blessing the Fleet oil on board signed lower left From the Archives of askART: Albert Kapp was a bit of a Renaissance man from the New York, New Jersey area. He was known to have fallen in love with painting in the 1930's and continued to paint, mainly in oils and gouaches for three decades. In the meantime, he had a scientific and design background having studied mechanical engineering at Brooklyn Polytech and at the Stevens Institute of Technology where he was later named a distinguished graduate. He became the President of the New York Furniture Exchange and was in charge of style and design at the Albert Knapp & Co. Moreover, he received a law degree from the New Jersey Law School, later part of Rutgers. His artistic training was primarily via the Arts Student League in N.Y. and privately with noted New York and Provincetown artist, Sol Wilson. He also took adult education classes in South Orange N.J. near his home. Kapp's wife, Paula was also a significant artist who graduated from Montclair State University and also studied with Sol Wilson and at the Art Students League. A respected artist in her own right, she has artwork in the permanent collection of the Pennsylvania Academy of the Fine Art. Likely through their study with Sol Wilson, the couple developed an association with the Provincetown art colony, and exhibited at the Provincetown Art Association Museum in the mid 1950's. Albert's mature style was very reminiscent of the expressionistic style developed by Sol Wilson. Many of his most noted pieces were also shore scenes and dynamic oils of Cape Cod fisherman at work.

Lot: 62 - George J. Zachary Constant, Greek American (1892-1978), embracing figures, figural abstract, watercolor on paper, 6"H x 8"W

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

Lot: 63 - George J. Zachary Constant, Greek American (1892-1978), untitled female nude bust, lithograph, 20"H x 13"W (sheet)

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

Lot: 64 - George J. Zachary Constant, Greek American (1892-1978), intertwined figures, etching, 9"H x 11"W (plate), 13"H x 17 1/2" W (sheet)

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

Lot: 65 - George J. Zachary Constant, Greek American (1892-1978), female portrait, etching, 10"H x 9 1/2"W (plate), 18 1/2"H x 11 1/2"W (sheet)

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

Lot: 66 - George J. Zachary Constant, Greek American (1892 - 1978), brutalist wall hanging sculpture, bronze plate construction, 26"H x 24 1/2"W

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

Lot: 67 - Louis Lozowick, Ukrainian American (1892 - 1973), Aged Tree, 1966 / Corner of Fortress, 2 lithographs, 15"H x 11 1/2" (image), 20"H x 16"W (sheet) largest

Louis Lozowick Ukrainian American, (1892 - 1973) Aged Tree, 1966 / Corner of Fortress 2 lithographs pencil signed lower right. Biography from the Archives of askART: Born in Ludvinovka in the Ukraine, Louis Lozowick became best known for his lithographs of skyscrapers, constructions, and machinery, a series spanning fifty years. He attended the Kiev Art School from 1904 to 1906 and emigrated to the United States at age 14. In New York, he studied for three years at the National Academy of Design with Leon Kroll, attended Ohio State University, and between 1919 and 1924, traveled extensively in Europe including Russia. From his experiences there with artists, he wrote Modern Russian Art, and later did illustrations for the New Masses and translated for Broom Magazine. Returning to the United States, he was a muralist for the Public Works Art Project and became involved in the aesthetic of Constructivism, making drawings of machine ornaments. He also toured the country extensively and did many lithographs from his travels including a 1932 lithograph of the Grand Canyon. In 1949, he settled in South Orange, New Jersey. Periodical: Towards a Revolutionary Art. Art Front, pp.12-14, July-August 1939 Sources: Doris Dawdy, Artists of the American West, Volume III Peter Hastings Falk, Editor, Who Was Who in American Art

Lot: 68 - Kent Hagerman, American (1893 - 1978), Cradles of Victory / Outfitting a War Lady / Welding Ships of Victory / Changing Wheels for Victory / Strong Arms for Victory / Molding Victory, 6 shipbuilding etchings, 5 3/4"H x 9

Kent Hagerman American, (1893 - 1978) Cradles of Victory / Outfitting a War Lady / Welding Ships of Victory / Changing Wheels for Victory / Strong Arms for Victory / Molding Victory 6 shipbuilding etchings pencil signed and numbered. Biography from the Archives of askART: Kent Hagerman, also known as William Kay Hagerman, was born in Ohio in 1893. He studied at the Cleveland School of Art and the Sorbonne in Paris while serving in France during World War I. He began his career producing newspaper and magazine illustrations. He and his brother Gale operated an engraving company in Denver. Since Hagerman seldom dated his work, it is difficult to tell when specific prints were made. However, his early works were signed "Will Kay Hagerman", and from the early 1940's onward, his signature was "Kent Hagerman." Kent Hagerman and his wife Carrie moved to Lakeland, Florida in 1933. Besides the many fine etchings, Hagerman made sculptures and bas-reliefs of local leaders. He died three years after his wife's death in 1978 at the age of 85. An exhibit of his work was shown at the 1985 Lakeland City Centennial celebration. Information pertaining to this exhibit is in RG 3600, Lakeland Centennial. Included in the Lakeland Public Library collection are drawings, listed alphabetically, and two framed etchings. Source: Lakeland Public Library-Special Collections http://www.lakelandgov.net/library/speccoll/manuscripts/finearts/hagerman.html

Lot: 69 - Paul Chatelain, (20th century), WWI soldier, 1918, graphite on paper, 10"H x 8"W

Paul Chatelain (20th century) WWI soldier, 1918 graphite on paper signed and dated lower left. Water stain visible lower left and verso.

Lot: 70 - Group of four early 19th century maps that provide historical background for 21st century conflicts: Persia / Iran (c. 1800, published in London); the Near / Middle East ("Turkey in Asia", published in Liverpool in 1814;

Group of four early 19th century maps that provide historical background for 21st century conflicts: Persia / Iran (c. 1800, published in London); the Near / Middle East ("Turkey in Asia", published in Liverpool in 1814; hand-colored); Russia (including modern Ukraine, London, 1820; partly colored by hand); the Crimean peninsula (published in London; partly hand-colored)

Lot: 71 - Ernest Fiene, German American (1894-1965), "Waterfront" Manhattan, 1931, lithograph, 11"H x 17 3/4"W (image), 16"H x 22 3/4"W (page)

Ernest Fiene German American, (1894-1965) "Waterfront" Manhattan, 1931 lithograph pencil signed and dated lower right, numbered 69/100. Biography from the Archives of askART: The following is from G.T. Ricciardi Antiques & Collectibles: Fiene, born in Germany, became a naturalized citizen of the United States in 1927, having spent the previous fifteen years studying art at various New York institutions and building his reputation as a painter of American scenes. A fixture on the faculty of the Art Students League, he was also a prolific artist with a body of work spanning many media, from etchings to frescoes. A teacher and artist, Ernest Fiene created works in many media but was noted primarily for his landscapes of American scenes. He also did portraits, etchings, lithographs, murals and book illustrations. Unlike many of his contemporaries, he refused to isolate technique from subject matter, and incorporated his interest in human life and his optimism about humanity into his paintings. He was born in Elberfeld, Germany, came to the United States in 1912, and was naturalized by 1927. He studied at the National Academy of Design from 1914 to 1918, at the Beaux-Arts Institute of Design from 1916 to 1918, and was also at the Art Students League and in Paris at the Academie de la Grande Chaumiere. From 1938 to 1964, he taught at the Art Students League and was also a member of the supervising faculty of the Famous Artists School in Westbury, Connecticut. Source: David Zellman, 300 Years of American Art

Lot: 72 - Edna Reindel, American (1894-1990), Netmenders, lithograph, 12"H x 14 3/4" (sight), 14"H x 19 1/4"W (sheet)

Edna Reindel American, (1894-1990) Netmenders lithograph pencil signed lower right. Biography from the Archives of askART: Edna Reindel, painter, sculptor, teacher and muralist was born in Detroit, MI, in 1900 and studied at the Pratt Institute, NY. Upon Graduation in 1923 she did book illustration and free-lance commercial artwork for five years. After studying on a Tiffany Foundation Fellowship and hanging her first solo show in New York in 1934 she painted a mural for the Stamford, Conn., Housing Project and then worked on a Treasury Department mural for the post office of Swainsboro, Georgia. These commissions brought other mural work and soon she was known for her bold deliniated style of painting that became her signiature style. Her paintings are owned by many important museums and in addition to winning the Tiffany Foundation Fellowship award, 1926, 1932; she won an award at the Art Directors Club, 1935; Beverly Hills Art Festival, 1939 and others.Edna Reindel's "Intellectual and carefully restrained pictures" have steadily gained recognition. Known Mostly for her flowers and still-life studies, she also painted a large series of New England scenes at Martha's Vineyard, where she summered. She employed "crisp, clean cut forms" in her works. She was also known for genre, portraits, landscapes, horsemen, fruit, dancers, bathers, nudes and dogs. She passed away in Santa Monica, California in 1990. Source: Blake Benton Fine Art

Lot: 73 - Samuel Chamberlain, American (1895-1975), Senlis, 1939, drypoint etching, 9"H x 6 1/2"W (plate), 11 1/4"H x 8 3/4"W (sheet)

Samuel Chamberlain American, (1895-1975) Senlis, 1939 drypoint etching Identification information in pencil verso. Biography from Whistler House Museum of Art The following is from Peter Kostoulakos, ISA ˜ Fine Art Consultant www.pkart.com Samuel V. Chamberlain 1895-1975 Samuel V. Chamberlain was born in Cresco, IA on October 28, 1895 and died in Marblehead, MA in 1975.

Lot: 74 - Peppino Mangravite, Italian American (1896-1978), Summer Vacation, 1938, lithograph mounted on board, 13 1/4"H x 18 1/2"W (Plate), 18"H x 22 3/4"W (Board)

Peppino Mangravite Italian American, (1896-1978) Summer Vacation, 1938 lithograph mounted on board Pencil signed lower right, numbered 37/50. Biography from Williams American Art Galleries: Peppino Gino Mangravite, painter, lecturer, lithographer, writer and teacher, was born in Lipari, Italy in 1896. He immigrated to the United States at the age of fourteen with his father, settling in New York City. He had already completed six years of study in Italy at the Scoule Techiniche Belle Arti. Once in the USA, he studied at Cooper Union, Broadmoor Art Academy with John F. Carlson and the Art Student's League in New York with Robert Henri. The so-called romantic artist was deeply involved in teaching art and got his first teaching position at the Hansen School of Fine Arts in New York in 1918. During the summer in the 1920s Mangravite ran several art camps in the Adirondacks for both children and adults. In 1926, he moved to Washington D. C., where he taught at the Potomac School for two years. Mangravite was drawn back to New York where he continued to teach at Sara Lawrence College, Cooper Union, the Art Students League and Columbia University. He spent a year as the head of the art department at the Colorado Springs Fine Art Center and taught for two years at the Art Institute of Chicago. Concentrating on "the subtleties of human relationships," Mangravite helped define the American Scene movement, which dominated the contemporary American art scene between 1927 and 1945. The multi-talented artist contributed articles to numerous publications including, The Arts, Progressive Education, and American Magazine of Art to name a few. The College Art Association's Committee for the Study of the Practice of Art Courses asked Mangravite to serve as chairman from 1943-44. Mangravite passed away in Westport, Connecticut in 1978.

Lot: 75 - George Jo Mess, American (1898-1962), End of Trail, etching, 62 3/4"H x 6"W(sight), 12"H x 11 1/2"W(frame)

George Jo Mess American, (1898-1962) End of Trail etching pencil signed, titled and numbered 28/50 lower margin.

Lot: 76 - George Jo Mess, Indiana, Ilinois (1898-1962), Pose, etching, 8 1/4"H x 5 1/2"W (Sight), 16 1/2"H x 13 1/2"W (Frame)

George Jo Mess Indiana, Ilinois, (1898-1962) Pose etching Pencil signed lower right with blind stamp, edition 5/50. George Joseph Mess, the son of a photoengraver, was born in Cincinnati, Ohio to Joseph and Anna Mess, on June 30, 1898. The family moved to Indianapolis in 1899. When George was seven years old he contracted pneumonia and typhoid fever. He passed the time with painting and drawing during his long convalescence. He began to receive scholarships when he was thirteen years old to study art at the John Herron Art Institute. Here he studied with Marie Todd and Otto Stark and William Forsyth. Stark later chose Mess to assist on the construction of murals for the City Hospital's children's ward, a project directed by Forsyth. After graduation from high school in 1916, George found a job working at the Western Electric Company and attended Herron part-time continuing his studies with Forsyth. He enrolled at Butler University in the fall of 1918 and after a year there he and his brother, Gordan began the Circle Art Company where they developed a reputation in commercial art. After three years here he had earned enough money to attend Columbia University where he studied composition with Arthur Dow. He returned to Indianapolis in 1921 and resumed his commercial art business. In 1925 he married Evelynne Bernloehr. Together they and Gordon opened the Circle Art Academy where they taught studio classes from 1927 until 1932. George and Evelynne enrolled at the Fontainebleau School of Fine Arts in northern France in June, 1929. Here they studied with landscape artist Andre Strauss and Gaston Balande and with figure painter, Jean Despujols. George also studied fresco painting with M. La Montague Saint Subert. Mess was a member of the Indiana Artists' Club and exhibited in the Hoosier Salon in 1926 and at the Carnegie Institute in 1930. In 1931 he received an invitation to study at the Tiffany Foundation in Oyster Bay, NY. In 1937 George and Evelynne moved to Chicago where George worked as an artist on the staff of Esquire and Coronet until returning to Indianapolis in 1940. Mess occasionally taught at the Indianapolis Art League and at Herron. In 1949 he received a position to teach art part time at Indiana University on the Indianapolis Campus. He exhibited widely throughout his career at such places as the Chicago Art Institute, the Met, the Dayton Art Museum, the Pennsylvania Academy of Fine Arts as well as international exhibits in Stockholm, Paris and Rome. George Mess died June 24, 1962.

Lot: 77 - Stefan Constantinescu, Romanian (1898-1984), 5 erotic scenes, 1931, woodcuts, 6 1/2"H x 8 1/2"W (image), 8 1/4"H x 13 1/4"W (sheet) largest

Stefan Constantinescu Romanian, (1898-1984) 5 erotic scenes, 1931 woodcuts pencil signed, dated and numbered. Biography from Ans Azura: Stefan Constantinescu, born in 1898 in Târgu Ocna, Romania, was a renowned Romanian painter known for his post-impressionist style artworks depicting urban and rural landscapes. He was also recognized for his mosaics and murals found across Romania. Constantinescu served as a professor of Monumental Painting at the National University of Arts in Bucharest. Throughout his career, he exhibited his works nationally and internationally in countries such as Hungary, Italy, the Soviet Union, Bulgaria, Austria, and Germany. He passed away in 1983 in Bucharest, Romania.

Lot: 78 - Charles Lapicque, French (1898-1988), figural abstract, color lithograph, 12"H x 8 1/2"W (image), 22"H x 14"W (sheet)

Charles Lapicque French, (1898-1988) figural abstract color lithograph Pencil signed lower right, numbered 90/100. Biography from the Archives of askART: The French marine painter Charles Lapicque was born on October 6, 1898 in Theizé (Département Rhône). He spent his childhood in Epinal and visited Brittany (near Paimpol) for the first time in 1900, returning every

Lot: 79 - Charles Lapicque, French (1898-1988), Les Animaux Sacres, abstract composition, lithograph, 13"H x 9 1/2"W (image), 18"H x 14"W (sheet)

Charles Lapicque French, (1898-1988) Les Animaux Sacres, abstract composition lithograph Pencil signed lower right, numbered 74/120. Biography from the Archives of askART: The French marine painter Charles Lapicque was born on October 6, 1898 in Theizé (Département Rhône). He spent his childhood in Epinal and visited Brittany (near Paimpol) for the first time in 1900,

Lot: 80 - Charles Lapicque, French (1898-1988), Nuages Sur La Cote, abstract cloudy landscape, lithograph, 26 1/4"H x 19 1/4"W (sheet)

Charles Lapicque French, (1898-1988) Nuages Sur La Cote, abstract cloudy landscape lithograph Pencil signed lower right, numbered 11/175. Biography from the Archives of askART: The French marine painter Charles Lapicque was born on October 6, 1898 in Theizé (Département Rhône). He spent his childhood in Epinal and visited Brittany (near Paimpol) for the first time in

Lot: 81 - Rufino Tamayo, Mexican (1899 - 1991), collection of woodcut block prints on tissue paper, 19 3/4"H x 13 1/2"W (One)

Rufino Tamayo Mexican, (1899 - 1991) collection of woodcut block prints on tissue paper Exhibition posters for Rufino Tamayo's "Recent Works", M. Knoedler, and Christmas card. Biography from Artistic Gallery Rufino Tamayo moved to Mexico City following the death of his mother in 1911, and began studying art at Escuela Nacional de Bellas Artes, in 1917. While studying, Tamayo experimented with and was influenced by Cubism, Impressionism and fauvism, among other popular art movements of the time, but with a distinctly Mexican feel. With his paintings, Tamayo expressed what he believed was traditional Mexico, refusing to follow the more political trend that many of his contemporaries did. In 1926, he decided to leave Mexico and move to New York. Tamayo returned to Mexico in 1929 to have a solo show, and was met with high praise and media coverage. Tamayo and Lea Remba were the first artists, who created a new type of printed artwork called "mixografía". It was artwork printed on paper, with depth and texture. Tamayo also painted murals, some of which are displayed iin the Palacio Nacional Opera House in Mexico City. From 1937 to 1949, Tamayo and his wife Olga lived in New York, becoming widely recognized. He had his first show in New York City at Valentine Gallery and went on to show at the Knoedler Gallery and Marlborough Gallery. In 1948 his first major retrospective was done at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. Still uncomfortable with the political differences and controversy, Tamayo and Olga moved to Paris in 1949, where he was welcomed by the artists of Europe. He remained in Paris for 10 years. In 1959, Tamayo and his wife returned to Mexico permanently, where Tamayo built an art museum in his home town of Oaxaca. The Tamayo Contemporary Art Museum, located in Mexico City, was opened in 1981 for the collections that Rufino Tamayo and his wife acquired during their lifetimes, and ultimately donated to the nation.

Lot: 82 - De Hirsch Margules, Romanian American (1899–1965), figural abstract, female nude, 1955, oil on paper, 17 3/4"H x 23 3/4"W (Sheet)

De Hirsch Margules Romanian American, (1899–1965) figural abstract, female nude, 1955 oil on paper Signed and dated lower right. Biography from Levis Fine Art: Mentored by John Marin, befriended by Alfred Stieglitz, and further influenced by Stuart Davis and Jan Matulka, under-recognized artist De Hirsch Margules is beginning to get the long overdue attention he deserved. "So animate and vivacious a presence in American art…..we accede to his delight in boats, streets, piers, and flowers: all spinning about in a kinetic riot of sharp primary sensations. His paintings express the experience of living in New York City". -ArtNews, May 1961 Color and viscosity best describe De Hirsch Margules' passion as an artist. He sought to create a technique which would serve as a new artistic language for the third dimension of physical presence and a fourth dimension of time, using the balance of color and texture as a basis. His works have a transcendental quality about them, one which is inherent in both perspective and in medium. Margules became an intrinsic part of the art world in New York City as early as 1929. His endearing friendship with Alfred Stieglitz, artist and major patron/dealer, allowed him the opportunity to meet and learn from some of the most renowned artists of the period: Stuart Davis, Jan Matulka, and John Marin. It was John Marin, a very accomplished watercolorist, who Margules looked up to as a mentor. Margules created impactful works of brilliant vivid color with a viscosity that paralleled the overly applied works of the Abstract Expressionists. His works were aimed at recreating the psychological impact of the time of the day in tandem with expressing the tangibility of the objects represented. Such became known as "time perspective" paintings. Margules spent his career alternating between these paintings and his watercolors, but ultimately within the construct of both mediums, Margules was able to prove himself amongst his contemporaries as a master colorist, abstractionist and an explorer of the time continuum. Within his lifetime career Margules had over thirty one-man shows, and consistent representation at the Whitney Museum of American Art Annuals from 1938-1956. His work is currently in the permanent collections of major museums such as the Whitney, the Museum of Modern Art, and the Museum of Fine Arts in Boston, to name a few.

Lot: 83 - De Hirsch Margules, Romanian American (1899-1965), figural abstract, female nude, oil on paper, 17 3/4"H X 23 3/4"W (Sheet)

De Hirsch Margules Romanian American, (1899-1965) figural abstract, female nude oil on paper Signed lower right. Biography from Levis Fine Art: Mentored by John Marin, befriended by Alfred Stieglitz, and further influenced by Stuart Davis and Jan Matulka, under-recognized artist De Hirsch Margules is beginning to get the long overdue attention he deserved. "So animate and vivacious a presence in American art…..we accede to his delight in boats, streets, piers, and flowers: all spinning about in a kinetic riot of sharp primary sensations. His paintings express the experience of living in New York City". -ArtNews, May 1961 Color and viscosity best describe De Hirsch Margules' passion as an artist. He sought to create a technique which would serve as a new artistic language for the third dimension of physical presence and a fourth dimension of time, using the balance of color and texture as a basis. His works have a transcendental quality about them, one which is inherent in both perspective and in medium. Margules became an intrinsic part of the art world in New York City as early as 1929. His endearing friendship with Alfred Stieglitz, artist and major patron/dealer, allowed him the opportunity to meet and learn from some of the most renowned artists of the period: Stuart Davis, Jan Matulka, and John Marin. It was John Marin, a very accomplished watercolorist, who Margules looked up to as a mentor. Margules created impactful works of brilliant vivid color with a viscosity that paralleled the overly applied works of the Abstract Expressionists. His works were aimed at recreating the psychological impact of the time of the day in tandem with expressing the tangibility of the objects represented. Such became known as "time perspective" paintings. Margules spent his career alternating between these paintings and his watercolors, but ultimately within the construct of both mediums, Margules was able to prove himself amongst his contemporaries as a master colorist, abstractionist and an explorer of the time continuum. Within his lifetime career Margules had over thirty one-man shows, and consistent representation at the Whitney Museum of American Art Annuals from 1938-1956. His work is currently in the permanent collections of major museums such as the Whitney, the Museum of Modern Art, and the Museum of Fine Arts in Boston, to name a few.

Lot: 84 - Maria de St. Georges, Bouquet of Roses, oil on canvas, 25"H x 20 3/4"W (sight), 33"H x 28 1/2"W (frame)

Maria de St. Georges Bouquet of Roses oil on canvas signed lower left. Contemporary Masters Gallery, Inc., NY label verso.

Lot: 85 - Charles Wheeler Locke, American (1899-1983), The Tip / In the Park, 2 lithographs, 10 1/4"H x 7"W (sheet), 13"H x 11 1/4"W (matte)

Charles Wheeler Locke American, (1899-1983) The Tip / In the Park 2 lithographs One pencil signed with initials lower right. Biography from Whistler House Museum of Art: The following is from Peter Kostoulakos, ISA ˜ Fine Art Consultant, www.pkart.com Charles Wheeler Locke — painter, illustrator, etcher, lithographer, teacher, and drawing specialist — was born in Cincinnati, OH on August 31, 1899 and died in Garrison, NY in 1983. He is best remembered for his etchings and his urban genre, portraits, and bar scenes. Locke held a teaching position with the Art Students League in New York City and illustrated Tale of a Tub, by Swift and published by Columbia University Press. Locke's address in 1929 was 78 Columbia Heights in Brooklyn, NY and his summer residence was 3906 Hazel Avenue in Norwood, OH. Locke studied at the Art Students League and the Cincinnati Art Academy and was a pupil of Joseph Pennell (1860-1926); Herman Henry Wessel (1878-1969); John Ellsworth Weis (1892- ?). He was a member of the Society of American Etchers in Brooklyn, NY; Associate of the National Academy of Design in New York City; the American Printmakers; the American Society of Painters, Sculptors and Gravers; the Century Club in New York City; and the Duveneck Society. His exhibitions and awards include the Logan Medal at the Art Institute of Chicago; the Tiffany Foundation Award; the Corcoran Gallery of Art in Washington, DC; and the Pennsylvania Academy of Fine Arts. Locke's work is represented in the collections of the Whistler House Museum of Art in Lowell, MA; the Metropolitan Museum of Art in New York City; the British Museum in London; the Whitney Museum of American Art in New York City; the Corcoran Gallery of Art in Washington, DC; the Amon Carter Museum in Fort Worth, TX; the Cummer Museum of Art and Gardens in Jacksonville, FL; the John and Mable Ringling Museum of Art in Sarasota, FL; the University of Michigan Museum of Art in Ann Arbor, MI; the Frederick R. Weisman Art Museum in Minneapolis, MN; the Nelson-Atkins Museum of Art in Kansas City, MO; the Brooklyn Museum of Art; the Southern Alleghenies Museum of Art in Loretto, PA; the Carnegie Museums of Pittsburgh / Carnegie Institute; and the Museum of Art at Brigham Young University in Provo, UT. References: Who Was Who in American Art, vol. I, page 376; Davenport's Art Reference 2001/2002, page 1167; Mantle Fielding,1986, page 549; Mallett, page 259; Dealer's Choice Biographical Encyclopedia of American Painters... page 841; Whistler House Museum of Art files.

Lot: 86 - Louis Goodman Ferstadt, Ukrainian American (1900-1954), Catskills, 1932, mixed media ink and watercolor drawing on paper

Louis Goodman Ferstadt Ukrainian American, (1900-1954) Catskills, 1932 mixed media ink and watercolor drawing on paper signed and dated lower left, signed verso. Biography from the Archives of askART: Louis Goodman Ferstadt's birth in 1900 in the small Ukrainian town of Berestechko was memorable since it coincided with a severe pogrom against the Jewish community. (Other sources have

Lot: 87 - Gerry Peirce, American (1900-1969), Arizona, etching, 2 1/4"H x 3"W (plate), 11"H x 8 1/2"W (matte)

Gerry Peirce American, (1900-1969) Arizona etching pencil signed lower right. Biography from the Archives of askART: A painter, teacher, etcher, illustrator, and author, he was a multi-talented man who won numerous prizes for watercolor and etching and also illustrated and wrote children's books including "Plants of Sun and Sand." From the mid-1930s, he directed the Gerry Peirce Watercolor School in Tucson, Arizona. He was born in Jamestown, New York, and graduated from the Cleveland, Ohio School of Art and then studied at the Art Students League in New York. He was known for highly atmospheric paintings of subtle tonality. He was a member of the Society of American Etchers, Chicago Society of Etchers, and California Print Makers. His work is in numerous museums including the Boston Museum of Art, Cleveland Museum and Library of Congress. Source: Arnold Elliott, Tucson Festival of the Arts, Exhibition Catalogue, March 25-april 8, 1951

Lot: 88 - William J. Sewell, American (1901–1951), The secret pool, female nude figural group, 1945, lithograph, 19"H x 14 1/4"W (sheet)

William J. Sewell American, (1901–1951) The secret pool, female nude figural group, 1945 lithograph signed and dated lower right. foxing present

Lot: 89 - Stanley William Hayter, British American (1901-1988), Cheiromancy, 1935, etching, 7 3/4"H x 6"W (plate), 15 1/2"H x 11 3/4"W (sheet)

Stanley William Hayter British American, (1901-1988) Cheiromancy, 1935 etching Pencil signed and dated lower right, numbered 89/100. Biography from the Archives of askART Born in London to a family of painters, Stanley Hayter chose instead to study geology and chemistry and then worked for a Persian Gulf oil company. However, he contracted malaria and returned to London to recover, and then moved to Paris in 1926 to study at the Academie Julian. In 1933 in Paris, he established his own studio, the Atelier 17. At this time he became interested in Surrealism, and opposing Fascism, actively supported the Republican government of the Spanish Civil War. During World War II, Hayter co-founded the Industrial Camouflage Research Unit in London, and with his associates produced camouflage designs for factories. The squiggly green pattern designs of camouflage was something he had observed in Spain, and he worked creatively on improving this method. Source: Roy R. Behrens, Camoupedia, p. 184

Lot: 90 - Stanley William Hayter, British American (1901-1988), Invocation, 1939, etching, 6"H x 4 1/2"W (plate), 15 1/2"H x 11 1/2"W (sheet)

Stanley William Hayter British American, (1901-1988) Invocation, 1939 etching Pencil signed and dated lower right, numbered 91/100. Biography from the Archives of askART: Born in London to a family of painters, Stanley Hayter chose instead to study geology and chemistry and then worked for a Persian Gulf oil company. However, he contracted malaria and returned to London to recover, and then moved to Paris in 1926 to study at the Academie Julian. In 1933 in Paris, he established his own studio, the Atelier 17. At this time he became interested in Surrealism, and opposing Fascism, actively supported the Republican government of the Spanish Civil War. During World War II, Hayter co-founded the Industrial Camouflage Research Unit in London, and with his associates produced camouflage designs for factories. The squiggly green pattern designs of camouflage was something he had observed in Spain, and he worked creatively on improving this method. Source: Roy R. Behrens, Camoupedia, p. 184

Lot: 91 - Stanley William Hayter, British American (1901-1988), España, 1939, etching, 5"H x 3"W (plate), 15 1/2"H x 11 1/2"W (sheet)

Stanley William Hayter British American, (1901-1988) España, 1939 etching Pencil signed and dated lower right, numbered 96/100. Biography from the Archives of askART: Born in London to a family of painters, Stanley Hayter chose instead to study geology and chemistry and then worked for a Persian Gulf oil company. However, he contracted malaria and returned to London to recover, and then moved to Paris in 1926 to study at the Academie Julian. In 1933 in Paris, he established his own studio, the Atelier 17. At this time he became interested in Surrealism, and opposing Fascism, actively supported the Republican government of the Spanish Civil War. During World War II, Hayter co-founded the Industrial Camouflage Research Unit in London, and with his associates produced camouflage designs for factories. The squiggly green pattern designs of camouflage was something he had observed in Spain, and he worked creatively on improving this method. Source: Roy R. Behrens, Camoupedia, p. 184

Lot: 92 - Stanley William Hayter, British American (1901-1988), Night Moth, Etching, 6"H x 4 1/2"W (plate), 11 3/4"H x 8 3/4"W (sheet), 19 1/4"H x 14 1/4"W (matte)

Stanley William Hayter British American, (1901-1988) Night Moth Etching Pencil signed lower right, numbered 188/300. Biography from the Archives of askART: Born in London to a family of painters, Stanley Hayter chose instead to study geology and chemistry and then worked for a Persian Gulf oil company. However, he contracted malaria and returned to London to recover, and then moved to Paris in 1926 to study at the Academie Julian. In 1933 in Paris, he established his own studio, the Atelier 17. At this time he became interested in Surrealism, and opposing Fascism, actively supported the Republican government of the Spanish Civil War. During World War II, Hayter co-founded the Industrial Camouflage Research Unit in London, and with his associates produced camouflage designs for factories. The squiggly green pattern designs of camouflage was something he had observed in Spain, and he worked creatively on improving this method. Source: Roy R. Behrens, Camoupedia, p. 184

Lot: 93 - Philip Howard (Blashki) Evergood, American (1901-1973), woman and centaur, male and female nude, figural group, etching / pencil sketch, 10"H x 10"W (sight), 15"H x 13 1/4"W (sheet) Lithograph

Philip Howard (Blashki) Evergood American, (1901-1973) woman and centaur, male and female nude, figural group etching / pencil sketch Pencil sketch signed with initials lower center. Biography from the Archives of askART: Born in New York City with the name Philip Blashki, he became, with the name Philip Evergood, one of the leading modernists of the 20th Century with styles combining abstraction and realism and subjects in the 1930s that made him one of the leading social realists in New York City. He was raised in London, England where he moved in 1909 with his parents until 1923. He studied at Eton and Cambridge University and then at the Slade School with Henry Tonks and Havard Thomas. Returning to New York, he was a student of George Luks and William von Schlegell at the Art Students League. From 1924 to 1926, he traveled in Europe and studied in Paris at the Academie Julian and again lived abroad from 1929 to 1931. He was especially influenced by the Spanish artist El Greco. During the 1930s, he was a muralist for the W.P.A. in the Federal Art Project, and his mural work includes The Story of Richmond Hill for the library in that part of New York City, and another work, Cotton from Field to Mill for the Post Office in Jackson, Georgia. Politically active, he served as President of the New York Artists Union. He also taught at various institutions in the 1940s, and in 1952 moved to Southbury, Connecticut and two years later to Bridgeport until his death. In the 1920s and 1930s, Evergood focused on many Biblical themes with a distorted style reflective of both Cezanne and El Greco in that his figures seemed to be in fanciful worlds or "imagined space". (Baigell) By 1935, he did American Scene painting with politically and social-message works whose themes were the unhappiness of people caught in the Depression. In 1937, his painting, Art on the Beach, which was part of his solo exhibition at the National Gallery of Melbourne, caused a riot led by some academics who were furious about the paintings modernist style. Sir John Longstaff, Australian artist, went to the defense of Evergood, and helped raise money for the subsequent gift of the painting to Melbourne's National Gallery. In the 1940s, Evergood distanced himself from political and social issues to figures that were more fanciful and free seeming.

Lot: 94 - Philip Howard (Blashki) Evergood, American (1901-1973), City of Lights II or Kalamazoo Landscape / The Bridge, 1927, lithograph / etching, 8 1/2"H x 12"W (sight), 18"H x 21"W (sheet) Lithograph

Philip Howard (Blashki) Evergood American, (1901-1973) City of Lights II or Kalamazoo Landscape / The Bridge, 1927 lithograph / etching Lithograph pencil signed lower right and numbered104/200. etching pencil signed lower right.

Lot: 95 - Isabel (Wolff) Bishop, American (1902-1988), Men Walking / Students Walking / In The Bus, 3 etchings, 8 1/4"H x 12 1/2"W (Plate), 11"H x 15 1/2"W (Sheet)

Isabel (Wolff) Bishop American, (1902-1988) Men Walking / Students Walking / In The Bus 3 etchings Pencil signed lower right. Men Walking artist proof, Students Walking numbered 50/100. Biography from the Archives of askART: Born in Cincinnati, Ohio, Isabel Bishop was a leading painter and printmaker in New York City during the early and middle part of the 20th century. Her subject matter was urban life of common people in lower Manhattan, and she showed great sensitivity to individual personalities. Along with Reginald Marsh and the Soyer brothers, Bishop was an outstanding, determined realist when Abstract Expressionism was the all-prevalent style. She spent her childhood in Detroit, Michigan, and in 1918, at age sixteen, went to New York to study illustration at the New York School of Applied Design for Women. She attended the Art Students League where Kenneth Hayes Miller and Guy Pene du Bois became major influences. Hayes inspired her to turn to the street life of New York for subject matter and insisted on fine draftsmanship. DuBois made her aware of character and personality differences. In 1925, she turned to etching, beginning with nude studies and then turning to vignettes of everyday life. For many years she had a studio on Union Square at 14th Street, and the Square provided her with much human activity subject matter. She shared a subject interest with Reginald Marsh, and she traveled with him and Kenneth Hayes Miller in Europe in 1931 to study the Old Masters. In 1938, she worked as a Muralist for the W.P.A., and did a mural for the U.S. Post Office in New Lexington, Ohio, and also illustrated the Jane Austen novel Pride and Prejudice in 1946. She was an elected Member of the National Academy of Design, a Life Member of the National Academy of Design, and had representation in New York with the Midtown Gallery. Source: American Women Artists by Charlotte Streifer Rubinstein

Lot: 96 - Irene Rice Pereira, American (1902-1971), kneeling male nude, 1952, watercolor on paper, 18 1/2"W x 23 3/4"H

Irene Rice Pereira American, (1902-1971) kneeling male nude, 1952 watercolor on paper Signed, dated, and inscribed lower right. Biography from IreneRicePareira.com: Born Irene Rice, she took the name of her first husband, the commercial artist Umberto Pereira. She adopted the name I. Rice Pereira because then as now discrimination beset women in the arts. By the time war broke out

Lot: 97 - Irene Rice Pereira, American (1902-1971), figural abstract, watercolor on paper, 13 3/4"W x 16 3/4"H

Irene Rice Pereira American, (1902-1971) figural abstract watercolor on paper inscribed and dated lower right. Biography from IreneRicePareira.com: Born Irene Rice, she took the name of her first husband, the commercial artist Umberto Pereira. She adopted the name I. Rice Pereira because then as now discrimination beset women in the arts. By the time war broke out Irene had divorced

Lot: 98 - Irene Rice Pereira, American (1902-1971), three figures, 1957, gouache on paper, 25 1/2"W x 17 1/2"H

Irene Rice Pereira American, (1902-1971) three figures, 1957 gouache on paper Signed, dated, and inscribed lower right. Biography from IreneRicePareira.com: Born Irene Rice, she took the name of her first husband, the commercial artist Umberto Pereira. She adopted the name I. Rice Pereira because then as now discrimination beset women in the arts. By the time war broke out Irene had

Lot: 99 - Irene Rice Pereira, American (1902-1971), The Swimmer, 1952, mixed media on paper, 19"W x 12 1/2"H

Irene Rice Pereira American, (1902-1971) The Swimmer, 1952 mixed media on paper Signed and dated lower right. Biography from IreneRicePareira.com: Born Irene Rice, she took the name of her first husband, the commercial artist Umberto Pereira. She adopted the name I. Rice Pereira because then as now discrimination beset women in the arts. By the time war broke out Irene had divorced

Lot: 100 - Irene Rice Pereira, American (1902-1971), abstract landscape, 1953, watercolor on paper, 13 3/4"W x 16 3/4"H

Irene Rice Pereira American, (1902-1971) abstract landscape, 1953 watercolor on paper Inscribed and dated upper right. Biography from IreneRicePareira.com: Born Irene Rice, she took the name of her first husband, the commercial artist Umberto Pereira. She adopted the name I. Rice Pereira because then as now discrimination beset women in the arts. By the time war broke out Irene had

Lot: 101 - Mary Callery, American (1903-1977), Tara, 1956, gouache on paper, 16"H x 12 1/2" sheet

Mary Callery American, (1903-1977) Tara, 1956 gouache on paper signed with initials and dated lower right. Biography from the Archives of askART: Mary Callery is known for her linear, open sculptures that are like drawings in metal. Her stick-figure acrobats and figures, poised in hair-edge equilibrium, or arranged in frieze-like bands, move in space and invite air to flow between

Lot: 102 - Jane Belo, American (1904-1968), Street Scene, 1929, ink on paper, 12 1/2"W x 8 1/4"H (image) 22 3/4"W x 18 1/4"H (board)

Jane Belo American, (1904-1968) Street Scene, 1929 ink on paper signed and dated lower right.

Lot: 103 - Jane Belo, American (1904-1968), Morocco, village scene, 1927, ink on paper, 13 1/2W" x 9 1/2"H (image) 23 3/4"W x 19 1/2" (board)

Jane Belo American, (1904-1968) Morocco, village scene, 1927 ink on paper signed and dated lower right.

Lot: 104 - Georges Schreiber, Belgian American (1904-1977), Southern Siesta, lithograph mounted on board, 9"H x 12"W (Plate), 10'H x 13"W (Board)

Georges Schreiber Belgian American, (1904-1977) Southern Siesta lithograph mounted on board Pencil signed lower right. Biography from the Archives of askART: George Schreiber was born 25 April 1904 in Brussels, Belgium. After studying in Berlin, London, Rome, Paris, and Florence, he moved to New York in 1928. Schreiber exhibited at the Carnegie Institute, Corcoran Gallery of Art, Pennsylvania Academy of Fine Arts, Art Institute of Chicago, Whitney Museum of American Art, Metropolitan Museum and the Museum of Modern Art - often winning prizes. Besides his career as a lithographer, Schreiber was also a painter, illustrator, watercolorist as well as a teacher at the New School for Social Research. Museum collections of Schreiber's work include the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Museum of the City of New York. Schreiber was a regular contributor to several national magazines and an author and illustrator of several books. The artist died in New York in 1977.

Lot: 105 - Jon Corbino, Italian American (1905-1964), Palicades, lithograph, 9 3/4"H x 14 1/4"W (image) 16"H x 22 1/2"W (sheet)

Jon Corbino Italian American, (1905-1964) Palicades lithograph pencil signed lower right. Biography from Broward Auction Gallery: A highly acclaimed artist for heroic themes revealing the anxieties of America during the 1930s, Jon Corbino depicted disasters such as wars and floods. These paintings were tributes to the perseverance of man against unknown forces of the universe. He was much admired for his skill in draftsmanship and brilliant, smoldering colors. He was also known for his love of horses, sometimes painting these powerful animals as mythic symbols from the Greek legends of the childhood. In addition, he painted the fantasy of the circus and the ballet, often from back stage where the performers were captured in a reflective moment. on Corbino was born in Vittoria, Sicily in 1905 and came to the United States with his parents at the age of 8. He grew up in New York City and attended the Ethical Culture Fieldston School on an art scholarship and then enrolled in the Art Students League. He received two Guggenheim Fellowships and was elected a member of the National Academy of Design in 1940. In 1941, he received the first grant awarded to a visual artist from the National Institute of Arts and Letters. The poet Stephen Vincent Benet made the presentation at Carnegie Hall, and in his commendation said that Corbino "has brought to American art rare gifts of color and design, and because of the honesty, richness and variety of his work." Corbino's work was also featured in three Venice Biennales. In 1966, a critic for the Chicago American wrote of a Corbino retrospective exhibition: "he painted people of the world-people on the beach, in the sun, in the moonlight. But he graced them with spirit, life, and movement that transcend the everyday." His work is represented in 64 U.S. museums as well as the Lotus Club, New York, NY; First National Bank of Chicago; Fine Arts Society, Sarasota, FL; Hallmark Cards, Inc., Kansas City, MO; Ringling College of Art and Design, Sarasota, FL; Georgetown University Library, Washington, D.C.; The United States Post Office, Long Beach, Long Island, NY; Town of Rockport, Massachusetts, Rockport, MA.

Lot: 106 - Alex Yaworski, Ukrainian American (1907-1997), Belgian Village, from the Chicago Century of Progress, 1934, watercolor, 8 3/4"H x 8 3/4"W(sight), 14 1/2”H x 14 1/2”W(frame)

Alex Yaworski Ukrainian American, (1907-1997) Belgian Village, from the Chicago Century of Progress, 1934 watercolor Titled lower edge. Signed lower right. Biographical Note from the Smithsonian Archives of American Art: Alex Yaworski (1907-1997) was a painter in Chicago, Illinois and Kansas City, Missouri. Yaworski was born in what is now Odessa, Ukraine in 1907, and his family immigrated to the United States in 1909, settling around the Lake Superior area. Yaworski graduated from the American Academy of Art in Chicago in 1931. He worked for various companies such as Sears Roebuck and Poster Products where he illustrated posters and advertisements, and he designed and illustrated Christmas book covers and greeting cards. Yaworski died on March 25, 1997. Donated in 2023 and 2024 by Don Yaworski, Alex Yaworski's son.

Lot: 107 - Gilbert Hancox, New York / United Kingdom (b. 1908), untitled abstract surrealist figure, oil on canvas, 22"H x 10"W (sight), 30 1/4"H x 18 1/4"W (frame)

Gilbert Hancox New York / United Kingdom, (b. 1908) untitled abstract surrealist figure oil on canvas Unsigned. From ArtInBrooklynl.com: Gilbert Hancox was born just outside of London, England in 1908. He moved to New York when he 18 and studied at the Art Students League. With this training, he became a theatrical scenic artist, painting stage sets for operas, plays, ballets and television. A master in trompe l'oeil and baroque design, he operated his own studio and executed numerous sets for the leading performance houses, notably the Metropolitan Opera Company. It was through this work that he spent a lifetime revealing the subconscious secrets of his mind through surrealism. These visions were far reaching and covered every aspect of his emotions. They carry elements that can be painful, cynical, witty and/or sensual. Hancox created these drawings until end of his life, even when a stroke completely paralyzed one side of his body. He strove to express something at the very edge of his consciousness, something that was intended only for his eyes. Now it is shared to connect others to these mysterious thoughts.

Lot: 108 - Gilbert Hancox, New York / United Kingdom (b. 1908), two untitled abstracts, 1947, mixed media on paper, 10 3/4" x 8 1/4" (sight), 14 1/2" x 11 1/2" (frame)

Gilbert Hancox New York / United Kingdom, (b. 1908) two untitled abstracts, 1947 mixed media on paper initialed and dated lower right. From ArtInBrooklynl.com: Gilbert Hancox was born just outside of London, England in 1908. He moved to New York when he 18 and studied at the Art Students League. With this training, he became a theatrical scenic artist, painting stage sets for operas, plays, ballets and television. A master in trompe l'oeil and baroque design, he operated his own studio and executed numerous sets for the leading performance houses, notably the Metropolitan Opera Company. It was through this work that he spent a lifetime revealing the subconscious secrets of his mind through surrealism. These visions were far reaching and covered every aspect of his emotions. They carry elements that can be painful, cynical, witty and/or sensual. Hancox created these drawings until end of his life, even when a stroke completely paralyzed one side of his body. He strove to express something at the very edge of his consciousness, something that was intended only for his eyes. Now it is shared to connect others to these mysterious thoughts.

Lot: 109 - Jack Bookbinder, Ukrainian American (1911-1993), The Critics, lithograph, 16"H x 12"W (sight), 20"H x 15 3/4"W (sheet)

Jack Bookbinder Ukrainian American, (1911-1993) The Critics lithograph pencil signed lower right

Lot: 110 - Will Barnet, American (1911-2012), The Young Couple, etching, 17 3/4"H x 15 1/2"W (plate) 30 1/4" x 23 1/4" (sheet)

Will Barnet American, (1911-2012) The Young Couple etching pencil signed lower right, numbered 117/225. Biography from the Archives of AskArt: From Beverly, Massachusetts, Will Barnet became a leading 20th-century New York based artist, best known for figurative paintings enhanced by abstract arrangements and printmaking. He was a key figure in the New York movement called Indian Space Painting, artists who based their abstract and semi-abstract work on Native American art. Barnet studied at the School of the Boston Museum of Fine Arts from 1928 to 1930, and then at the Art Students League in New York, where he focused on printmaking. He taught briefly at Cornell, Yale, Cooper Union, the Pennsylvania Academy of the Fine Arts, and the Museum School, Boston. In 1934, he became the printer for the League, and from 1945 to 1980 was Instructor of Painting at the League. Throughout his career he worked in both woodcuts, etching, and lithographs. Barnet was quoted: "I wasn't so concerned with beautiful line, mass interested me more than line. The hardest thing is to take line and make it into something that is contained." His woodcuts are starkly black and white, and the lithographs have a full range of tones. Until 1939, his style was realistic, but he did many abstract paintings of social realist themes between 1940s and 1960, but they were much more controlled than those of many of his contemporary Abstract Expressionist peers. In fact, many of his pieces were purely geometric, exploring the rectangle. In the latter part of his career of over 80 years, he explored both abstraction and realism, with all of them carefully executed. Robert Doty, art historian, called Barnet, "a master of the abstract statement. . .creating images of personal vision which rank with the best of their time." Source: Editor, "Will Barnet, Works of Six Decades" American Art Review, June-July 1994

Lot: 111 - Stefano Cusumano, American (1912-1975), landscape sketch, graphite and marker on paper, 11"H x 13 3/4"W sheet

Stefano Cusumano American, (1912-1975) landscape sketch graphite and marker on paper pencil signed lower right. Includes exhibition catalog. Biography from the Archives of askART: Stefano Cusumano (1912-1975) was an emerging painter in the first part of the 20th century at a time when pivotal changes were occurring in the visual arts. He rebelled against the Abstract Expressionist Movement of the time, and now that the art world's aesthetic pendulum swings back towards a more representational subject matter the relevance and importance of Cusumano's work may finally be realized. Stefano Cusumano's paintings and drawings are a part of the permanent collections of museums The National Gallery, The Metropolitan Museum of Art, The Whitney Museum of American Art, The Pensacola Art Museum and The Tweed Museum of Art. Stefano Cusumano, a first generation Italian American, was born in 1912 in Tampa, Florida. As a teenager he moved with his family to New York City where he enrolled in classes at Cooper Union and the Metropolitan Art School for a period of four years. After this point Cusumano was essentially a self-taught artist. In 1942 he began exhibiting his work at the Montross Gallery following in 1946-1950 at the George Binet Gallery and from 1953 through 1959 at the Passedoit Galley, all in New York City. He was affiliated with the Terry Dintinfass Gallery in NYC from 1967-1969 and continued to paint and exhibit his work until his death in 1975. He was also an adjunct faculty member of New York University from 1951-1974 and Cooper Union from 1955-1974.

Lot: 112 - Sandor C Klein, American (1912-1995), Coiffeur, seated female nude, lithograph, 12 1/2"H x 9 3/4"W (image), 15 1/2"H x 12"W (sheet)

Sandor C Klein American, (1912-1995) Coiffeur, seated female nude lithograph pencil signed lower right. Biography from Smithsonian American Art Museum: At the age of eighteen, Sandor Klein won a Pulitzer Prize for painting. He studied at the National Academy of Design in New York and spent time abroad honing his skills in Paris, Budapest, Vienna, and Rome. During World War II, he served as a combat artist in the United States Coast Guard. Klein built on that experience to establish himself as a portraitist, receiving important commissions to paint military officials. Many of his paintings are now in the collection of the United States Air Force.

Lot: 113 - Henry Pearson, American (1914-2006), Gyros III / Gyros IV, 1965, 2 color lithographs, 16 1/2"H x 10 1/2"W (Sheet) (Bottom)

Henry Pearson American, (1914-2006) Gyros III / Gyros IV, 1965 2 color lithographs Pencil signed and dated lower right. Gyros III numbered 16/25. Gyros IV artist proof. Biography from the Archives of AskArt: An artist and professor, Henry Pearson was known for his "compositions of swirling lines and inked whorls that were influenced by his work on topographical maps in the army. . ." He worked in New York City and Philadelphia and taught classes at the New School for Social Research and the Pennsylvania Academy. Pearson was born in Kinston, North Carolina in 1914, and attended the University of North Carolina at Chapel Hill where he received his B.A. and later Yale University where he received an M.F.A. In New York, he studied with Wil Barnet and Reginald Marsh at the Art Students League. Pearson spent over eleven years in the army during and after WWII. Assigned to interpret topographical maps while on a tour of duty in Japan, his interest in topography and the landscape began, leading him to experiment with optical effects and fine line drawings as an artist. Works by Pearson can be found in the permanent collections of both the Museum of Modern Art and the Metropolitan Museum of Art. Sources: "National News", ARTnews, February 2007, p. 60 Gallery C

Lot: 114 - Henry Pearson, American (1914-2006), Gyros X, color lithograph

Henry Pearson American, (1914-2006) Gyros X color lithograph Pencil signed lower right, numbered 2/120. Biography from the Archives of AskArt: An artist and professor, Henry Pearson was known for his "compositions of swirling lines and inked whorls that were influenced by his work on topographical maps in the army. . ." He worked in New York City and Philadelphia and taught classes at the New School for Social Research and the Pennsylvania Academy. Pearson was born in Kinston, North Carolina in 1914, and attended the University of North Carolina at Chapel Hill where he received his B.A. and later Yale University where he received an M.F.A. In New York, he studied with Wil Barnet and Reginald Marsh at the Art Students League. Pearson spent over eleven years in the army during and after WWII. Assigned to interpret topographical maps while on a tour of duty in Japan, his interest in topography and the landscape began, leading him to experiment with optical effects and fine line drawings as an artist. Works by Pearson can be found in the permanent collections of both the Museum of Modern Art and the Metropolitan Museum of Art. Sources: "National News", ARTnews, February 2007, p. 60 Gallery C

Lot: 115 - Fred Bornet, Belgian American (b. 1915), Rudolf Katmeyew in Yawn Lake, cat ballet dancer, 1983, acrylic on paper, 25 1/2"H x 19 3/4"W (Sheet)

Fred Bornet Belgian American, (b. 1915) Rudolf Katmeyew in Yawn Lake, cat ballet dancer, 1983 acrylic on paper Hand signed and dated lower right. Biography from the Archives of askART: Fred Bornet is a New Yorker, equally at home with a paint brush, a camera, or a sculpture tool. He has painted whimsical, surreal objects and sculpted a series of satirical clay figures, reflecting his professional motion picture world, called: "The Paleolithic Film Society". This group of sculptures is based on those described in "The Incredible Discovery of Professor T. T. Potts," where Professor Potts reports finding this group of stone age film personnel in the hills of Santa Monica. Bornet's true passion, though, dating back to his early years in Belgium, is cats. He has written and illustrated several books, among them: "Cats are Poets", "Cats are Clowns", "How to Raise a Unicat", and, most recently, the ultimate ballet book, "Pas de Cat". He is currently engaged in painting interpretations of famous masterpieces from Leonardo to Chagall, each endowed with an improbable, yet delightful, feline twist. He has, since 1948, photographed and/or directed television commercials for all leading advertising agencies and production film houses in New York City, Chicago, Hollywood, Dallas, Cleveland, Toronto, including: J.W.Thompson, McCann, Erickson, Young Rubicam, BBD O, Doyle Dane Bernbach, Ted Bates and Leo Burnett Co. From 1941-1945, he served in the U.S. Army as a combat cameraman until he was wounded at Casino. He took part in the invasion of Southern France with the Seventh Army. Some segments of his motion picture material were shot in action in Wurzburg, Germany, and were incorporated into "The True Glory," an Academy Award-winning war movie, 1945. He studied theatrical direction with Lee Strasberg at the Actors Studio in 1947. Special accomplishments: Directed and photographed musical series for Columbia Pictures: Sing and Be Happy, 1948. Wrote, produced, and directed Pre-Castro film for Sterling Films: Just One Puff of Havana, 1951 Produced several TV films with Somerset Maugham in France, 1951 Directed and photographed Air Force films in Arizona, 1952 Directed and photographed commercial film Uncommon Clay, 1954 Directed and photographed feature film The Hold-up, 1954 - 1958 Worked exclusively with FILMWAYS on television projects, 1959 Wrote, produced, directed, photographed One Morning, winner of Venice and Edinburgh Film Festival Awards, 1961 Wrote, produced, directed, photographed, and scored In the Rivers of Streets, shot in Paris and New York; winner of Edinburgh Film Festival award, 1963 One Man Show, Crespi Gallery, 1964 Directed, photographed, wrote Dream the City, winner of Edinburgh Film Festival award, 1965 Wrote, produced, directed, photographed, edited, partially scored Screams, Atlanta Film Festival award winner, 1966 - Wrote, produced, directed, photographed, edited, partially scored numerous Films, commercials, screenplays

Lot: 116 - Raul Anguiano, Mexican (1915-2006), En la hamaca, 1951, lithograph, 18 1/4"H x 21 1/4"W (image), 21 3/4"H x 26 1/2" (sheet)

Raul Anguiano Mexican, (1915-2006) En la hamaca, 1951 lithograph pencil signed and dated lower right, numbered 5/40. Biography from RoGallery: Raúl Anguiano was born in Guadalajara, Jalisco, on February 26th, 1915. He started drawing cubist pictures at the age of 5, taking as his first models movie stars, as Mary Pickford, Pola Negri and Charlie Chaplin. Anguiano recalls that his

Lot: 117 - Dorie Marder, Polish American (b. 1916), The Roost, screenprint on thick craft paper, 6"H x 4 1/4"W (image), 7 1/8"H x 5 1/8"W (sheet)

Dorie Marder Polish American, (b. 1916) The Roost screenprint on thick craft paper pencil signed lower right, numbered 32/75.

Lot: 118 - Richard Aberle Florsheim, American (1916-1979), Approaching Storm, lithograph, 28 1/4"H x 19 3/4"W (image), 31"H x 22"W (sheet)

Richard Aberle Florsheim American, (1916-1979) Approaching Storm lithograph pencil signed lower right, numbered 21/125. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 119 - Richard Aberle Florsheim, American (1916-1979), Wet Lands / Wander / Illuminations, 3 lithographs, 17 3/4"H x 13 3/4"W (Plate), 22 3/4"H x 18"W (Sheet) (largest)

Richard Aberle Florsheim American, (1916-1979) Wet Lands / Wander / Illuminations 3 lithographs Pencil signed and numbered lower. One artist proof. Biography from the Archives of askART: The following was compiled and submitted by Jean Ershler Schatz, artist and researcher of Laguna Woods, California:Richard Florsheim was born on October 25, 1916 in Chicago, Illinois. He was a painfully shy child, channelling all his energies into straight-A scholarship and crude, gloomy art. His father reluctantly helped him get an art education in Europe during the 1930s, but before World War II Florsheim managed to sell just one picture In the Navy during the war, Florsheim discovered in himself an unexpected streak of scientific acumen. He developed a radar plane-spotting technique that is still considered basic. But at the end of the war, he was still faced with many problems in his art. He buckled down to the backbreaking work schedule and exhibited only on occasion. Happily married and with an art teaching job to help make ends meet, he still felt and painted misery. But gradually the gloom lifted from his work and he began to sell until there came a time when everything he painted was snapped up. He died in 1979. Sources include: Mantle Fielding's Dictionary of American Painters, Sculptors and Engravers, 1986-7 Time Magazine, November 23, 1959.

Lot: 120 - Antonio Frasconi, Uruguayan American (1919-2013), Summer Pasture, 1955, color woodcut, 7 1/2"H x 13"W (image), 12"H x 17 1/2"W (sheet)

Antonio Frasconi Uruguayan American, (1919-2013) Summer Pasture, 1955 color woodcut pencil signed and dated lower right. Biography from the Archives of askART: An illustrator, painter and print maker, Antonio Frasconi would become best known for his book illustrations. He was born in 1919 in Montevideo, Uruguay but spent most of his career in America where he worked in New York City and lived in Norwalk, Connecticut. His parents had emigrated from Italy to Uruguay during World War I and Antonio Frasconi grew up in Montevideo. By age twelve he was apprenticing at a local print makers, and soon thereafter began publishing his cartoons in satirical newspapers. In the 1940s Frasconi began experimenting with woodcuts in the 1940s, and in 1945 he received a scholarship from the Art Students' League, and moved to New York to begin his formal education. He also studied at the New School of Social Research. By the 1950s he had become widely recognized as a leading graphic artist, especially in woodblock printing. He married artist Leona Pierce in 1951, and in 1955 published See and Say, A Picture Book in Four Languages, for their son. Over the course of the next fifty years he would illustrate and design over 100 books including the poems of Langston Hughes: Let America be America Again and Pablo Neruda's Bestiary/Bestiario; On the Slain Collegians, the images of America's Vietnam, A Whitman Portrait and Twelve Fables of Aesop. The dictatorship in Uruguay was long and hard, finally coming to an end in 1985, four years after the artist began work on his magnum opus, Los Desaparecidos, or The Disappeared, a series of woodcuts and monotypes. Dark, graphically strong, and echoing the book format, Frasconi's art successfully portrays the horrors of torture, incarceration, and killing while specifically preserving the memory of real people. Exhibitions included: Pennsylvania Academy of the Fine Arts, 1953 (Joseph Pennell Memorial medal) Venice Film Festival, 1960 and 1968 (Grand Prix) Casa Americas, Havana, Cuba, 1965-68 (prize) Art of the Americas, Yale University Smithsonian Institution Institute Whitney Museum of American Art Sources: Annex Galleries Peter Hastings Falk, Editor, Who Was Who in American Art

Lot: 121 - Antonio Frasconi, Uruguayan American (1919-2013), Sioux Plains, 1971, color woodcut, 25"H x 19"W (image), 30"H x 21 3/4"W (sheet)

Antonio Frasconi Uruguayan American, (1919-2013) Sioux Plains, 1971 color woodcut pencil signed and dated lower right, numbered 79/100. Biography from the Archives of askART: An illustrator, painter and print maker, Antonio Frasconi would become best known for his book illustrations. He was born in 1919 in Montevideo, Uruguay but spent most of his career in America where he worked in New York City and lived in Norwalk, Connecticut. His parents had emigrated from Italy to Uruguay during World War I and Antonio Frasconi grew up in Montevideo. By age twelve he was apprenticing at a local print makers, and soon thereafter began publishing his cartoons in satirical newspapers. In the 1940s Frasconi began experimenting with woodcuts in the 1940s, and in 1945 he received a scholarship from the Art Students' League, and moved to New York to begin his formal education. He also studied at the New School of Social Research. By the 1950s he had become widely recognized as a leading graphic artist, especially in woodblock printing. He married artist Leona Pierce in 1951, and in 1955 published See and Say, A Picture Book in Four Languages, for their son. Over the course of the next fifty years he would illustrate and design over 100 books including the poems of Langston Hughes: Let America be America Again and Pablo Neruda's Bestiary/Bestiario; On the Slain Collegians, the images of America's Vietnam, A Whitman Portrait and Twelve Fables of Aesop. The dictatorship in Uruguay was long and hard, finally coming to an end in 1985, four years after the artist began work on his magnum opus, Los Desaparecidos, or The Disappeared, a series of woodcuts and monotypes. Dark, graphically strong, and echoing the book format, Frasconi's art successfully portrays the horrors of torture, incarceration, and killing while specifically preserving the memory of real people. Exhibitions included: Pennsylvania Academy of the Fine Arts, 1953 (Joseph Pennell Memorial medal) Venice Film Festival, 1960 and 1968 (Grand Prix) Casa Americas, Havana, Cuba, 1965-68 (prize) Art of the Americas, Yale University Smithsonian Institution Institute Whitney Museum of American Art Sources: Annex Galleries Peter Hastings Falk, Editor, Who Was Who in American Art

Lot: 122 - Antonio Frasconi, Uruguayan American (1919-2013), Sean O'Casey, 1956 / 12 Fables of Aesop, woodcut and book of linoleum blocks, 24"H x 15 1/4"W (sheet)

Antonio Frasconi Uruguayan American, (1919-2013) Sean O'Casey, 1956 / 12 Fables of Aesop woodcut and book of linoleum blocks Sean O'Casey: pencil signed and dated lower right, edition 25. Biography from the Archives of askART: An illustrator, painter and print maker, Antonio Frasconi would become best known for his book illustrations. He was born in 1919 in Montevideo, Uruguay but spent most of his career in America where he worked in New York City and lived in Norwalk, Connecticut. His parents had emigrated from Italy to Uruguay during World War I and Antonio Frasconi grew up in Montevideo. By age twelve he was apprenticing at a local print makers, and soon thereafter began publishing his cartoons in satirical newspapers. In the 1940s Frasconi began experimenting with woodcuts in the 1940s, and in 1945 he received a scholarship from the Art Students' League, and moved to New York to begin his formal education. He also studied at the New School of Social Research. By the 1950s he had become widely recognized as a leading graphic artist, especially in woodblock printing. He married artist Leona Pierce in 1951, and in 1955 published See and Say, A Picture Book in Four Languages, for their son. Over the course of the next fifty years he would illustrate and design over 100 books including the poems of Langston Hughes: Let America be America Again and Pablo Neruda's Bestiary/Bestiario; On the Slain Collegians, the images of America's Vietnam, A Whitman Portrait and Twelve Fables of Aesop. The dictatorship in Uruguay was long and hard, finally coming to an end in 1985, four years after the artist began work on his magnum opus, Los Desaparecidos, or The Disappeared, a series of woodcuts and monotypes. Dark, graphically strong, and echoing the book format, Frasconi's art successfully portrays the horrors of torture, incarceration, and killing while specifically preserving the memory of real people. Exhibitions included: Pennsylvania Academy of the Fine Arts, 1953 (Joseph Pennell Memorial medal) Venice Film Festival, 1960 and 1968 (Grand Prix) Casa Americas, Havana, Cuba, 1965-68 (prize) Art of the Americas, Yale University Smithsonian Institution Institute Whitney Museum of American Art Sources: Annex Galleries Peter Hastings Falk, Editor, Who Was Who in American Art

Lot: 123 - Alex (Boz) Bozickovic, Yugoslavia / California (1919-1982), abstract musician figure, Oil on board, 36"H x 16"W (Board), 39"H x 19"W (Frame)

Alex (Boz) Bozickovic Yugoslavia / California, (1919-1982) abstract musician figure Oil on board signed lower left. Studies. 1943-48 Academy of Fine Art, Belgrade, Yugoslavia. 1948-50 History of Art Belgrade University. 1950-52 Lecturer, Professor of Art, Fiume, Yugoslavia. 1953-54 Art Studies in Paris and Rome. 1955-56 Studies pf Graphic Arts in Bremen, Germany. 1986 Immigration to the USA. Occupations. Freelance Artist. Creator of Murals, Mosaics and Church Icons. Exhibitions. 1952 Belgrade, Yugoslavia. 1953 Rome, Italy. 1955 Kopenhagen, Denmark; Worpswede, Germany. 1957 New York, USA. 1961 Chicago, USA. 1962 Los Angeles, USA. 1963 Worpswede, Germany. 1965 Chicago...

Lot: 124 - William Nelson Copley, American (1919-1996), abstract composition with rabbit and crucifix, 1972, felt tip marker and gouache on paper, 9 3/4"H x 8 3/4"W

William Nelson Copley American, (1919-1996) abstract composition with rabbit and crucifix, 1972 felt tip marker and gouache on paper signed and dated lower right. Biography from RoGallery: Only after he opened his own gallery in California in 1947 did William Copley begin to paint for himself. Since then, his work has appeared in such museums as the Museum of Modern Art, N.Y.; Art Institute of Chicago, and the Tate Gallery in London. The magic in his work comes from his ability to capture his inventive imagination on canvas and the print medium. Copley's love for intricate and complicated design is evident in any one of his works. It is not unusual for him to blend stripes, polk-a-dots, plaids and checkers into a single, striking image. Born in New York in 1919 and educated at Yale University, Copley has emerged as primarily a surrealist. Mr. Copley led a charmed life that included not only painting but also art dealing and collecting and philanthropy. Born in New York City in 1919, he was orphaned as an infant and adopted by Ira C. Copley, a newspaper tycoon who owned 16 newspapers in Chicago and San Diego. He attended Yale University and worked briefly as a reporter for The San Diego Tribune. But a friend introduced Mr. Copley to Surrealist painting, and he became friendly with the colony of expatriate Surrealists then in Los Angeles, including Man Ray and Max Ernst. In 1947 he opened a gallery there to show their work, but closed it when nothing sold, his failure as a salesman of Surrealist art marking the start of his careers as a collector and artist. Over the years he amassed one of the world's most respected collections of Surrealist art, which included Man Ray's unforgettable image of large red lips floating above the landscape. The collection was sold at auction in 1979 for $6.7 million, at the time the highest total for the auction of a single owner's collection in the United States. Mr. Copley spent most of the 50's and early 60's living and working in Paris, where his friendship with the Surrealists made him a welcome member of their movement. But the style he perfected was Surrealist only in its emphasis on uninhibited expressions of the libido. His cartoonish figures had affinities to Pop Art, which they presaged, and drew from American folk art. In 1953, Mr. Copley and his second wife, Noma Ratner, founded the William and Noma Copley Foundation, later known as the Cassandra Foundation, which gave small grants to artists. The foundation also gave Marcel Duchamp's last work, Etant Donnes, to the Philadelphia Museum of Art. Mr. Copley had been one of the few people to see it before then; Duchamp had worked on it in secret for 20 years.

Lot: 125 - William Nelson Copley, American (1919-1996), interior scene with floral chair, 1972, felt tip pen / ink on paper, 9 1/2"H x 8 1/2"W

William Nelson Copley American, (1919-1996) interior scene with floral chair, 1972 felt tip pen / ink on paper signed and dated lower right. Biography from RoGallery: Only after he opened his own gallery in California in 1947 did William Copley begin to paint for himself. Since then, his work has appeared in such museums as the Museum of Modern Art, N.Y.; Art Institute of Chicago, and the Tate Gallery in London. The magic in his work comes from his ability to capture his inventive imagination on canvas and the print medium. Copley's love for intricate and complicated design is evident in any one of his works. It is not unusual for him to blend stripes, polk-a-dots, plaids and checkers into a single, striking image. Born in New York in 1919 and educated at Yale University, Copley has emerged as primarily a surrealist. Mr. Copley led a charmed life that included not only painting but also art dealing and collecting and philanthropy. Born in New York City in 1919, he was orphaned as an infant and adopted by Ira C. Copley, a newspaper tycoon who owned 16 newspapers in Chicago and San Diego. He attended Yale University and worked briefly as a reporter for The San Diego Tribune. But a friend introduced Mr. Copley to Surrealist painting, and he became friendly with the colony of expatriate Surrealists then in Los Angeles, including Man Ray and Max Ernst. In 1947 he opened a gallery there to show their work, but closed it when nothing sold, his failure as a salesman of Surrealist art marking the start of his careers as a collector and artist. Over the years he amassed one of the world's most respected collections of Surrealist art, which included Man Ray's unforgettable image of large red lips floating above the landscape. The collection was sold at auction in 1979 for $6.7 million, at the time the highest total for the auction of a single owner's collection in the United States. Mr. Copley spent most of the 50's and early 60's living and working in Paris, where his friendship with the Surrealists made him a welcome member of their movement. But the style he perfected was Surrealist only in its emphasis on uninhibited expressions of the libido. His cartoonish figures had affinities to Pop Art, which they presaged, and drew from American folk art. In 1953, Mr. Copley and his second wife, Noma Ratner, founded the William and Noma Copley Foundation, later known as the Cassandra Foundation, which gave small grants to artists. The foundation also gave Marcel Duchamp's last work, Etant Donnes, to the Philadelphia Museum of Art. Mr. Copley had been one of the few people to see it before then; Duchamp had worked on it in secret for 20 years.

Lot: 126 - William Nelson Copley, American (1919-1996), interior scene floral curtains, 1972, felt tip pen / ink on paper, 9 1/2"H x 8 1/2"W

William Nelson Copley American, (1919-1996) interior scene floral curtains, 1972 felt tip pen / ink on paper signed and dated center left. Biography from RoGallery: Only after he opened his own gallery in California in 1947 did William Copley begin to paint for himself. Since then, his work has appeared in such museums as the Museum of Modern Art, N.Y.; Art Institute of Chicago, and the Tate Gallery in London. The magic in his work comes from his ability to capture his inventive imagination on canvas and the print medium. Copley's love for intricate and complicated design is evident in any one of his works. It is not unusual for him to blend stripes, polk-a-dots, plaids and checkers into a single, striking image. Born in New York in 1919 and educated at Yale University, Copley has emerged as primarily a surrealist. Mr. Copley led a charmed life that included not only painting but also art dealing and collecting and philanthropy. Born in New York City in 1919, he was orphaned as an infant and adopted by Ira C. Copley, a newspaper tycoon who owned 16 newspapers in Chicago and San Diego. He attended Yale University and worked briefly as a reporter for The San Diego Tribune. But a friend introduced Mr. Copley to Surrealist painting, and he became friendly with the colony of expatriate Surrealists then in Los Angeles, including Man Ray and Max Ernst. In 1947 he opened a gallery there to show their work, but closed it when nothing sold, his failure as a salesman of Surrealist art marking the start of his careers as a collector and artist. Over the years he amassed one of the world's most respected collections of Surrealist art, which included Man Ray's unforgettable image of large red lips floating above the landscape. The collection was sold at auction in 1979 for $6.7 million, at the time the highest total for the auction of a single owner's collection in the United States. Mr. Copley spent most of the 50's and early 60's living and working in Paris, where his friendship with the Surrealists made him a welcome member of their movement. But the style he perfected was Surrealist only in its emphasis on uninhibited expressions of the libido. His cartoonish figures had affinities to Pop Art, which they presaged, and drew from American folk art. In 1953, Mr. Copley and his second wife, Noma Ratner, founded the William and Noma Copley Foundation, later known as the Cassandra Foundation, which gave small grants to artists. The foundation also gave Marcel Duchamp's last work, Etant Donnes, to the Philadelphia Museum of Art. Mr. Copley had been one of the few people to see it before then; Duchamp had worked on it in secret for 20 years.

Lot: 127 - Oswaldo Guayasamin, Ecuador (1919-1999), figural expressionist, terracotta ceramic tile relief plaques, 5 1/2"H x 5 3/4"W (largest fuschia color measured)

Oswaldo Guayasamin Ecuador, (1919-1999) figural expressionist terracotta ceramic tile relief plaques unsigned. Biography from the Archives of askART: The following text was written and submitted by Jean Ershler Schatz, artist and researcher from Laguna Woods, California: Oswaldo Guayasamin was born in 1919 in Quito, Ecuador. He was the oldest of ten children in a poor family. He enrolled at Escuela Nacional de Bellas Artes in Quito against his father's wishes and studied architecture and painting. Guayasamin is a passionate, plump and indefatigable Ecuadorian Indian (the name means " white bird flying" in Inca). He studied with Orozco and has a similar social consciousness, amounting to aching rage at Man's inhumanities, and a similar range of technique, from abstraction to hammer-blunt realism. But his subject matter, Equador, is all his own; he sees it as a tragic land. Following his first exhibition in Ecuador, he was invited by the US State Department to show in a traveling exhibit in the United States of America. He also traveled to Peru, Chile, Argentina and Bolivia and painted a series of 103 paintings focusing on life among the poor Indians and Blacks of Latin America. He exhibited in Quito, Caracas, Washington, DC and in Barcelona. He also painted murals, two of which are in Quito. He visited Cuba, China, Russia and painted many heads of state, including Salvador Allende. He dedicated a museum to the town of Quito. He died in 1999 in Quito. Sources include: The Oxford Companion to 20th Century Art, edited by Harold Osborne Time Magazine, June 20, 1955

Lot: 128 - Unknown modernist abstract impasto oil painting on canvas, 1962. 13 1/4"H x 16 1/2"W

Unknown modernist abstract impasto oil painting on canvas, 1962. Signed Poumeyzeau? or Poumeyreau? and dated lower right. Painted with heavy impasto.

Lot: 129 - Oscar Liebman, American (1919-2002), x3 portraits, figural group, ink and scratch board on paper, 9"H x 9 1/2"W (largest)

Oscar Liebman American, (1919-2002) x3 portraits, figural group ink and scratch board on paper one signed upper right, 2 signed verso

Lot: 130 - Oscar Liebman, American (1919-2002), x5 portraits, figural group, ink on paper, watercolor and ink on paper, 11"H x 14"W largest

Oscar Liebman American, (1919-2002) x5 portraits, figural group ink on paper, watercolor and ink on paper one signed lower left

Lot: 131 - Mary Gardner Preminger, American (1920-1997), Kiss, 1969, mixed media on paper, 9 1/2"H x 7 1/2"W(sight), 14 1/4"H x 10 1/2"W(frame)

Mary Gardner Preminger American, (1920-1997) Kiss, 1969 mixed media on paper Signed and dated lower right. Biography from the Archives of askART: Preminger's sculptures are studies in the inter-relation of structural form. Her paintings, many of which show the same forms as her sculptures, reflect an equal facility in oils, acrylics and water colors. Born in Grand Rapids, Michigan in 1920, of two prominent pioneer families, she won a scholarship at age 16 from the Kansas City Art Museum. She became a champion figure skater, spent several years in New York and Chicago as a high fashion model and appeared in early live television. She was married in 1950 to the late producer Otto Preminger, and divorced ten years later. Focusing on her art career, she worked in her Malibu, California and her New York studio. Mary's exhibitions range from the Museum of Modern Art, Collectors GalleryNew York, N.Y. to the Los Angeles County Museum. Corporate Commissions range from Levi Strauss Building, San Francisco to the American University, Washington, D.C. Private Collections include: Mrs. Gerald Ford, Washington D.C. The Billy Rose Collection, New York, Henry Fonda and many others. Mary Gardner Preminger passed on in 1997.

Lot: 132 - Evelyn (Raskin) Brackett, American (b. 1922), female nude, watercolor and ink on paper, 13 3/4"H x 8 3/4"W

Evelyn (Raskin) Brackett American, (b. 1922) female nude watercolor and ink on paper signed lower left.

Lot: 133 - Enzo Apicella, Italian (1922-2018), cityscape with rooftop patio, 1972, mixed media, graphite, colored pencil, and watercolor on paper, 30"H x 22"W (sheet)

Enzo Apicella Italian, (1922-2018) cityscape with rooftop patio, 1972 mixed media, graphite, colored pencil, and watercolor on paper pencil signed and dated lower right.

Lot: 134 - Enzo Apicella, Italian (1922-2018), Neapolitan Afternoon, 1976, etching, 21 1/4"H x 14 3/4"W (plate) 29 1/4"H x 21 1/4"W (sheet)

Enzo Apicella Italian, (1922-2018) Neapolitan Afternoon, 1976 etching pencil signed and dated lower right.

Lot: 135 - Enzo Apicella, Italian (1922-2018), surrealist landscape with spaghetti tree, fork, and nude couple,1976, lithograph, 19 3/4" x 27 1/2" (sheet)

Enzo Apicella Italian, (1922-2018) surrealist landscape with spaghetti tree, fork, and nude couple,1976 lithograph pencil signed and dated lower right, numbered 31/100.

Lot: 136 - Jonah Kinigstein, New York (B. 1923), City Scene from the Venice Canal, oil on masonite, 39 1/2" x 29", 32" x 44" (frame)

Jonah Kinigstein New York, (B. 1923) City Scene from the Venice Canal oil on masonite Signed lower left. Biography from Butler Institute of American Art Painter; Designer. Education: Cooper Union Art School; Grande Chaumiere in Paris; Belle Arte in Rome; Fulbright Fellow. Holdings: Museum of Modern Art; Albright-Knox Art Gallery; Nelson Gallery of Art; Ain Herod Museum in Tel-Aviv. Exhibits: Young Americans at the Whitney Museum of American Art; National Academy of Arts and Letters; ACA Gallery; Rittenhouse Gallery; Washington Irving Gallery; Pindar Gallery. Awards : Fulbright to Italy; Louis Comfort Tiffany Foundation Award; Perkin-Elmer Prize. Kinigstein was inducted as Academician into the National Academy of Design in 1997.

Lot: 137 - Harold Altman, American (1924-2003), Figure Studies, figural abstract, 1958, pen and ink on paper, 11'W x 8 1/2"H

Harold Altman American, (1924-2003) Figure Studies, figural abstract, 1958 pen and ink on paper signed and dated lower right. Biography from the Archives of askART: Printmaker Harold Altman was an etcher, painter, and teacher, who was born in New York City in 1924. He attended the Art Students League, 1941-42 and Cooper Union, (Graduate in Fine Arts), 1941-47, both in New York City. In 1946, he attended Black Mountain College, North Carolina and then went on to The New School, New York City 1947-49. Finishing his extensive art education at the L'Academie de la Grande Chaumiere in Paris 1949-52. The artist also served with the 937th Engineer Camouflage, European Theater of Operations during World War II, 1942-45. Altman settled in the central Pennsylvanian village of Lemont in 1962, where a nineteenth-century frame church serves as his studio. Approximately four months out of the year are spent working in Paris where his lithographs are printed at Atelier DesJobert. In previous years, his etchings were printed at Atelier George LeBlanc. Altman's landscapes and figurative works have been exhibited at numerous galleries and museums, both in the United States and abroad. He is represented in nearly every significant collection in the world. New York's Museum of Modern Art owns over forty Altmans while the Whitney Museum of American Art and Brooklyn Museums each have over fifty of his works in their permanent collections. His work is to be found in many significant museum collections outside of the United States, several of which are the Victoria and Albert Museum of London, the Stedelijk Museum of Amsterdam, the Kunst Museum of Basel, the Royal Museum of Fine Arts of Copenhagen and the Bibliotheque Nationale of Paris. Altman has received numerous awards, grants and fellowships. Among them are two Guggenheim Fellowships, a Tamarind Lithography Fellowship, a National Institute of the Arts and Letters Award, a Fulbright-Hayes Senior Research Fellowship for work in France and a National Endowment for the Arts Grant.

Lot: 138 - Alfred Van Loen, New York / Germany (1924-1994), Woman, abstract female figure , Wood on acrylic stand, Total dimensions: 68"H x 11"W x 11"D. Carving is 28"H x 5"W.

Alfred Van Loen New York / Germany, (1924-1994) Woman, abstract female figure Wood on acrylic stand This item requires local pickup or third party shipping. Please contact us for a list of preferred shippers. Van Loen was a highly influential modern artist and teacher of German descent. He relocated to Amsterdam during WWII and was eventually formally trained there. He came to teach and be active in New York. His work is held in numerous important collections including MOMA. He succumbed to diabetes in the early 1990s.

Lot: 139 - Enrico Baj, Italian (1924-2003), Woman, six color lithograph, 32 1/4"H x 22 1/2"W (sheet)

Enrico Baj Italian, (1924-2003) Woman six color lithograph pencil signed lower right, printer's proof 2/4. Biography from RoGallery: Born in Milan on 31st October 1924, Enrico Baj was a prominent contemporary Italian artist. Playing a leading role in the Fifties and Sixties avant-garde movement alongside Fontana, Jorn, Manzoni and Klein, Baj established close ties with Max Ernst,

Lot: 140 - Enrico Baj, Italian (1924-2003), General, eight color lithograph, 32 1/2"H x 21 3/4"W

Enrico Baj Italian, (1924-2003) General eight color lithograph signed lower right, printer's proof 2/3. Small tear on top edge. Biography from RoGallery: Born in Milan on 31st October 1924, Enrico Baj was a prominent contemporary Italian artist. Playing a leading role in the Fifties and Sixties avant-garde movement alongside Fontana, Jorn, Manzoni and Klein, Baj established close ties

Lot: 141 - Enrico Baj, Italian (1924-2003), Profile, figural abstract, seven color lithograph, 24H" x 31"W (sheet)

Enrico Baj Italian, (1924-2003) Profile, figural abstract seven color lithograph pencil signed lower right, printer's proof 2/4. Biography from RoGallery: Born in Milan on 31st October 1924, Enrico Baj was a prominent contemporary Italian artist. Playing a leading role in the Fifties and Sixties avant-garde movement alongside Fontana, Jorn, Manzoni and Klein, Baj established close

Lot: 142 - Enrico Baj, Italian (1924-2003), Baz Chez Picasso, figural abstract, etching, 19"H x 15"W (plate) 27 1/4"H x 19 1/2"W (sheet)

Enrico Baj Italian, (1924-2003) Baz Chez Picasso, figural abstract etching pencil signed lower right, numbered 47/100. Small tear on right lower edge near signature. Biography from RoGallery: Born in Milan on 31st October 1924, Enrico Baj was a prominent contemporary Italian artist. Playing a leading role in the Fifties and Sixties avant-garde movement alongside Fontana, Jorn, Manzoni

Lot: 143 - Enrico Baj, Italian (1924-2003), Le Maillot Rouge, figural abstract, color etching on reflective paper, 21 1/2"x 12 1/2"W (plate) 28" x 19 3/4"W (sheet)

Enrico Baj Italian, (1924-2003) Le Maillot Rouge, figural abstract color etching on reflective paper pencil signed lower right, numbered 47/100. From BAJ CHEZ PICASSO, 1969, edition of 100. Minor bubble creases in foil back. Biography from RoGallery: Born in Milan on 31st October 1924, Enrico Baj was a prominent contemporary Italian artist. Playing a leading role in the Fifties and

Lot: 144 - Enrico Baj, Italian (1924-2003), Tete de Femme, figural abstract, serigraph on marbleized acrylic sheet, 22"H x 15 1/4"W (Sheet)

Enrico Baj Italian, (1924-2003) Tete de Femme, figural abstract serigraph on marbleized acrylic sheet Hand signed lower right, numbered 24/135. Biography from RoGallery: Born in Milan on 31st October 1924, Enrico Baj was a prominent contemporary Italian artist. Playing a leading role in the Fifties and Sixties avant-garde movement alongside Fontana, Jorn, Manzoni and Klein, Baj

Lot: 145 - Enrico Baj, Italian (1924-2003), Personnage, serigraph on glitter paper, 21 3/4"H x 15"W (Sheet)

Enrico Baj Italian, (1924-2003) Personnage serigraph on glitter paper Hand signed lower right, numbered 24/135. Biography from RoGallery: Born in Milan on 31st October 1924, Enrico Baj was a prominent contemporary Italian artist. Playing a leading role in the Fifties and Sixties avant-garde movement alongside Fontana, Jorn, Manzoni and Klein, Baj established close ties with Max Ernst,

Lot: 146 - Enrico Baj, Italian (1924-2003), General, mix media print and collage on textile with jewelry embellishments, 20 1/4"H x 15 1/2"W (Sight), 24 3/4"H x 19 3/4"W (Mat)

Enrico Baj Italian, (1924-2003) General mix media print and collage on textile with jewelry embellishments Hand signed lower right, numbered 60/60. Biography from RoGallery: Born in Milan on 31st October 1924, Enrico Baj was a prominent contemporary Italian artist. Playing a leading role in the Fifties and Sixties avant-garde movement alongside Fontana, Jorn, Manzoni and Klein, Baj

Lot: 147 - Charles Keeling Lassiter, American (1926 - 2005), abstract street scene, mixed media watercolor and ink on paper mounted to board

Charles Keeling Lassiter American, (1926 - 2005) abstract street scene mixed media watercolor and ink on paper mounted to board Signed lower right. Biography from the Archives of askART: When Charles Keeling Lassiter [1926-2005] broke from the mainstream of the art world in the 1950s, he ignored the dominance of Pollock, Rothko, and the Abstract Expressionists. And he continued to reject the subsequent movements of Pop Art, Op Art, and Minimalism. Instead, his paintings are more spiritually aligned with those of Ensor, Dubuffet, and Klee. The central characters in his journeys are lively calligraphic figures, quizzical portraits, and bizarre animals, each invigorating either canvas or paper as their surreal dance floors. Like Narducci, Lassiter also lived entirely alone and became agoraphobic. In 1956, curators from MoMA were the first to recognize his work and featured it in a contemporary drawings exhibition. In addition to MoMA, his works can be now found in the Met, the Brooklyn Museum, Yale, and the Carnegie. Like Picasso, Lassiter kept the best of his paintings for himself, and to the end was surrounded by their energy. Source: Peter Hastings Falk, Editor, Who Was Who in American Art

Lot: 148 - Two signed etchings: Joseph Demarais (American, 1927-1971), abstract composition, 1968, intaglio etching; Mireille Kramer (Egyptian American, b. 1932), family figural group, artist proof 9"H x 4 3/4"W(sight), 14 3/4"H x

Two signed etchings: Joseph Demarais (American, 1927-1971), abstract composition, 1968, intaglio etching; Mireille Kramer (Egyptian American, b. 1932), family figural group, artist proof Joseph Demarais etching: pencil signed and dated lower right, numbered 24/100 Mireille Kramer etching: pencil signed lower left, artist proof

Lot: 149 - Two vintage prints: Aubrey Schwartz (American, 1928-2019) Gorilla, 1962, pencil signed artist proof; Marino Marini (Italian, 1901-1980) Le Chevalier, modernist horse and rider, 1955 23 1/2"h X 19 1/2"W (Sight), 27"H x 23

Two vintage prints: Aubrey Schwartz (American, 1928-2019) Gorilla, 1962, pencil signed artist proof; Marino Marini (Italian, 1901-1980) Le Chevalier, modernist horse and rider, 1955 Le Chevalier serigraph signed and dated in the print lower right Gorilla lithograph pencil signed lower right, artist proof

Lot: 150 - Aubrey Schwartz, American (1928-2019), Confidence Man, plate III from the portfolio The Midget and the Dwarf, lithograph mounted to board, 29 1/2"H x 22"W (board)

Aubrey Schwartz American, (1928-2019) Confidence Man, plate III from the portfolio The Midget and the Dwarf lithograph mounted to board Signed in pen lower right. Biography from Hood Museum of Art, Dartmouth College: Aubrey Schwartz: A great twentieth century American etcher and engraver, Aubrey Schwartz studied printmaking techniques at the Art Students League of New York and at the Brooklyn Museum Art School. His etchings, aquatints and drypoints have been exhibited at such major institutions as the Whitney Museum of American Art and the Guggenheim Museum. Aubrey Schwartz also was the recipient of the Guggenheim Fellowship in Creative Print-making. In 1969, Aubrey Schwartz accepted a professorship at The State University of New York at Binghamton. He later served as Chair of its Department of Fine Art. Today the graphic art of Aubrey Schwartz is included in many major collections. Twenty-four of his original prints are included in the permanent collection of the Museum of Modern Art, New York. Early in his career, Schwartz was inspired by the Expressionist art of Kathe Kollwitz, Ernst Barlach and Georges Rouault. As one can see in Elm, however, he developed a rich style all his own. Employing the complex aquatint technique where the image is constructed upon purely tonal (as opposed to linear) grounds, Aubrey Schwartz creates a masterpiece of dense atmospheric effects. The standing trunk of the long dead elm still generates its own presence and ‘life', and this Aubrey Schwartz has brilliantly rendered. Source: Art of the Print Website Submitted by: Deborah T. Haynes

Lot: 151 - Large unknown, American, (20th Century) statement piece, abstract cloth folds oil painting on canvas. 46 3/4"H x 60 1/4"W(stretcher), 48"H x 61"W(frame)

Large unknown, American, (20th Century) statement piece, abstract cloth folds oil painting on canvas. Signed Paul Ril? verso.

Lot: 152 - Robert Indiana LOVE gold finish sculpture paperweight 3”H x 3”W

Robert Indiana LOVE gold finish sculpture paperweight

Lot: 153 - Robert Indiana LOVE chrome sculpture paperweight in original box 3”H x 3”W

Robert Indiana LOVE chrome sculpture paperweight in original box

Lot: 154 - Limoges porcelain plate after Picasso, dancing figures, "La Ronde de l'Amitie 25-7-1961" 9 1/2” Diam.

Limoges porcelain plate after Picasso, dancing figures, "La Ronde de l'Amitie 25-7-1961"

Lot: 155 - Marcel Vertès for Castleton China set of eight luncheon plates, 5/8"H x 9"Diam.

Marcel Vertès for Castleton China set of eight luncheon plates

Lot: 156 - Celadon glaze bubble studio pottery tea set, teapot and two footed vessels 6 1/2"H x 7"W (teapot measured)

Celadon glaze bubble studio pottery tea set, teapot and two footed vessels

Lot: 157 - Johann Fruhmann, Austria (1928-1985), abstract, 1959, mixed media on paper, 27"H x 19"W(sight), 31 1/2"H x 23 1/2"W(frame)

Johann Fruhmann Austria, (1928-1985) abstract, 1959 mixed media on paper Pencil signed and dated lower left. Poor condition with significant loss and creasing. 1928 born on 22nd April in Weißenstein, Carinthia, Austria 1932 move to Graz, Austria 1943 - 1948 Kunstgewerbeschule Graz (School of Arts and Crafts Graz, Styria) in the class of Fritz Silberbauer and Alfred Wickenburg 1948 move to Vienna, Austria 1948 - 1949 Akademie der Bildenden Künste Wien (Academy of fine arts Vienna) in the class of Robin C. Andersen and Albert Paris Gütersloh 1950 General-Béthouart-Award 1951 Member of the "Art Club" 1952 1st solo show at the "Art Club" (Strohkoffer, Vienna) Rome scholarship of the Ministry of Education 1954 Participation at the Venice Biennale 1957 Mosaik at the Stadthalle Vienna married to Christa Hauer 1958 Member of Wiener Secession, Vienna 1960 Founding the Galerie im Griechenbeisl (Vienna) together with Christa Hauer and Leopold Hauer, which existed until 1971 1962 Kastner & Öhler Art Award 1964 Mosaik for the Austrian Pavilion at the New York World Expo 1965 Austrian State Award for painting 1967 Installation of Light Environment at the World Expo in Montreal Kastner & Öhler Art Award 1971 move to Lengenfeld, Lower Austria Art Award for painting "Dreiländer Biennale Intart", Klagenfurt, Carinthia 1972 - 1984 Sgraffito on the façade of Schloss Lengenfeld 1981 Culture Award of the State of Lower Austria 1985 died on 27th of January in Lengenfeld, Lower Austria

Lot: 158 - Arnold Belkin, Canadian Mexican (1930-1992), Silla Escultórica, 1973, surrealist color lithograph, 21 1/2"H x 26"W

Arnold Belkin Canadian Mexican, (1930-1992) Silla Escultórica, 1973 surrealist color lithograph Pencil signed and dated lower right, numbered 7/85. Biography from Butler Institute of American Art: Canadian painter, draughtsman and sculptor, Arnold Belkin was also active in Mexico. After studying in Canada at the Vancouver School of Art (1944-5) and Banff School of Fine Arts (1947-8), he moved to Mexico City, where he continued his training at the Escuela de Pintura y Escultura La Esmeralda (1948-9) and from 1950 worked as one of a team of assistants to David Alfaro Siqueiros. He began soon after to produce murals, such as "The People Don't Want War" (acrylic, 2?2.5 m, 1952; Mexico City, Inst. Poli. N.) and "Scenes from Don Quixote" (acrylic on concrete, 1957; Cuernavaca), following these with many others in Mexico, the USA, Canada, Cuba and Nicaragua. He was also prolific as a draughtsman and easel painter, often working on a large scale, and to a lesser extent as a sculptor. Working in an Expressionist style and concentrating his attention on the human figure—sometimes contorted, flayed or treated in a robot-like manner—he treated Biblical themes as well as more contemporary subjects such as the victims of Nazism or of the bombing of Hiroshima. In 1961 he and Francisco Icaza (b 1930) founded the group Nueva Presencia, which until 1963 published five issues of a magazine under the same name.

Lot: 159 - Arnold Belkin, Canadian Mexican (1930-1992), Pastoral, 1975, surrealist etching, 7 3/4"H x 12 1/2"W (plate), 9 1/4"H x 15 1/4"H (sheet)

Arnold Belkin Canadian Mexican, (1930-1992) Pastoral, 1975 surrealist etching pencil signed and dated lower right, numbered 5/12. Biography from Butler Institute of American Art: Canadian painter, draughtsman and sculptor, Arnold Belkin was also active in Mexico. After studying in Canada at the Vancouver School of Art (1944-5) and Banff School of Fine Arts (1947-8), he moved to Mexico City, where he continued his training at the Escuela de Pintura y Escultura La Esmeralda (1948-9) and from 1950 worked as one of a team of assistants to David Alfaro Siqueiros. He began soon after to produce murals, such as "The People Don't Want War" (acrylic, 2?2.5 m, 1952; Mexico City, Inst. Poli. N.) and "Scenes from Don Quixote" (acrylic on concrete, 1957; Cuernavaca), following these with many others in Mexico, the USA, Canada, Cuba and Nicaragua. He was also prolific as a draughtsman and easel painter, often working on a large scale, and to a lesser extent as a sculptor. Working in an Expressionist style and concentrating his attention on the human figure—sometimes contorted, flayed or treated in a robot-like manner—he treated Biblical themes as well as more contemporary subjects such as the victims of Nazism or of the bombing of Hiroshima. In 1961 he and Francisco Icaza (b 1930) founded the group Nueva Presencia, which until 1963 published five issues of a magazine under the same name.

Lot: 160 - Arnold Belkin, Canadian Mexican (1930-1992), Song of Songs, 1969, lithograph, 22 1/2"H x 30"W (sheet)

Arnold Belkin Canadian Mexican, (1930-1992) Song of Songs, 1969 lithograph Pencil signed and dated lower right, numbered 76/120. Biography from Butler Institute of American Art: Canadian painter, draughtsman and sculptor, Arnold Belkin was also active in Mexico. After studying in Canada at the Vancouver School of Art (1944-5) and Banff School of Fine Arts (1947-8), he moved to Mexico City, where he continued his training at the Escuela de Pintura y Escultura La Esmeralda (1948-9) and from 1950 worked as one of a team of assistants to David Alfaro Siqueiros. He began soon after to produce murals, such as "The People Don't Want War" (acrylic, 2?2.5 m, 1952; Mexico City, Inst. Poli. N.) and "Scenes from Don Quixote" (acrylic on concrete, 1957; Cuernavaca), following these with many others in Mexico, the USA, Canada, Cuba and Nicaragua. He was also prolific as a draughtsman and easel painter, often working on a large scale, and to a lesser extent as a sculptor. Working in an Expressionist style and concentrating his attention on the human figure—sometimes contorted, flayed or treated in a robot-like manner—he treated Biblical themes as well as more contemporary subjects such as the victims of Nazism or of the bombing of Hiroshima. In 1961 he and Francisco Icaza (b 1930) founded the group Nueva Presencia, which until 1963 published five issues of a magazine under the same name.

Lot: 161 - Arnold Belkin, Canadian Mexican (1930-1992), Moses De Leon, 1969, lithograph, 22"H x 30"W (sheet)

Arnold Belkin Canadian Mexican, (1930-1992) Moses De Leon, 1969 lithograph Pencil signed and dated lower right, numbered 26/120. Biography from Butler Institute of American Art: Canadian painter, draughtsman and sculptor, Arnold Belkin was also active in Mexico. After studying in Canada at the Vancouver School of Art (1944-5) and Banff School of Fine Arts (1947-8), he moved to Mexico City, where he continued his training at the Escuela de Pintura y Escultura La Esmeralda (1948-9) and from 1950 worked as one of a team of assistants to David Alfaro Siqueiros. He began soon after to produce murals, such as "The People Don't Want War" (acrylic, 2?2.5 m, 1952; Mexico City, Inst. Poli. N.) and "Scenes from Don Quixote" (acrylic on concrete, 1957; Cuernavaca), following these with many others in Mexico, the USA, Canada, Cuba and Nicaragua. He was also prolific as a draughtsman and easel painter, often working on a large scale, and to a lesser extent as a sculptor. Working in an Expressionist style and concentrating his attention on the human figure—sometimes contorted, flayed or treated in a robot-like manner—he treated Biblical themes as well as more contemporary subjects such as the victims of Nazism or of the bombing of Hiroshima. In 1961 he and Francisco Icaza (b 1930) founded the group Nueva Presencia, which until 1963 published five issues of a magazine under the same name.

Lot: 162 - Guy Lombal, American (b.1930), Faces in Blue Sky, 1966, Surrealist Watercolor, 12 3/4" x 20 1/2", 25 1/2" x 32 1/2" (frame)

Guy Lombal American, (b.1930) Faces in Blue Sky, 1966 Surrealist Watercolor signed and dated lower right.

Lot: 163 - Otto Cavalcanti, Brazilian (1930-2019), 2 figural abstract drawings including a female nude, mixed media, watercolor and marker on paper, 12 3/4"H x 10"W (largest)

Otto Cavalcanti Brazilian, (1930-2019) 2 figural abstract drawings including a female nude mixed media, watercolor and marker on paper signed Biography from Maya Secret Gallery: Otto Cavalcanti (1930–2019) was a Brazilian-born artist whose work traversed continents and movements. After beginning his career as an illustrator in Rio de Janeiro, he moved through Madrid, London, Paris, and ultimately settled in Barcelona, where he became part of the Catalan avant-garde. His work blended figuration and abstraction, drawing inspiration from music, robotics, nature, and the human form. From his early surrealist influences to the development of his own "Combinism of Visual Forms," Cavalcanti created a visual language rooted in rhythm, geometry, and vibrant emotion — always shaped by his dual identity as a cosmopolitan and a Northeastern Brazilian.

Lot: 164 - Bertrand Dorny, French (1931-2015), Ana / Rita, modernist geometric abstract compositions, 2 color aquatint etchings, 10 1/2"H x 8"W(sight), 15"H x 12"W(frame) - larger piece measured

Bertrand Dorny French, (1931-2015) Ana / Rita, modernist geometric abstract compositions 2 color aquatint etchings pencil signed lower right and numbered 29/30 and 5/50. Biography from Le Coin Des Arts: Bertrand Dorny is a French artist, painter, engraver and graphic designer, born in Paris on July 2, 1931. He worked at the workshop of André Lhote and Johnny Friedlaender. He built his work by deriving accepted techniques such as engraving, collage or folding paper to achieve a personal style. He thus elaborates with great care the artists' books, or book-collages, an artistic form of which he is one of the most prolific representatives. Many poets including Charles Juliet have lent their words to his works. He taught at the Ecole de la Grande Chaumiere and the Ecole des Beaux-Arts in Paris. He also collaborated on the second issue of the Osmose collection (limited edition art books) created in 1979 by Daniel Lacotte, a collection that combined the original work of a painter with that of a poet. The themes of the walk, the progressing path, the network of forms in space are at the center of his work. "What's the use of adding paint to painting ... We are always in a labyrinth, we look for the exit playing to avoid anxiety, and this game needs milestones to be lived as a walk ". He died on June 19, 2015, in Paris.

Lot: 165 - Emmitt Thames, Mississippi (b. 1933), landscape with creek and barn in the distance, watercolor on paper, 22"H x 29 1/2"W(sight), 35 3/4"H x 43 1/4"W(frame)

Emmitt Thames Mississippi, (b. 1933) landscape with creek and barn in the distance watercolor on paper Signed lower right. Biography from the Archives of askART: The following is from Steve Zimmerman who writes: I have known the artist for over 20 years. I have several of his paintings in my collection, helped him organize the retrospective of his work at the R.W. Norton Museum in

Lot: 166 - Emmitt Thames, Mississippi (b. 1933), A View of the Barn through open window, watercolor on paper, 13 3/4"H x 19 1/2"W(sight), 24"H x 30"W(frame)

Emmitt Thames Mississippi, (b. 1933) A View of the Barn through open window watercolor on paper Signed lower right. Exhibited: Meridian Museum of Art, MS; Morris & Whiteside Galleries, SC Biography from the Archives of askART: The following is from Steve Zimmerman who writes: I have known the artist for over 20 years. I have several of his paintings in my collection, helped him

Lot: 167 - Emmitt Thames, Mississippi (b. 1933), rural snowy winter landscape, watercolor on paper, 21 1/2"H x 29 1/2"W(sight), 33 1/2"H x 41"W(frame)

Emmitt Thames Mississippi, (b. 1933) rural snowy winter landscape watercolor on paper Signed lower right. Biography from the Archives of askART: The following is from Steve Zimmerman who writes: I have known the artist for over 20 years. I have several of his paintings in my collection, helped him organize the retrospective of his work at the R.W. Norton Museum in Shreveport, LA back

Lot: 168 - Emmitt Thames, Mississippi (b. 1933), Still Life With Melons & Pears, gouache on paper, 21 1/4"H x 28 3/4"W(sight), 33 1/4"H x 40 1/2"W(frame)

Emmitt Thames Mississippi, (b. 1933) Still Life With Melons & Pears gouache on paper Signed lower right. Biography from the Archives of askART: The following is from Steve Zimmerman who writes: I have known the artist for over 20 years. I have several of his paintings in my collection, helped him organize the retrospective of his work at the R.W. Norton Museum in Shreveport, LA

Lot: 169 - Emmitt Thames, Mississippi (b. 1933), Two Grazing, watercolor on paper, 14 3/4"H x 10 1/2"W(sight), 23 1/4"H x 19 1/4"W(frame)

Emmitt Thames Mississippi, (b. 1933) Two Grazing watercolor on paper Signed lower right. Biography from the Archives of askART: The following is from Steve Zimmerman who writes: I have known the artist for over 20 years. I have several of his paintings in my collection, helped him organize the retrospective of his work at the R.W. Norton Museum in Shreveport, LA back in 1984, and

Lot: 170 - Rob O'Dell, Indiana (1938 - 2017), winter landscape with tree stump, watercolor on paper, 13 3/4"H x 21 1/4"W(sight), 20"H x 27 1/4"W(frame)

Rob O'Dell Indiana, (1938 - 2017) winter landscape with tree stump watercolor on paper Signed lower right. Exhibited: The Folger Gallery, IN Biography from the Archives of askART: "Watercolor artist Rob O'Dell earns Slodounik award, by Donnette Beckett, Herad & Review, newspaper, Decatur, Illinois, July 5, 2017 DECATUR — For more than 40 years, Rob O'Dell has been creating images of quiet, rural life in his watercolor paintings. His work has earned him numerous awards, which now include the Herb Slodounik Artistic Merit Award. The annual award is given to local patrons, teachers or students of the arts in memory of Slodounik, an award-winning Herald & Review photographer who passed away July 23, 1998. Educated at the American Academy of Art in Chicago, O'Dell worked as a commercial artist following art school and showed his paintings on the weekends. He found more success after taking the leap to painting full time. Jamie Rutherford, executive director for Gallery 510, said he has become the standard by which other area watercolor artists are compared. "He really is one of the main figures that comes to mind when thinking of Decatur-area artists," she said. Artist Rob O'Dell has a way of capturing all of the details in something as simple as a watercolor of an old door and brick wall. O'Dell's paintings have been featured in galleries throughout Decatur, including the Madden Arts Center, Rock Springs Nature Center and Gallery 510. He also has been a special feature during the annual Arts in Central Park in September. His paintings remain popular because of the realistic images of nature and simplicity. In a 2011 interview with Herald & Review Staff Writer Jim Vorel, O'Dell explained the influence behind his work. "I like to paint weathered objects particularly," he said. "I'm fascinated by how things deteriorate, the patina that forms. It tells a story. I think a barn has all of the elements and shapes of a good painting in it, with the added bonus of the seasons. The same barn looks completely different in the winter than in the spring." Rutherford said O'Dell will not be able to travel to Decatur to receive his award due to health problems. A Decatur native, O'Dell has lived in a 200-year-old farmhouse in Ladoga, Indiana, for nearly 50 years. He began his career as a catalog designer for Sears, but decided to become a professional painter shortly after arriving in Indiana. He often visits Decatur during the openings of his exhibits. He was the featured artist for Gallery 510's May show. "Distance has not made much of a difference to his reputation as an excellent artist and as a gracious down-to-earth Decatur native," Rutherford said. "Rob has no qualms about sharing his watercolor secrets, his humor or his friendship."

Lot: 171 - Ronald Mack, Indiana (20th Century), still life with tea set, oil on Canvas, 18”H x 24”W

Ronald Mack Indiana, (20th Century) still life with tea set oil on Canvas signed lower right. Biography from Park Avenue Gallery: Ron, a lifelong resident of Indianapolis, is an artist and instructor. He is well known for his detailed still life paintings before he became interested in the beauty of the outdoors. He is now recognized for his familiar and nostalgic landscapes. He conducts workshops and teaches art classes at the Southside Art League in Greenwood. He is represented in many private and corporate collections and has had many acquisition awards for permanent collections. He has been awarded distictions as an artist, and feels his greatest accomplishment was to be part of the Painting Indiana: 92 Counties project.

Lot: 172 - Kay Clay, Indiana (b.1936), Tulip Shadow, 1984, watercolor, 19 1/2"H x 15 1/2"W(sight), 21 1/2”H x 17 1/2”W(frame)

Kay Clay Indiana, (b.1936) Tulip Shadow, 1984 watercolor Pencil signed and dated lower right. Clay was the head of the art department at Crispus Attucks for many years, and a Herron graduate. Her work was part of the Indianapolis Museum of Art rental gallery. A beloved local artist, she became a potter in later years.

Lot: 173 - Mae Alice Engron, Indiana (1933-2007), street scene with cafe, oil on canvas, 32"H x 35"W(stretcher), 33 1/2"H x 36 1/2"W(frame)

Mae Alice Engron Indiana, (1933-2007) street scene with cafe 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: 174 - Mae Alice Engron, Indiana (1933-2007), saxophone player portrait, oil on canvas, 30"H x 34"W(stretcher), 32"H x 35 3/4"W(frame)

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

Lot: 175 - Mae Alice Engron, Indiana (1933-2007), Two seated nude masked female figures, oil on canvas, 36"H x 36"W (stretcher), 37 3/4"H x 37 3/4"W (frame)

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

Lot: 176 - Mae Alice Engron, Indiana (1933-2007), street scene, oil on canvas, 35"H x 44"W (stretcher), 36 3/4"H x 35 3/4"W (frame)

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

Lot: 177 - Mae Alice Engron, Indiana (1933-2007), abstract, oil on canvas, 46 1/4"H x 36"W(dtretcher), 48 1/2"H x 38 1/2"W(frame)

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

Lot: 178 - Mae Alice Engron, American (1933-2007), floral abstract, oil on canvas, 41"H x 41 3/4"W(stretcher), 43"H x 43 3/4"W(frame)

Mae Alice Engron American, (1933-2007) floral 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: 179 - Mae Alice Engron, American (1933-2007), geometric abstract, oil on canvas, 24"H x 34"W(stretcher), 25 1/4"H x 35 1/4"W(frame)

Mae Alice Engron American, (1933-2007) geometric 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: 180 - Mae Alice Engron, Indiana (1933-2007), abstract female nude, oil on canvas, 33 3/4”H x 31 3/4”W (sight); 36 1/2”H x 34 1/2”W (frame)

Mae Alice Engron Indiana, (1933-2007) abstract female nude 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: 181 - Patrick Procktor, R.A., British (1936-2003), Mirrors, aquatint etching, 17 3/4"H x 29 1/2"W (Plate), 21 1/2"H x 33 3/4"W (Sheet)

Patrick Procktor, R.A. British, (1936-2003) Mirrors aquatint etching Pencil signed lower right, artist proof. Minor pencil? marks bottom center and middle. Biography from Roseberys: Patrick Procktor, one of the most important British artists of the late 20th century, was celebrated for his natural and colourful figurative style, particularly in watercolours. He was known to be an intrepid traveller, drawing inspiration from his trips to Greece, India, and Morocco. Procktor's works have been exhibited at prestigious galleries like the Redfern Gallery and have been featured in museum shows such as the one at Birmingham Museum and Art Gallery in 1985. In 2012, a retrospective of his work was held at Huddersfield Art Gallery. His art can be found in collections worldwide, including the British Museum in London, the Los Angeles County Museum, the Museum of Modern Art in New York, and the Museo de Arte São Paulo in Brazil.

Lot: 182 - Margery Niblock, American (1937-2024), Orange Flower, woodcut, 7 1/4"H x 9 1/4"W (sight) 19 1/2"H x 23 1/2"W (frame)

Margery Niblock American, (1937-2024) Orange Flower woodcut pencil signed lower right

Lot: 183 - Claude Serre, French (1938-1998), Frames, screenprint, 30"H x 22 1/4"W

Claude Serre French, (1938-1998) Frames screenprint Pencil signed lower right. Pencil numbered lower left. Blind stamp lower left. Edition 42/90

Lot: 184 - Claude Serre, French (1938-1998), surrealist figures, screenprint, 22"H x 30"W

Claude Serre French, (1938-1998) surrealist figures screenprint Pencil signed lower right, edition 69/90.

Lot: 185 - Vija Celmins, Latvian American (b. 1939), The Sun, 1962, lithograph, 19"H x 15"W(paper), 31 1/2"H x 27 1/4"W(frame)

Vija Celmins Latvian American, (b. 1939) The Sun, 1962 lithograph Signed and dated lower right, edition 1/10. Archives of askART: Vija Celmins is a California painter who experimented with photo-realism and explored graphite as an expressive medium. She was born in Riga, Latvia in 1938, and in 1944 moved with her family to Germany where they settled in a Latvian refugee camp near

Lot: 186 - Landscape with poppy field, oil painting on canvas, signed Valerie 29 1/2"H x 23 1/4"W (sight), 38"H x 31 1/2" (frame)

Landscape with poppy field, oil painting on canvas, signed Valerie signed lower left

Lot: 187 - Jose Royo, Spanish (b. 1941), Cala en Mallorca, serigraph on panel, 33 1/2"H x 33 3/4"W(sight), 47 3/4"H x 47 3/4"W(frame)

Jose Royo Spanish, (b. 1941) Cala en Mallorca serigraph on panel signed lower right, numbered 157/160. In ornate carved and gilt frame. Biography from Setdart José Royo is a contemporary Spanish painter born in an unknown year. He began his drawing studies at the age of seven and later studied at the School of Fine Arts of San Carlos. He completed his studies by traveling around the world and immersing himself in the works of Goya, Velázquez, and the impressionist masters. Royo is known for his post-impressionist style and his paintings of the Mediterranean and the sea. He built a house in a small village near Valencia, which became an inspiration for his work. He also found inspiration in Mallorca, where he painted every summer since the seventies. Royo's success began in Spain and soon spread throughout Europe, Japan, and South America. He also explored other fields such as sculpture and silkscreen printing. Royo is currently represented in the Diocesan Museum of Barcelona, among other collections.

Lot: 188 - Jose Royo, Spanish (b. 1941), Andaluza, serigraph on panel, 28 1/2"H x 23 1/4"W (sight), 35 1/2"H x 30 1/2"W (frame)

Jose Royo Spanish, (b. 1941) Andaluza serigraph on panel signed lower right, numbered 128/165. Serigraph in carved antiqued gold frame. Biography from Setdart José Royo is a contemporary Spanish painter born in an unknown year. He began his drawing studies at the age of seven and later studied at the School of Fine Arts of San Carlos. He completed his studies by traveling around the world and immersing himself in the works of Goya, Velázquez, and the impressionist masters. Royo is known for his post-impressionist style and his paintings of the Mediterranean and the sea. He built a house in a small village near Valencia, which became an inspiration for his work. He also found inspiration in Mallorca, where he painted every summer since the seventies. Royo's success began in Spain and soon spread throughout Europe, Japan, and South America. He also explored other fields such as sculpture and silkscreen printing. Royo is currently represented in the Diocesan Museum of Barcelona, among other collections.

Lot: 189 - Amos Paul Kennedy Jr., American (b. 1948), Riddle Ma Riddle as I Suppose: Riddles From the Sea Islands off the Atlantic Coast, letterpress printed handmade paper, 3"H x 2 1/2"W

Amos Paul Kennedy Jr. American, (b. 1948) Riddle Ma Riddle as I Suppose: Riddles From the Sea Islands off the Atlantic Coast letterpress printed handmade paper limited edition 56 page codex miniature book. Printed in Bloomington, IN, 1998. Biography from Letterform Archive: Amos Paul Kennedy, Jr., was working a corporate job when, at nearly forty, he discovered the art of letterpress printing on a tour of Colonial Williamsburg. Kennedy then devoted himself to the craft, earning an MFA in graphic design at the University of Wisconsin–Madison. He now operates Kennedy Prints!, a letterpress printshop in Detroit. He has been featured in outlets like Hyperallergic, the New York Times, and the Economist, and he has exhibited in dozens of museums and galleries across the United States, including Poster House, the Brooklyn Public Library, the Library of Congress, and the libraries of the Museum of Modern Art and the Metropolitan Museum of Art.

Lot: 190 - Mark and Carol Reynolds artisan made inlaid wooden kaleidoscope with geometric band inlay, 12"H x 2 3/4"Diam.

Mark and Carol Reynolds artisan made inlaid wooden kaleidoscope with geometric band inlay side-lit handheld kaleidoscope with oil-filled chamber containing glass and iridescent shards. Signed on the eyepiece. Biography from Kaleidovisions: In 1974 Mark migrated south to Austin, Texas to attend the University of Texas majoring in English Literature. He and his brother supplemented their income by making handmade kaleidoscopes and selling them on "the drag". After completing his education, Mark and his brother Peach went into scope making full time. As pioneers in a kind of kaleidoscope renaissance, they built a by-the-seat-of-your-pants business designing hand-made scopes that included a camera-scope, electra-scope, and various hand painted and wood styles. Earlier models had an endearing quality, but with the discovery of front surface mirrors, image clarity became the benchmark for the future of scope appreciation. Art shows, then in their infancy, were the largest market for their work along with galleries and gift catalogs worldwide. In the late 80's Peach gravitated toward a real job in Real Estate, while Mark continued on in the world of Kaleidoscopes under the banner of "Kaleidovisions". Fortunately for Mark, Carol, his soon-to-be wife, swept into action as artist partner in 1989. Daughter to a decorated flight navigator and Air Force Mom, Carol has been the "navigator" for the business ever since. Together they continue to design, build, and show their high quality Kaleidoscopes and Light Sculptures at shows and galleries all across the country.

Lot: 191 - Philip Hopkins, American (20th/21st Century), abstract, mixed media cut paper with paint splatters and gold accents, 18"H x 13"W(paper), 25 1/4"H x 34 1/4"W(acrylic box)

Philip Hopkins American, (20th/21st Century) abstract mixed media cut paper with paint splatters and gold accents Greg Copeland label verso

Lot: 192 - Edwin Hedge, London/ Africa/ Russia/ Malaysia/ Egypt (1950-2016), The Library, 1999, oil on canvas, 19 1/2" x 13 1/2", 22" x 16 1/4"

Edwin Hedge London/ Africa/ Russia/ Malaysia/ Egypt, (1950-2016) The Library, 1999 oil on canvas signed, dated lower right McNeil Gallery of Contemporary Art: Edwin Hedge – MA – Born 1950 – 2016 Born in Ghent, Edwin Hedge grew up in Highgate, North London, and graduated from the Courtauld Institute of Art taught by Sir Anthony Blunt . Much of his life has been spent painting abroad, including the U.S., and several years spent in Africa (Malawi & Kenya), Russia, Malaysia and Egypt His paintings are built up carefully, using egg tempera under painting overlaid with many glazes and scumbles. Studied – Courtauld Institute of Art London Royal Academy Summer Show, 1993 McNeil Gallery, 2001/2012/2015 London Valor Gallery, Ankara, 1994 Royal Academy Summer Show, 2001/2012 Sanatyapim Gallery, Ankara, 1996 Artists of the Imagination, London. 2002, 2003, 2004 Berkshire Gallery, New York State, 1996 Steiner House, Baker Street, 2002, 2005 Kas Gallery, Istanbul, 1997 Rona Gallery, Mayfair, London, 2

Lot: 193 - Sue Coe, British American (b. 1951), Bush Aids (Swindle & Loot), 1990, etching, 15"H x 10 3/4"E (plate), 19"H x 13"W (sheet)

Sue Coe British American, (b. 1951) Bush Aids (Swindle & Loot), 1990 etching pencil signed and dated lower right, numbered 41, blind stamp. Biography from artist's website: Since the 1970s, Sue Coe has worked at the juncture of art and social activism to expose injustices and abuses of power. Born in England in 1951, she moved to New York City in the early 1970s and made it her home; in 2012 she became an American citizen. Coe has always been ahead of the curve on social issues, her art a conduit for her progressive politics. Thinking of herself as an activist first and artist second, she has trained her gaze on a wide variety of ills, translating such diverse topics as the perils of apartheid, the life of Malcolm X, and the horror that is the American meat industry into artworks, exhibitions, and books. Coe's graphic art, filled with unblinking politics, struck nerves when it appeared throughout the 1980s and continues to do so today. Working as an illustrator since moving to the United States, Coe's reputation over the next two decades allowed her to set her own agenda with her editors. Her politically pointed illustrations graced the pages of a variety of disparate publications, including The New York Times, The New Yorker, The Nation, Rolling Stone, Esquire, Mother Jones, Entertainment Weekly, and The Progressive, among countless others. While she was able to get a fair number of uncompromised images into print, however, she also grew frustrated by the growing corporatization of the American publishing industry. She started creating her own body of work and sought outlets to get the work published, and soon developed a working relationship with Art Spiegelman and Françoise Mouly, co-founders of the groundbreaking Comics magazine Raw (1979-1991). Not only was Coe's work featured in almost every issue, Raw also published her books How to Commit Suicide in South Africa (1983) and X (1986). In the mid 1980s, Coe also became a contributor to the left-wing comics anthology World War 3 Illustrated, a relationship that continues to this day. Coe's work has also appeared in numerous Blab! anthologies published over the past two decades. She is widely regarded as one of the best and most scathing political artists of her time.

Lot: 194 - Sue Coe, British American (b. 1951), Modern Man Followed by the Ghosts of His Meat, 1990, 2 etchings, 12 3/4"H x 15 3/4"W (image), 15"H x 18 3/4"W (sheet)

Sue Coe British American, (b. 1951) Modern Man Followed by the Ghosts of His Meat, 1990 2 etchings pencil signed and dated lower right, numbered 56 and 57. Biography from artist's website: Since the 1970s, Sue Coe has worked at the juncture of art and social activism to expose injustices and abuses of power. Born in England in 1951, she moved to New York City in the early 1970s and made it her home; in 2012 she became an American citizen. Coe has always been ahead of the curve on social issues, her art a conduit for her progressive politics. Thinking of herself as an activist first and artist second, she has trained her gaze on a wide variety of ills, translating such diverse topics as the perils of apartheid, the life of Malcolm X, and the horror that is the American meat industry into artworks, exhibitions, and books. Coe's graphic art, filled with unblinking politics, struck nerves when it appeared throughout the 1980s and continues to do so today. Working as an illustrator since moving to the United States, Coe's reputation over the next two decades allowed her to set her own agenda with her editors. Her politically pointed illustrations graced the pages of a variety of disparate publications, including The New York Times, The New Yorker, The Nation, Rolling Stone, Esquire, Mother Jones, Entertainment Weekly, and The Progressive, among countless others. While she was able to get a fair number of uncompromised images into print, however, she also grew frustrated by the growing corporatization of the American publishing industry. She started creating her own body of work and sought outlets to get the work published, and soon developed a working relationship with Art Spiegelman and Françoise Mouly, co-founders of the groundbreaking Comics magazine Raw (1979-1991). Not only was Coe's work featured in almost every issue, Raw also published her books How to Commit Suicide in South Africa (1983) and X (1986). In the mid 1980s, Coe also became a contributor to the left-wing comics anthology World War 3 Illustrated, a relationship that continues to this day. Coe's work has also appeared in numerous Blab! anthologies published over the past two decades. She is widely regarded as one of the best and most scathing political artists of her time.

Lot: 195 - Paul Wunderlich lithographic poster "Tears" for the Galerie Berggruen exhibition, 1972 30 1/4"H x 19 1/2"W (sight) 31 1/4"H x 22 1/2"W (frame)

Paul Wunderlich lithographic poster "Tears" for the Galerie Berggruen exhibition, 1972 Printed by Mourlot

Lot: 196 - Frank Cole, American (20th century), The Terrible Illness of Abram's Dog (Breathe III), 1970, aquatint etching, 19"H x 24 1/2"W (sight) 28 1/4"H x 32 1/4"W (frame)

Frank Cole American, (20th century) The Terrible Illness of Abram's Dog (Breathe III), 1970 aquatint etching pencil signed and dated lower right, artist proof "Blue II"

Lot: 197 - RePele?, (20th/21st century), III, surrealist landscape with flying pig in clouds, color etching, 9"H x 9"W (sight) 18 1/4" x 18 1/4" (frame)

RePele? (20th/21st century) III, surrealist landscape with flying pig in clouds color etching pencil signed lower right, numbered 8/100

Lot: 198 - Rudy Droguett, American (20th/21st century), Cat and Mouse, Scratchboard etching, 11 1/4"H x 9 1/4"W (Sight), 20 1/4"H x 16 1/4"W (Frame)

Rudy Droguett American, (20th/21st century) Cat and Mouse Scratchboard etching signed in the print lower right

Lot: 199 - unknown, (20th century), abstract, 1967, intaglio etching with aquatint, 21"H x 12 1/2"W(sight), 29 1/4"H x 23 1/4"W(frame)

unknown (20th century) abstract, 1967 intaglio etching with aquatint pencil signed and dated lower right, artist proof. Kapurthala?

Lot: 200 - Shirley Carroll, (20th century), Jigsaw, abstract composition, 1971, aquatint etching, 11 1/4"H x 5 1/2"W (sight) 16 1/4"H x 10 1/4"W (frame)

Shirley Carroll (20th century) Jigsaw, abstract composition, 1971 aquatint etching pencil signed and dated lower right, numbered 3/3. bottom looks water damaged

Lot: 201 - Two signed abstract prints: Ra Hermansen, Shirley Carroll 8 3/4"H x 9"W(sight), 16 1/4"H x 16 1/4"W(frame) - larger piece measured

Two signed abstract prints: Ra Hermansen, Shirley Carroll Ra Hermansen, "Smoggies" pencil signed lower right, artist proof. Shirley Carroll, "La Crosse, 54601" pencil signed lower right, numbered 1/4.

Lot: 202 - Ra Hermansen, (20th/21st century), Non Compos Mitre, geometric abstract, intaglio etching with aquatint, 21 1/2"H x 18"W(sight), 34 1/4"H x 28 1/4"W(frame)

Ra Hermansen (20th/21st century) Non Compos Mitre, geometric abstract intaglio etching with aquatint pencil signed lower right, artist proof

Lot: 203 - Ra Hermansen, (20th/21st century), figural abstract, aquatint etching, 9"H x 7 1/4"W (sight) 21"H x 17"W (frame)

Ra Hermansen (20th/21st century) figural abstract aquatint etching pencil signed lower right, artist proof

Lot: 204 - Paul Narkiewicz, American (b. 1937), portrait, 1980, lithograph, 26 1/2"H x 24 1/4"W (sight) 30"H x 27 1/2"W (frame)

Paul Narkiewicz American, (b. 1937) portrait, 1980 lithograph pencil signed and dated lower right, artist proof. Biography from Laurence Miller Gallery: Paul Narkiewicz was born in 1937 in Easton, PA, and studied painting at the Philadelphia College of Art in the early 1960's. After moving to New York City in 1966, in addition to painting and sculpture, he also pursued printmaking and worked with many notable artists including Alex Katz, Red Grooms, Yvonne Jackette, and Romare Bearden. In 1987, along with Vito Acconci, Mark de Suvero, and Roberta Stackhouse, he created site-specific sculture as a part of the show "Walk On/Sit Down/Go Through" at the Socrates Sculpture Park on the East River. In 1981, Narkiewicz had a one-person show featuring his watercolors of the Italian countryside at Kornblee Gallery at 20 West 57th Street, coincidentally the same address as Laurence Miller Gallery. In 2010, Narkiewicz began to prolifically make intimately scaled ceramic sculptures. He debuted this body of work with the show Census in May 2015 at Laurence Miller Gallery.

Lot: 205 - figural abstract / seated female nude portrait on dyed linen batik, 1977 17"H x 15 1/2"W (sight) 26 1/4"H x 24 1/2"W (frame)

figural abstract / seated female nude portrait on dyed linen batik, 1977 Frame, backing and matting have signs of damage.

Lot: 206 - Stewart, (20th/21st century), figural abstract portrait, dyed linen batik, 16 1/2"H x 15 1/4"W (sight), 28 1/4"H 26 3/3"W (frame)

Stewart (20th/21st century) figural abstract portrait dyed linen batik signed lower right

Lot: 207 - Noboru Tsurutani, Japanese American (1940-2007), Memory of Europe, serigraph, 12 1/2"H x 16 1/2"W (sight) 24 1/2" x 28"W (frame)

Noboru Tsurutani Japanese American, (1940-2007) Memory of Europe serigraph pencil signed lower right, numbered 48/50

Lot: 208 - Diana Hansen, American (b. 1942), Sound Structures, geometric abstract composition, 1971, etching, 15"H x 17 1/2"W (sight) 23 3/4"H x 25 3/4"W (frame)

Diana Hansen American, (b. 1942) Sound Structures, geometric abstract composition, 1971 etching pencil signed and dated lower right, numbered 22/40 Biography from American Design Ltd: The art of Diana Hansen is a unique combination of the traditional and personal. Her paintings and prints use traditional techniques and images as a framework for Hansen's own experience of the world; a

Lot: 209 - Peter Barger, American (b. 1947), abstract landscape, aquatint etching, 4 3/4"H x 3 3/4"W (sight) 20"H x 15 1/4"W (frame)

Peter Barger American, (b. 1947) abstract landscape aquatint etching pencil signed lower right, numbered 89/125

Lot: 210 - John C. McCaig, Indiana (20th Century), Yellow Fang, lithograph, 10 1/4"H x 11 3/4"W (sight) 17 1/2"H x 19"W (frame)

John C. McCaig Indiana, (20th Century) Yellow Fang lithograph pencil signed lower right, numbered 5/5

Lot: 211 - Sarah K Roush, (20th/21st century), Some Get Magic...Most Don't, 1981, etching, 13"H x 10"W(sight), 17 1/4"H x 14 1/4"W(frame)

Sarah K Roush (20th/21st century) Some Get Magic...Most Don't, 1981 etching Pencil signed and dated lower right, artist proof

Lot: 212 - Emily (Em) Sites Karns, American (20th/21st Century), I Dreamt of a Sea of Incense Under the Stars; Revelations 8:4, oil and gesso with gold leaf on canvas, 6"H x 6"W x 1 1/2"D

Emily (Em) Sites Karns American, (20th/21st Century) I Dreamt of a Sea of Incense Under the Stars; Revelations 8:4 oil and gesso with gold leaf on canvas Signed and titled verso.

Lot: 213 - Carla Knopp, Indiana (20th/21st Century), The Last Dawn Dance, 1994, oil on board, 19 3/4”H x 22 3/4”W(board), 23 1/4"H x 26 1/2"W(frame)

Carla Knopp Indiana, (20th/21st Century) The Last Dawn Dance, 1994 oil on board Signed, titled, and dated verso.

Lot: 214 - Zakour, (20th century), landscape with stream and trees, oil on canvas, 12"H x 16"W(stretcher), 20 1/4"H x 24 1/4"W(frame)

Zakour (20th century) landscape with stream and trees oil on canvas Signed lower right. Minor paint chips.

Lot: 215 - Five vintage works of art: log cabin, rural landscape with black horse, woodpecker with tulips, Paris- La Place du Tertre et Sacré Cœur and Notre Dame et La Seine prints by Marius Girard, 15"H x 21 3/4"W(paper), 27 1/4"H

Five vintage works of art: log cabin, rural landscape with black horse, woodpecker with tulips, Paris- La Place du Tertre et Sacré Cœur and Notre Dame et La Seine prints by Marius Girard 3 paintings, 2 prints

Lot: 216 - Three Tokuriki Tomikichiro Japanese woodblock prints: Kiyomizu Temple, Heian Shrine in Spring, Golden Pavilion in Winter, 17"H x 20 3/4"W (frame, black frame on right side)

Three Tokuriki Tomikichiro Japanese woodblock prints: Kiyomizu Temple, Heian Shrine in Spring, Golden Pavilion in Winter

Lot: 217 - Five vintage portrait and landscape drawings: male portrait after Pablo Picasso's self portrait ink on paper mounted to board, woman in hat ink on paper, Fair scene ink on paper, Isla Mujeres beach scene ink on paper, ma

Five vintage portrait and landscape drawings: male portrait after Pablo Picasso's self portrait ink on paper mounted to board, woman in hat ink on paper, Fair scene ink on paper, Isla Mujeres beach scene ink on paper, male portrait in profile graphite on paper 4 of the 5 are signed. Adler, 1989 Bursbaum?, 1960 Amanda Smith? 1965 Baumgarten Studio Chicago World's Fair exhibit, 1933

Lot: 218 - Ed Funk, Indianapolis (1953-2013), abstract, pastel on paper, 31 1/4” H X 30 3/4” W

Ed Funk Indianapolis, (1953-2013) abstract pastel on paper Signed lower right. Biography from the Dailey Journal: Funk (1953-2013) was born and raised in Indianapolis. While serving in the Navy from 1975 to 1982, he traveled the Pacific Ocean, Japan, Thailand and the Middle East. He graduated Herron School of Art in 1988. His time in Japan greatly influenced his approach to art, especially his calligraphic brush work. In 1995 Ed Funk bought Dolphin Papers and moved it to the old Murphy storefront in the Fountain Square neighborhood, helping establish First Fridays in the Indy Arts Scene. He was known for encouraging artists he met — both novices and accomplished professionals. Funk is remembered most for his large, colorful abstract paintings in different media and for his exquisitely detailed prints.

Lot: 219 - Ed Funk, Indianapolis (1953-2013), abstract seated female portrait, 2005, watercolor and ink on paper, 36"H x 28"W (sheet)

Ed Funk Indianapolis, (1953-2013) abstract seated female portrait, 2005 watercolor and ink on paper Signed and dated lower right. Biography from the Dailey Journal: Funk (1953-2013) was born and raised in Indianapolis. While serving in the Navy from 1975 to 1982, he traveled the Pacific Ocean, Japan, Thailand and the Middle East. He graduated Herron School of Art in 1988. His time in Japan greatly influenced his approach to art, especially his calligraphic brush work. In 1995 Ed Funk bought Dolphin Papers and moved it to the old Murphy storefront in the Fountain Square neighborhood, helping establish First Fridays in the Indy Arts Scene. He was known for encouraging artists he met — both novices and accomplished professionals. Funk is remembered most for his large, colorful abstract paintings in different media and for his exquisitely detailed prints.

Lot: 220 - Ed Funk, Indianapolis (1953-2013), abstract, 2005, watercolor and ink on paper, 28"H x 36"W (sheet)

Ed Funk Indianapolis, (1953-2013) abstract, 2005 watercolor and ink on paper Signed and dated on every edge. Biography from the Dailey Journal: Funk (1953-2013) was born and raised in Indianapolis. While serving in the Navy from 1975 to 1982, he traveled the Pacific Ocean, Japan, Thailand and the Middle East. He graduated Herron School of Art in 1988. His time in Japan greatly influenced his approach to art, especially his calligraphic brush work. In 1995 Ed Funk bought Dolphin Papers and moved it to the old Murphy storefront in the Fountain Square neighborhood, helping establish First Fridays in the Indy Arts Scene. He was known for encouraging artists he met — both novices and accomplished professionals. Funk is remembered most for his large, colorful abstract paintings in different media and for his exquisitely detailed prints.

Lot: 221 - Ed Funk, Indianapolis (1953-2013), abstract, 2005, watercolor and ink on paper, 36"H x 28"W (sheet)

Ed Funk Indianapolis, (1953-2013) abstract, 2005 watercolor and ink on paper Signed and dated lower left. Biography from the Dailey Journal: Funk (1953-2013) was born and raised in Indianapolis. While serving in the Navy from 1975 to 1982, he traveled the Pacific Ocean, Japan, Thailand and the Middle East. He graduated Herron School of Art in 1988. His time in Japan greatly influenced his approach to art, especially his calligraphic brush work. In 1995 Ed Funk bought Dolphin Papers and moved it to the old Murphy storefront in the Fountain Square neighborhood, helping establish First Fridays in the Indy Arts Scene. He was known for encouraging artists he met — both novices and accomplished professionals. Funk is remembered most for his large, colorful abstract paintings in different media and for his exquisitely detailed prints.

Lot: 222 - Wyatt LeGrand, Indiana (21st Century), Line In the Sand, October 2018, oil on canvas, 36"H x 36"W(stretcher), 37 1/2"H x 37 1/2"W(frame)

Wyatt LeGrand Indiana, (21st Century) Line In the Sand, October 2018 oil on canvas Signed lower left. Biography from the artist's website: Wyatt LeGrand is partly a painter from Bloomfield, Indiana. He currently works from his hometown studio and teaches grades 7-12 at Bloomfield Jr/Sr High School. While attending the same school as a student, Wyatt was acknowledged by the community for his skills as an artist. After graduating high school in 2005, Wyatt made the short journey to Indiana University, where he attained a degree in visual arts education four years later. Edward Hopper said, "If you could say it in words there would be no reason to paint," and I agree completely, as my painting is a means of communicating all of those experiences and emotions beyond my verbal vocabulary. It is the act of painting, I believe, that is more artful than the artifact. The experience of making an image, whether it be a quick study or an attempt at a profound subject, always overshadows the final collection of marks. I find the most satisfaction in that experience of putting brush to canvas, letting the things I see before me flow from eye to heart to hand to brush. These actions, as they occur, bring with them a certain anxiety, excitement, and satisfaction that I cannot find elsewhere." Wyatt created his very first painting as a college student in 2008. Shortly thereafter, Wyatt discovered plein air painting, had his first solo exhibition, and found good luck participating in several art competitions. In the summer of 2009, Wyatt returned to his hometown and opened LeGrand Art Studio and Gallery. Since his homecoming, Wyatt has dedicated himself to creating artwork in the place he grew up, sharing experiences with his students and members of the community.

Lot: 223 - Dave Kuhn, Indiana (20th/21st century), Chard, oil on paper on metal, 26"H x 18"W(metal)

Dave Kuhn Indiana, (20th/21st century) Chard oil on paper on metal artist label verso. Partial Bio. From Gallery 308 in Muncie, IN: According to Alfredo Marin-Carle, Kuhn's friend of more than 25 years, the exhibit will showcase more than 70 works of art created by Kuhn over his lifetime. Born in Greenfield, Indiana, in 1951, he attended John Herron School of Art in Indianapolis, Kuhn started his career as an illustrator working at ad agencies in Indianapolis eventually landing a job as an illustrator for Jim Davis (Garfield) at P.A.W.S, Inc. where he spent 25 years before retiring. Marin says Kuhn was incredibly prolific and described his friend's art having an incredible sense of color. With influences ranging from the Populuxe aesthetic to Memphis Design, from classical Japanese drama to Brazil's Carnival, it would be an understatement to call Dave Kuhn's art eclectic. His works not only embrace a range of cultural influences, but also convey his deep and abiding sense of playful curiosity and ongoing experimentation. Though initially known for his expertise as an airbrush artist, he cast a wide net in choosing the tools and materials he would use for his own art, not only airbrush, but also assemblage, laminates, fiber, incised impasto, pastel, color pencil – he created in all manner of media, producing works of lively imagination and, later in his career, exploring ghostly symbols and figures as mysterious as those found on ancient cave walls. His diverse aesthetic was further informed by his passionate love of music. A former rock drummer, Dave's musical taste was as wide-ranging as his cultural interests: Tom Waits, bebop, blues, Latin rhythm, and of course reggae, for though he lived his entire life in Indiana, he was, at heart, an Island soul. In all its many forms, his artwork reveals Dave's generosity of spirit and his passionate embrace of life.

Lot: 224 - Dave Kuhn, Indiana (20th/21st century), face masks, 1990, mixed media, 24"H x 47 3/4"W

Dave Kuhn Indiana, (20th/21st century) face masks, 1990 mixed media Several nicks, scuffs and damage. Partial Bio. From Gallery 308 in Muncie, IN: According to Alfredo Marin-Carle, Kuhn's friend of more than 25 years, the exhibit will showcase more than 70 works of art created by Kuhn over his lifetime. Born in Greenfield, Indiana, in 1951, he attended John Herron School of Art in Indianapolis, Kuhn started his career as an illustrator working at ad agencies in Indianapolis eventually landing a job as an illustrator for Jim Davis (Garfield) at P.A.W.S, Inc. where he spent 25 years before retiring. Marin says Kuhn was incredibly prolific and described his friend's art having an incredible sense of color. With influences ranging from the Populuxe aesthetic to Memphis Design, from classical Japanese drama to Brazil's Carnival, it would be an understatement to call Dave Kuhn's art eclectic. His works not only embrace a range of cultural influences, but also convey his deep and abiding sense of playful curiosity and ongoing experimentation. Though initially known for his expertise as an airbrush artist, he cast a wide net in choosing the tools and materials he would use for his own art, not only airbrush, but also assemblage, laminates, fiber, incised impasto, pastel, color pencil – he created in all manner of media, producing works of lively imagination and, later in his career, exploring ghostly symbols and figures as mysterious as those found on ancient cave walls. His diverse aesthetic was further informed by his passionate love of music. A former rock drummer, Dave's musical taste was as wide-ranging as his cultural interests: Tom Waits, bebop, blues, Latin rhythm, and of course reggae, for though he lived his entire life in Indiana, he was, at heart, an Island soul. In all its many forms, his artwork reveals Dave's generosity of spirit and his passionate embrace of life.

Lot: 225 - Alfredo Marin-Carle, Puerto Rican American (20th/21st century), The Reflection of the Moon is Not the Moon, 2017, mixed media, 36 1/4"H x 36"W(paper), 45 1/4"H x 45 1/4"W(frame)

Alfredo Marin-Carle Puerto Rican American, (20th/21st century) The Reflection of the Moon is Not the Moon, 2017 mixed media signed and dated lower right. Marín-Carle was born in New York City. He and his family subsequently moved to Puerto Rico where Marín-Carle studied art at the Instituto de Cultura de Puerto Rico, Escuela de Artes Plasticas. During this period he was highly influenced by his father, Augusto Marín (an internationally acclaim artist in his own right), who was also his teacher for a time at the above-mentioned school. His close relationship with his father also played an important role in the growth of his own love for art. His young adulthood began with a tour of duty in the Army, serving in the Vietnam War. Upon return from the military, he earned his BFA at Wayne State University in Detroit, continuing on to earn an MFA at The University of Notre Dame in South Bend, Indiana. After finishing his MFA, Marín-Carle embarked on an artistic journey while also beginning his career as a professor at Ball State University. Marin-Carle's work has been exhibited in the United States and abroad winning him numerous awards and recognitions. His work can be found in public and private collections.

Lot: 226 - Alfredo Marín-Carle, Puerto Rican American (20th/21st Century), untitled / Layer 22, 2023, 2 characters from the Meditation Character Series, painting / digital print from Asemic calligraphy found in the artist's Asemic

Alfredo Marín-Carle Puerto Rican American, (20th/21st Century) untitled / Layer 22, 2023, 2 characters from the Meditation Character Series painting / digital print from Asemic calligraphy found in the artist's Asemic Writing Series untitled: unsigned Layer 22: signed and dated lower right. Biography from the artist's website: "Painting as a Spiritual Journey and Existence—echoing the sentiments of the esteemed Indian abstract artist V.S. Gaitonde—reflects the philosophy guiding my artistic endeavors. This philosophy is deeply rooted in Buddhist principles of timelessness and impermanence, bridging the tangible and intangible through mindful meditation and the act of painting itself. Artists such as Paul Klee, Vasily Kandinsky, Mark Tobey, and Cy Twombly are luminaries whose visual language transcended the literal to embrace abstraction, interweaving Eastern philosophical and spiritual tenets. Their commitment to non-objective expression served to highlight the mystical experiences intrinsic to Eastern thought. The essence of their art lies in the subjective experience it evokes, guided by the interplay of form and color, rather than by representational accuracy." Marín-Carle was born in New York City. He and his family subsequently moved to Puerto Rico where Marín-Carle studied art at the Instituto de Cultura de Puerto Rico, Escuela de Artes Plasticas. During this period he was highly influenced by his father, Augusto Marín (an internationally acclaim artist in his own right), who was also his teacher for a time at the above-mentioned school. His close relationship with his father also played an important role in the growth of his own love for art. His young adulthood began with a tour of duty in the Army, serving in the Vietnam War. Upon return from the military, he earned his BFA at Wayne State University in Detroit, continuing on to earn an MFA at The University of Notre Dame in South Bend, Indiana. After finishing his MFA, Marín-Carle embarked on an artistic journey while also beginning his career as a professor at Ball State University. Marin-Carle's work has been exhibited in the United States and abroad winning him numerous awards and recognitions. His work can be found in public and private collections.

Lot: 227 - Alfredo Marín-Carle, Puerto Rican American (20th/21st Century), angelic figural abstract, 2001, aquatint etching, 11 3/4"H x 11 1/4"W(sight), 21 1/4"H x 20 3/4"W(frame)

Alfredo Marín-Carle Puerto Rican American, (20th/21st Century) angelic figural abstract, 2001 aquatint etching pencil signed and dated lower right, artist proof. Biography from the artist's website: "Painting as a Spiritual Journey and Existence—echoing the sentiments of the esteemed Indian abstract artist V.S. Gaitonde—reflects the philosophy guiding my artistic endeavors. This philosophy is deeply rooted in Buddhist principles of timelessness and impermanence, bridging the tangible and intangible through mindful meditation and the act of painting itself. Artists such as Paul Klee, Vasily Kandinsky, Mark Tobey, and Cy Twombly are luminaries whose visual language transcended the literal to embrace abstraction, interweaving Eastern philosophical and spiritual tenets. Their commitment to non-objective expression served to highlight the mystical experiences intrinsic to Eastern thought. The essence of their art lies in the subjective experience it evokes, guided by the interplay of form and color, rather than by representational accuracy." Marín-Carle was born in New York City. He and his family subsequently moved to Puerto Rico where Marín-Carle studied art at the Instituto de Cultura de Puerto Rico, Escuela de Artes Plasticas. During this period he was highly influenced by his father, Augusto Marín (an internationally acclaim artist in his own right), who was also his teacher for a time at the above-mentioned school. His close relationship with his father also played an important role in the growth of his own love for art. His young adulthood began with a tour of duty in the Army, serving in the Vietnam War. Upon return from the military, he earned his BFA at Wayne State University in Detroit, continuing on to earn an MFA at The University of Notre Dame in South Bend, Indiana. After finishing his MFA, Marín-Carle embarked on an artistic journey while also beginning his career as a professor at Ball State University. Marin-Carle's work has been exhibited in the United States and abroad winning him numerous awards and recognitions. His work can be found in public and private collections.

Lot: 228 - Ortega, Spanish (20th century), stylized dogs fighting over bone, lithograph, 15"H x 14"W (sight) 22"H x 21"W (frame)

Ortega Spanish, (20th century) stylized dogs fighting over bone lithograph pencil signed lower right, artist proof. Jose Garcia Ortega?

Lot: 229 - Antanas Nakas, Chicago (20th/21st Century), Vetroje, oil on board, 29 3/4"H x 20"W

Antanas Nakas Chicago, (20th/21st Century) Vetroje oil on board signed lower right. Artist's label verso. minor scuffing throughout, damage to board center top Vetroje: "The Storm" Dated August 13th (Lithuanian)

Lot: 230 - YES Album Cover wall size oil painting mural on canvas after Roger Dean, 48”H x 84”W

YES Album Cover wall size oil painting mural on canvas after Roger Dean Tales from Topographic Oceans vinyl record album. Unframed, some paint loss around edges.

Lot: 231 - Victor Juhasz, American (b. 1954), caricature drawing of Hemingway? Old Man and the Sea, watercolor and ink illustration, 10"H x 12 1/2"W (sight), 13 1/4"H x 16 1/4"W (sheet)

Victor Juhasz American, (b. 1954) caricature drawing of Hemingway? Old Man and the Sea watercolor and ink illustration Signed lower right. Biography from nrm.org: Victor Juhasz was born in Newark, New Jersey. He exhibited an interest in drawing early in life but needed the prodding of his high school art teacher to abandon a fantasy of becoming a cross-country truck driver (in retrospect, a really awful idea) and recognize his calling to be an illustrator. A graduate of the Parsons School of Design in New York City, 1975, Victor began illustrating in 1974 for THE NEW YORK TIMES while still a student. His humorous caricatures and illustrations have been commissioned by major magazines, newspapers, advertising agencies, and book publishers, both national and international and his clients have included TIME Inc., Newsweek, The National Observer (Canada), The Wall Street Journal, Esquire, GQ, Men"s Journal, The Village Voice, The Washington Post, Oxford University Press, Harper Collins, St. Martin's Press, Grove/Atlantic, Sierra, Opera News, The Nation, Bozell, Foote Cone & Belding, Ogilvy & Mather, Werbeagentur Robert Putz (Germany), Proctor & Gamble, Morton Swinsky Productions and Jeffrey Richards Associates (Broadway producers).

Lot: 232 - After Yue Minjun, Chinese (b. 1962), Untitled, laughing man with bird, oil on canvas, 14"H x 12"W

After Yue Minjun Chinese, (b. 1962) Untitled, laughing man with bird oil on canvas Unsigned. From a private New York collection. Biography from Tobin Reese Fine Art: Yue Minjun (1962-) is a contemporary Chinese painter and sculptor who is famous for his installation art and depictions of himself laughing. Although many would classify him as a cynical realist, Yue himself rejects that label; he is known for seamlessly combining European and Chinese artistic tradition with a pop art aesthetic, deeply rooted in a simultaneous respect and cynicism for the artists that have preceded him. Yue was born in Daqing, Heilongjiang Province, China, to oilfield workers. Although he was able to study art in his spare time, he spent most of his hours working at the oilfield. For a time, he also worked as an electrician. At both of these jobs, Yue would paint his coworkers, depicting the real-life situations and characters that made up his life. In 1989, Yue encountered a painting by Chinese artist Geng Jianyi in which the artist was depicted laughing; Yue instantly felt a connection to this sort of work and the idea would pervade his output to the present time. In the same year, the June Fourth Massacre in Tiananmen Square caused Yue to reevaluate his life priorities and his stance towards government; in response, he quit his job and moved into an artists' commune in Beijing. During his time there, he began to paint his now famous laughing faces in addition to portraits of his fellow artists. While his laughing faces brought him acclaim from the masses, his portraits gave him the artistic validation he deserved from the art community. Based on the success of his paintings, he began to branch out into sculpture, transferring the aesthetic qualities of his laughing faces onto sculptures which have been installed in many prominent locations. He has remarked many times that his laughing face sculptures can be related to the Chinese terracotta warriors of the Qin Dynasty. He continues to reside in Beijing, now able to produce art full-time. Source: Ian Martyn for Tobin Reese Fine Art

Lot: 233 - After Yue Minjun, Chinese (b. 1962), Untitled, Hat, oil on canvas, 12"H x 11 3/4"W

After Yue Minjun Chinese, (b. 1962) Untitled, Hat oil on canvas Unsigned. From a private New York collection. Biography from Tobin Reese Fine Art: Yue Minjun (1962-) is a contemporary Chinese painter and sculptor who is famous for his installation art and depictions of himself laughing. Although many would classify him as a cynical realist, Yue himself rejects that label; he is known for seamlessly combining European and Chinese artistic tradition with a pop art aesthetic, deeply rooted in a simultaneous respect and cynicism for the artists that have preceded him. Yue was born in Daqing, Heilongjiang Province, China, to oilfield workers. Although he was able to study art in his spare time, he spent most of his hours working at the oilfield. For a time, he also worked as an electrician. At both of these jobs, Yue would paint his coworkers, depicting the real-life situations and characters that made up his life. In 1989, Yue encountered a painting by Chinese artist Geng Jianyi in which the artist was depicted laughing; Yue instantly felt a connection to this sort of work and the idea would pervade his output to the present time. In the same year, the June Fourth Massacre in Tiananmen Square caused Yue to reevaluate his life priorities and his stance towards government; in response, he quit his job and moved into an artists' commune in Beijing. During his time there, he began to paint his now famous laughing faces in addition to portraits of his fellow artists. While his laughing faces brought him acclaim from the masses, his portraits gave him the artistic validation he deserved from the art community. Based on the success of his paintings, he began to branch out into sculpture, transferring the aesthetic qualities of his laughing faces onto sculptures which have been installed in many prominent locations. He has remarked many times that his laughing face sculptures can be related to the Chinese terracotta warriors of the Qin Dynasty. He continues to reside in Beijing, now able to produce art full-time. Source: Ian Martyn for Tobin Reese Fine Art.

Lot: 234 - After Yue Minjun, Chinese (b. 1962), Untitled, Hat, oil on canvas, 12"H x 12"W

After Yue Minjun Chinese, (b. 1962) Untitled, Hat oil on canvas Unsigned. From a private New York collection. Biography from Tobin Reese Fine Art: Yue Minjun (1962-) is a contemporary Chinese painter and sculptor who is famous for his installation art and depictions of himself laughing. Although many would classify him as a cynical realist, Yue himself rejects that label; he is known for seamlessly combining European and Chinese artistic tradition with a pop art aesthetic, deeply rooted in a simultaneous respect and cynicism for the artists that have preceded him. Yue was born in Daqing, Heilongjiang Province, China, to oilfield workers. Although he was able to study art in his spare time, he spent most of his hours working at the oilfield. For a time, he also worked as an electrician. At both of these jobs, Yue would paint his coworkers, depicting the real-life situations and characters that made up his life. In 1989, Yue encountered a painting by Chinese artist Geng Jianyi in which the artist was depicted laughing; Yue instantly felt a connection to this sort of work and the idea would pervade his output to the present time. In the same year, the June Fourth Massacre in Tiananmen Square caused Yue to reevaluate his life priorities and his stance towards government; in response, he quit his job and moved into an artists' commune in Beijing. During his time there, he began to paint his now famous laughing faces in addition to portraits of his fellow artists. While his laughing faces brought him acclaim from the masses, his portraits gave him the artistic validation he deserved from the art community. Based on the success of his paintings, he began to branch out into sculpture, transferring the aesthetic qualities of his laughing faces onto sculptures which have been installed in many prominent locations. He has remarked many times that his laughing face sculptures can be related to the Chinese terracotta warriors of the Qin Dynasty. He continues to reside in Beijing, now able to produce art full-time. Source: Ian Martyn for Tobin Reese Fine Art

Lot: 235 - D. Lee Frazier, (20th century), four Florida Highwayman paintings on board, oil on board, 12”H x 16"W (one larger painting)

D. Lee Frazier (20th century) four Florida Highwayman paintings on board oil on board 2 signed

Lot: 236 - Robert Lohman, Indiana (1919-2001), Electrism, figural abstract,1969, colored pencil and ink on paper, 7 1/2”H x 11 3/4”W

Robert Lohman Indiana, (1919-2001) Electrism, figural abstract,1969 colored pencil and ink on paper Signed and dated lower right. Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 237 - Robert Lohman, Indiana (1919-2001), Tourists / Artist in His Studio / Lovers, 1969, three Watercolors, 12 1/2"GH x 19"W (one measured; all same size)

Robert Lohman Indiana, (1919-2001) Tourists / Artist in His Studio / Lovers, 1969 three Watercolors All signed and dated lower. Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 238 - Robert Lohman, Indiana (1919-2001), 4 figural abstract compositions, Watchers / Surveillance, watercolor on paper, 10"H x 13"W (one larger piece measured)

Robert Lohman Indiana, (1919-2001) 4 figural abstract compositions, Watchers / Surveillance watercolor on paper signed and dated lower. Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 239 - Robert Lohman, Indiana , female nude, abstract compositions, Space Figure / Polygyric Appearance, x4 ink / ink and wash on paper / etching, 11”H x 15”W (largest)

Robert Lohman Indiana female nude, abstract compositions, Space Figure / Polygyric Appearance x4 ink / ink and wash on paper / etching signed lower, Space Figure numbered 3/4. Lohman studied at John Herron Art Institute, and Cranbrook and Yale for graduate work. Assisted Carl Milles at Cranbrook Academy before becoming Director of Fine Arts there from 1947-49. Also taught at Washington U. in St. Louis, and the Indianapolis Art League for 10 years. Teachers include: Maija Grotell and Gaetano Cecere. Among his many accomplishments as an artist, he designed the medal for the Indy 500 Pacemaker Club, 1965, and the medal to represent the US at the Exposition Internationale de la Medaille in Athens, 1966.

Lot: 240 - A.W. Fricke, Jewel in the Crown, Chicago Water Tower, ca.1976, wall hanging pressed wood carving bas relief, 28"H x 8 1/2"W

A.W. Fricke Jewel in the Crown, Chicago Water Tower, ca.1976 wall hanging pressed wood carving bas relief signed lower right.

Lot: 241 - William Denton Ray (Indianapolis, b. 1974) Slip of the Tongue, layered mixed media painting on wood, 2011 11"H x 16 3/4"W

William Denton Ray (Indianapolis, b. 1974) Slip of the Tongue, layered mixed media painting on wood, 2011 Signed with initials and dated verso. Small piece is detached. The piece features a vibrant and abstract design with a prominent face motif, incorporating various colors and textures. The back of the piece is signed 'WDR' and dated 2011. Biography from HarrisonCenter.Org: William is a native of Indianapolis and attended the Columbus College of Art and Design as well as the Herron School of Art and Design. He currently works as a senior designer and as a professional artist. William is constantly doodling and drawing, creating whimsical worlds and characters for his viewers to be consumed by. William's work resembles Tim Burton meets Dr. Suess with a touch of Ed "Big Daddy" Roth and Stanley Mouse, all of whom have had an influence on his work. William is also inspired by graffiti art, skateboarding culture, popular music, fashion and witty humor. William classifies his work in two words, "Whimsical Funk."

Lot: 242 - Mike Altman (Indianapolis, 21st century) whimsical robot figure, mixed media on recycled cardboard 46 1/2"H x 31 1/2"W

Mike Altman (Indianapolis, 21st century) whimsical robot figure, mixed media on recycled cardboard Unsigned.

Lot: 243 - Snake goddess with ram horns and forked tongue, Kali?/Manasa? oil on wood, Pop Art illustration painting, 2011. 35 1/2"H x 23 1/2"W(sight), 38 3/4"H x 26 1/2"W(frame)

Snake goddess with ram horns and forked tongue, Kali?/Manasa? oil on wood, Pop Art illustration painting, 2011. signed and dated lower right.

Lot: 244 - Two photographic prints: "Deconstructing a Cicada," print on aluminum by Natalie Ingle and tree branches in ice storm, framed photograph 22 3/4"H x 28 1/2"W (largest, frame)

Two photographic prints: "Deconstructing a Cicada," print on aluminum by Natalie Ingle and tree branches in ice storm, framed photograph

Lot: 245 - Paul Andrew Wandless, American (20th/21st Century), Blu, 2001, oil on board, 15"H x 9 1/4"W

Paul Andrew Wandless American, (20th/21st Century) Blu, 2001 oil on board Signed lower right and verso. Paul Andrew Wandless is an artist currently residing in Chicago and specializing in printing techniques on ceramics. Wandless is also an author, curator, and instructor. His clay work, prints, sculptures, paintings and drawings have been exhibited since 1995 and are collected privately and publicly. He holds a Master of Fine Arts degree from Arizona State University ('99), a Master of Art degree from Minnesota State University-Mankato ('97) and a Bachelor of Fine Arts degree from University of Delaware ('95).

Lot: 246 - Paul Andrew Wandless, American (20th/21st century), Market Place, 2002, oil on canvas, 30"H x 23"W(stretcher), 31 3/4"H x 24 3/4"W(frame)

Paul Andrew Wandless American, (20th/21st century) Market Place, 2002 oil on canvas Signed lower right and verso. Paul Andrew Wandless is an artist currently residing in Chicago and specializing in printing techniques on ceramics. Wandless is also an author, curator, and instructor. His clay work, prints, sculptures, paintings and drawings have been exhibited since 1995 and are collected privately and publicly. He holds a Master of Fine Arts degree from Arizona State University ('99), a Master of Art degree from Minnesota State University-Mankato ('97) and a Bachelor of Fine Arts degree from University of Delaware ('95).

Lot: 247 - Paul Wandless, American (20th/21st century), New Wheels, 2003, oil on canvas, 17"H x 17"W(canvas), 19 1/2"H x 19 1/2"W(frame)

Paul Wandless American, (20th/21st century) New Wheels, 2003 oil on canvas Signed lower right. Signed, titled and dated verso.

Lot: 248 - Paul Andrew Wandless, American (20th/21st Century), Shh Tru, oil on canvas, 34"H x 30"W (frame)

Paul Andrew Wandless American, (20th/21st Century) Shh Tru oil on canvas Signed lower right. Paul Andrew Wandless is an artist currently residing in Chicago and specializing in printing techniques on ceramics. Wandless is also an author, curator, and instructor. His clay work, prints, sculptures, paintings and drawings have been exhibited since 1995 and are collected privately and publicly. He holds a Master of Fine Arts degree from Arizona State University ('99), a Master of Art degree from Minnesota State University-Mankato ('97) and a Bachelor of Fine Arts degree from University of Delaware ('95).