1 Byron Galvez, Abstract Painting (Mexican, 1941-2009)
Untitled, 1977, signed twice lower right horizontally and vertically “Byron-77”, oil on canvas, 41 x 61-7/8 in.; gilt wood frame, 42-7/8 x 63 x 1-3/4 in., original stretcher and tacking edge, incised and abraded surface as made
Provenance: Private Nashville Collection
Estimate: $2,000 - $3,000
3
Roger Von Gunten, Arbol de la Vida (Mexico/Swiss, born 1933)
Tree of Life, 1967, signed lower left indistinctly and dated “67”, oil on canvas, 35-1/2 x 39-3/8 in.; original gilt wood frame, 36-7/8/ x 40-3/4 x 1-1/4 in., original stretcher and tacking edge, cupping, cleavage, surface dirt, accretion; frame with abrasions
Provenance: Gallery Juan Martin, Mexico City, Mexico (label verso) November, 1967; The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $2,000 - $3,000
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American /Modern Art.
2
Maria Antonia Dans, Abstract Landscape (Spanish, 1924-1988)
Mountains and Fields, signed lower left “M-A- Dans”, gouache, oil, and pastel on paper laid on board, 19-1/2 x 28-1/2 in.; gilt wood frame with painted mount, 26 x 35 x 2 in., crackle, flaking with most in area of resist in sky, abrasions, board mounted to painted Masonite; frame with abrasions
Provenance: Private Collection
Estimate: $500 - $700
4
Luis Garcia Guerrero, Paisaje con Fresa y Escarabajo (Mexican, 1921-1996)
A strawberry and bug on a faux wood painted window sill with broken glass, 1966 signed lower right “Garcia Guerrero/1966”, oil on panel, 9-3/4 x 14-1/4 in.; modern wood frame, 10-1/2 x 15 x 7/8 in., good condition; frame with abrasions
Provenance: Galeria De Arte Mexicano, Mexico City, Mexico, July 1967; The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $2,000 - $3,000
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
5 Omar Rayo, Ovalo Destruido No. 1 (Mexico/Columbian, 1928-2010)
Abstract composition of a deconstructed oval, circa 1955-65, signed verso “Omar Rayo”, inscribed with title on stretcher oil on canvas, 20 x 24 in.; original lattice style frame, 20-5/8 x 24-5/8 x 1-1/2 in., original stretcher and tacking edge, remnant of artist’s original label verso, verso ‘sealed’ with paint; frame with wear
Provenance: The Contemporariel, November 1967; The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $8,000 - $12,000
Omar Rayo, a renowned Colombian artist, most famous for his geometric paintings, started his career as an illustrator and caricaturist in Bogota. It was during this time he began creating works in his first major style he coined “maderismo” (woodism) where he painted imitations of wood panels shaped into portraits. During this time in his life, Rayo was highly influenced by Surrealism and the human figure, drawing inspiration from artists like Salvador Dali and Yves Tanguy. By 1948, Rayo was exhibiting his artwork in major cities throughout Colombia. In 1954, Rayo began his four year long journey throughout South America, exhibiting in Ecuador, Peru, Brazil, Uruguay, Argentina and Chile. The result of his travels inspired his “Via Sur” series, in which completely pivoted from his earlier style of figurative surrealism into one of illustrious and bold geometric compositions. This is when Rayo’s art became permanently enriched by his exposure to the visual culture of pre-Hispanic life. This is also where he found inspiration for his popular limited color palette. Spanish literature was another major influence for Rayo, as he met with literary and political icons, Pablo Neruda and Jorge Luis Borges during his travels. Rayo was then active in Mexico City, a global center in Latin America for creatives. Here, inspired by artistic minds and eyes from around the world, Rayo began his work with intaglios, honing in his printmaking skills that attracted the attention of American elites like Jasper Johns. Rayo would then spend several years in New York, where he became involved in the Op Art movement, introducing his geometric paintings and optical illusions to the city. He established himself as an influential artist in the Americas through a lifetime of passion and hard work, having exhibited his art over 200 times across the globe. Rayo was as much an inspiration to Latin America as he was inspired by it, leaving an everlasting lasting impression on the art community.
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
6
Manuel Felguerez, Distinto Niveles (Mexican, 1928-2020)
A small, fine composition, 1967, signed lower right “Felguerez 67”, oil on paper mounted on Masonite, 10 x 14-3/8 in.; gilt wood frame, 11 x 15-5/8 x 7/8 in., some abrasions, limited crackle in heavy impasto, small losses at edges; frame with abrasions
Provenance: Galeria Juan Martin, Mexico City, Mexico (label verso); The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $3,000 - $5,000
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
7
Carlos Granada-Arango, Capital (Columbian, 1933-2015)
Abstract figural composition, signed upper right side “Granada”, oil on canvas, 78-1/4 x 543/4 in.; unframed,original strainer and tacking edge, surface dirt, abrasions, some crackle, some spotting, canvas slightly loose
Provenance: The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $1,000 - $2,000
Colombian painter Carlos Granada-Arango graduated from the School of Fine Arts of the Universidad Nacional in Bogota, where he earned a teaching degree in painting and drawing. He then completed a specialization in mural painting and engraving at the Academia de San Fernando in Madrid, Spain.
Professor and director of the Museo de Arte and Art Department of the Universidad Nacional, in 1972 Granada-Arango founded Taller 4 Rojo with Umberto Giangrandi, Nirma Zarate and Diego Arango. In 1963 he won First Prize at the 15th Salon of Colombian Artists with the work entitled Solo con su Muerte (Only with His Death), a piece that alluded to the violence in his country.
His impressionistic paintings focused on representing social, political and sexual themes through crude and striking images that confronted viewers with the reality in Colombia. Some of his most emblematic paintings include works from the series “The Color of Life, the Color of Death” presented at the Museo de Arte Moderno in Bogota in 1976.” - ArtNexus Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
8
Nano Lopez, Nanimal Sculpture (American/Columbia, born 1955)
Elizabeth, 2007, edition 73/199, annotated, signed, and dated on base “Elizabeth/73/199/Nano/07”, polychromed and lacquered bronze, 26-1/8 x 9-1/2 x 231/8 in., bright polychrome and patina, light surface dust in crevices, otherwise in good condition
Provenance: Private Collection
Estimate: $6,000 - $9,000
Born in Bogota, Colombia, Nano Lopez made sure to integrate the richness of his culture through the bright colors found in his Nanimals Collection. He is inspired by the Colombian marketplaces, famous for their vibrant stands full of fruits and other goods. Nano claims that color called out to him when he began creating Nanimals, and he recognized the sincerity with which these bold, tropical colors reflect cultural inspiration. Through Nanimals, he learned that color can be both serious and joyful. This lot is accompanied by his book titled Bronze & Beautiful.
9
Sigi Zahn, Abstract Pastel (Switzerland/Mexico/Germany, born 1942)
Como empezar la carrera, 1967, signed in pencil lower right “Zahn 67”, original gallery label on mat backing verso inscribed “Sigi Zahn/pastel/Como empezar la carrera”, pastel on paper, sight 14-1/2 x 12 in.; gilt wood frame, 20 x 17-1/2 x 7/8 in., bold color, laid down with mat adhered to margins, slight wave; liner with stains, toning, frame with wear, abrasions, and loss to gilt Provenance: Galeria Antonio Souza, Mexico City, 1967, (label verso); The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $200 - $400
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art. Regarding the artist, Sigi Zahn was active in Mexico from 1964, when he received a travel scholarship from Germany, until 1968. He held a solo exhibition at Antonio Souza Gallery in Mexico City, in 1967, where this pastel was exhibited.
10
Gordon Onslow-Ford, On the Wing, 1946 (California/England, 1912-2003)
An early abstract composition, inscribed in painted margin to the artist’s sister “To Elisabeth Xmas 1946/with Love from/Gordon”, oil on canvas, 16-5/8 x 17-1/2 in.; original lattice type frame, 17-1/4 x 18-1/4 x 1-1/4 in., some retouch and crackle, reconsolidated with Beva; frame with abrasions
Provenance: Collection of the artist’s sister, Elisabeth Onslow-Ford; by descent in family
Estimate: $5,000 - $7,000
17
Martin Friedman, Abstract Painting (New York/Hungary, 1896-1981)
Green Waterfall, unsigned, sketch in pencil verso, oil on canvas, 24 x 12 x 7/8 in.; unframed,impact crackle, stretcher marks, two indentations upper edge, slightly loose canvas, two small holes to canvas center right from staples, canvas edges with wear
Estimate: $300 - $500
18
Lamar Dodd (American/Georgia, 1909-1996)
Untitled, abstract landscape, 1961, signed and dated lower right “Lamar Dodd ‘61”, oil on canvas, 10 x 20 in.; gilt wood and composition frame, 151/8 x 25-1/4 x 1-3/4 in., light surface dirt, otherwise good condition; frame with minor wear and abrasions
Provenance: Property from a Private Collection sold to benefit the University of Georgia Foundation
Estimate: $800 - $1,200
19
Thomas Downing, Early Abstract Composition (District of Columbia, 1928-1985)
Untitled, circa 1950, unsigned, gouache on paper, 135/8 x 20-1/2 in.; modern frame, 21-3/8 x 27-5/8 x 3/4 in., taped to verso of mat with archival tape, good condition; frame with abrasions
Provenance: The artist; by descent in family
Estimate: $2,000 - $3,000
Most noted for being a color field artist, Downing, experimented during his early years as he travelled in Europe in 1950 through 1951. He studied at the Académie de la Grande Chaumière and became a studio assistant to Fernand Léger, a second generation cubist. As with earlier in New York, Downing visited museums and galleries.
Sources: The Johnson Collection, Spartanburg, South Carolina, thejohnsoncollection.org
20
Thomas Downing, Abstract with Blue Rectangle (District of Columbia, 1928-1985)
Early untitled abstract composition, 1951, “T Downing Paris ‘51” and signed verso, gouache on paper, 31-1/4 x 20-3/4 in.; faux gilt bamboo frame, 39 x 28-1/2 x 7/8 in., 6 in. tear at right edge with old tape residue and stains verso, dried spray mount verso; crackle with some flaking, small losses at edges and corners; frame with abrasions
Provenance: By descent in the family of the artist
Estimate: $1,000 - $2,000
Most noted for being a color field artist, Downing, experimented during his early years as he travelled in Europe in 1950 through 1951. He studied at the Académie de la Grande Chaumière and became a studio assistant to Fernand Léger, a second generation cubist. As with earlier in New York, Downing visited museums and galleries.
Sources: The Johnson Collection, Spartanburg, South Carolina, thejohnsoncollection.org
21
Thomas Downing, Early Abstract Composition (District of Columbia, 1928-1985)
Untitled, signed lower right “T. Downing Jr”, oil, sand on canvas, 19-3/4 x 27 in.; metal frame, 20-3/8 x 27-1/2 x 1-1/2 in., original stretcher and tacking edge, some crackle, surface dirt, canvas slightly loose
Provenance: By descent in family of artist
Estimate: $3,000 - $5,000
Most noted for being a color field artist, Downing, experimented during his early years as he travelled in Europe in 1950 through 1951. He studied at the Académie de la Grande Chaumière and became a studio assistant to Fernand Léger, a second generation cubist. As with earlier in New York, Downing visited museums and galleries.
Sources: The Johnson Collection, Spartanburg, South Carolina, thejohnsoncollection.org
22
Thomas Downing, Abstract Bird Form (District of Columbia, 1928-1985)
Composition on a yellow field, signed lower right “Downing”, inscribed verso “For/Jeanette/#3”, 21-1/2 x 32 in.; metal frame, 26-1/2 x 36-1/2 x 1 in., hinged in, lower left corner with small loss, some crackle
Provenance: The artist; by descent in family
Estimate: $2,000 - $4,000
Most noted for being a color field artist, Downing, experimented during his early years as he travelled in Europe in 1950 through 1951. He studied at the Académie de la Grande Chaumière and became a studio assistant to Fernand Léger, a second generation cubist. As with earlier in New York, Downing visited museums and galleries.
Sources: The Johnson Collection, Spartanburg, South Carolina, thejohnsoncollection.org
23
Lamar Dodd (American/Georgia, 1909-1996)
Georgia Landscape, signed lower right “Lamar Dodd”, inscribed in pencil verso “#3”, gouache on Arches paper, sheet 17-3/4 x 15-1/8 in.; gilt wood frame, 25-1/8 x 21-1/4 x 1 in., ,bold color, light toning, light foxing, hinged to liner; frame with wear and abrasions
Provenance: Property from a Private Collection sold to benefit the University of Georgia Foundation
Estimate: $1,000 - $1,500
24 Lamar Dodd (American/Georgia, 1909-1996)
Grand Coulee Dam, signed lower right “Lamar Dodd”, watercolor and charcoal on paper, sight 12-7/8 x 18-7/8 in.; modern gilt wood frame, 22-1/2 x 28-1/2 x 1 in., not examined out of frame, good color; frame with light wear
Provenance: Property from a Private Collection sold to benefit the University of Georgia Foundation
Estimate: $800 - $1,200
26 Raeford Bailey Liles (American/Alabama, 1923-2018)
Untitled, not visibly signed, collage with acetate, 22-1/4 x 15 in.; unframed,some wrinkles in the acetate application
Provenance: Property of the Birmingham Museum of Art sold to benefit the Baker Acquisition Fund
Estimate: $500 - $700
Lyles enlisted in the Navy in 1943 and served as a fighter pilot in WWII. Upon returning to the US he studied at Auburn University with Maltby Sykes but also received an engineering degree. He and his wife traveled to Paris to study at Atelier Fernand Leger under the GI Bill.
25 Lamar Dodd (American/Georgia, 1909-1996)
Lighted Gantry, circa 1970, signed lower right “Lamar Dodd”, conte crayon on paper, sight 14-1/2 x 21-1/2 in.; black and silver wood frame, 25-1/8 x 31-7/8 x 1 in., not examined out of frame, paper under glass and in good condition; frame with some wear
Provenance: Property from a Private Collection sold to benefit the University of Georgia Foundation
Estimate: $800 - $1,200
27
Rolph Scarlett, Geometric Composition (Canadian, 1889-1984)
gouache over pencil, 5-1/2 x 6-3/4 in.; parcel gilt and painted wood frame, 13-3/8 x 15-1/4 x 1-1/2 in., surface dirt, some scuffing; frame with abrasion at corners
Provenance: Michael Kulicke, son of the artist
Estimate: $800 - $1,200
28
Attributed to Werner Scholz, Village (German, 1898-1982)
Row Houses, circa 1957, signed indistinctly lower right “WM S”, oil on canvas, 28-3/4 x 32 in.; parcel gilt and painted wood frame, 36-5/8 x 39-5/8 x 1-1/2 in., original stretcher and tacking edge, canvas loose, crackle, cupping, surface dirt; frame with abrasions
Provenance: Private Collection Estimate: $3,000 - $5,000
30
Richard Aberle Florsheim, Industrial Scene Painting (Illinois, 1916-1979)
29
Claude Venard, Un Phare et Les Bateaux Pres d’un Quai (French, 1913-1999)
Moored boats, lighthouse in distance, circa 1950s, signed lower right “C. Venard”, oil on canvas, 21-1/4 x 28-3/4 in.; gilt wood frame with linen panel, 28 x 35-1/2 x 2-3/8 in., laid down on Masonite, center void, upper right with area of cleavage, crackle, flaking; frame with abrasions
Provenance: Private Collection, Virginia Estimate: $1,000 - $2,000
Catalyst, signed lower center “R.O. Florsheim”, gallery label on stretcher verso “Catalyst/Richard Florsheim...”, oil on canvas, 36-3/8 x 24-1/8 in.; modern wood frame, 44-1/8 x 32-1/8 x 2-1/2 in., canvas in overall good condition; linen liner and frame with staining upper center and along frame edge, frame with light wear and abrasions
Provenance: Property from a Private Chicago Estate Estimate: $800 - $1,200
31
Richard Aberle Florsheim, Cityscape Painting (Illinois, 1916-1979)
Blast Furnaces, signed lower center “R.O. Florsheim”, gallery label on stretcher verso “Blast Furnaces/Richard Florsheim...”, oil on canvas, 18 x 24 in.; modern wood frame, 24-3/8 x 30-3/8 x 1-7/8 in., canvas with small areas of crackle, center left with area of fluorescence; frame with wear and abrasions, loss to gilt trim
Provenance: Property from a Private Chicago Estate
Estimate: $800 - $1,200
32
Richard Aberle Florsheim, Modernist Painting (Illinois, 1916-1979)
Catalytic Towers, signed lower right “R.O. Florsheim”, gallery label verso, “Catalytic Towers/Richard Florsheim...”, oil on gesso board with wired light system verso, 18 x 12 in.; gilt wood frame, 23-7/8 x 17-7/8 x 1-7/8 in., no visible signs of inpainting, light surface dirt; linen liner and frame with stains, scratches, and abrasions, frame with chips and small areas of loss to gilt
Provenance: Property from a Private Chicago Estate
Estimate: $800 - $1,200
33
Nicolo Simbari, Via di Monserrato (Italian, 1927-2012)
View of a Market, Rome, signed lower right “Simbari 66”, oil on canvas, 25-5/8 x 31-7/8 in.; original gilt wood frame, 32-3/4 x 39 x 2 in., surface dirt; frame with abrasions
Provenance: Private Collection, North Carolina
Estimate: $5,000 - $7,000
34
Dr. Preston Russell, France Inspired Painting (Savannah, 1941-2021)
Morning Market at Place Maubert, Blvd. St. Germain, Paris, 2001, signed and dated lower left “Preston Russell 2001”, titled, signed, and dated in ink on canvas verso, oil on canvas, 25 x 30 in.; parcel gilt wood frame, 29-1/2 x 34-1/2 x 2-1/4 in., canvas in good condition; frame with wear and abrasions, some chips to wood
Provenance: Private Collection
Estimate: $500 - $700
35
Leonard Nierman Tapestry, Genesis: Creation Message (New York/ Mexican, 1932-2023)
Abstract composition, signed lower left “Nierman”, hand tied woolen tapestry, 80 x 56-3/4 in., with rod pocket,small point of fraying at one edge
Provenance: Bryant Galleries, purchased in late 1990s; Private Collection, Asheville, North Carolina
Estimate: $2,000 - $3,000
36
Philip Anthony Moose, Two Door Panels (North Carolina, 1921-2001)
Two abstract painted door panels: White and Black Composition/400, signed lower left “Philip Moose”, 80 x 20 x 1-1/2 in.; Panel Orange and Black-/400, signed lower left “Philip Moose”, 80 x 18 x 1-3/8 in., both mixed media including paint with sediment, creating a dimensional texture surface; both unframed; accompanying framed newspaper article: “His New Show Features Art on Door Panels”, article published by The Charlotte Observer, March 1, 1970; black print frame, 18 x 9-1/8 x 3/8 in., door panels with wear and loss to corners, abrasions, surface dirt, newspaper in good condition, not examined out of frame; article frame with light wear and abrasions
Provenance: Private Collection, North Carolina
Estimate: $1,500 - $2,500
37 Maud Gatewood (American/North Carolina, 1934-2004)
Untitled, Exterior View, 1971, signed lower right “MFG 71”, 32 x 38 in.; black painted modern wood frame, 33 x 39 x 2 in., surface is very good, minor abrasions, some surface accretions, possibly as made; frame with light wear
Provenance: Private Collection
Estimate: $15,000 - $25,000
38 Power Boothe, Red Harvest (New York, born 1945)
Abstract composition, 1987, likely signed and inscribed verso under backing (not removed), oil on canvas, 72-1/8 x 76 in.; wood frame, 74-3/4 x 78-1/2 x 2-1/2 in., original stretcher and tacking edge, surface dirt from mildew, some crackle with related cupping and flaking with most toward edges, some abrasions; frame with abrasions
Provenance: G. E. Corporate Collection (label verso); Heritage Auctions, June 16, 2022, lot 32015, Part II; Private Charlotte, North Carolina Collection
Estimate: $1,000 - $2,000
39
Rochelle Blumenfeld Abstract Painting (Pittsburgh, Pennsylvania, born 1936)
Banner, 1968, signed lower right “Blumenfeld/68”, oil on linen, 60 x 41-1/4 in.; lattice type frame, 60-1/2 x 41-3/4 in., original stretcher and tacking edge, surface dirt
Provenance: Estate of Ethel Howard, Pittsburgh, Pennsylvania, purchased circa 1958; by descent in family.
Estimate: $500 - $700
40 Minna Wright Citron (New York, 1896-1991)
Abstract Composition, 1978 and 1984, signed and dated in pencil lower right “Minna Citron/’78”, two artist labels verso, oil on board, 21-3/8 x 24-3/8 in.; aluminum and wood frame, 25-1/4 x 25-1/4 x 1-1/8 in., taped to backing at lower corners, tape remnants on upper corners, toning, crackle, varnish accretion; frame with wear and abrasions
Provenance: Private Collection
Estimate: $400 - $600
The second artist label originally found verso became detached from backing and is now placed into a plastic sleeve accompanying the lot.
41
Modern Neon Light Wall Hanging Sculpture 20th century, rectangular chrome metal backboard issuing six abstract freeform black acrylic panes held between two neon glass lights, unsigned, wired for electricity, 48 x 12-1/4 x 8-1/4 in., not tested for functionality, surface dust and accretion, some scattered scratches and abrasions to surface
Provenance: According to consignor notes this was purchased from a gallery in Washington, DC; Private Collection
Estimate: $100 - $300
42
Billy Al Bengston, Untitled Composition (California/Kansas, 1934-2022)
Abstract (Puerto Mejia, La Paz), 1976, signed bottom middle “B.A.B”, dated and titled, with artist’s label verso, watercolor on paper, 12 x 15-3/4 in.; original wood frame, 13-1/4 x 17 x 1-1/2 in., floated, good condition, not removed from original frame; frame with abrasions
Provenance: Texas Gallery, Houston, Texas (label verso); Private Collection, California
Estimate: $2,000 - $3,000
43
Tony Hernandez
(American/Georgia, born 1964)
Untitled, White Bowl on Red, multi-media painting on paper, 50 x 38 in.; modern black frame, 56 x 44-1/2 in., floating in frame, pin holes at edges; fine frame with minor abrasions at edges
Provenance: Purchased from the artist
“Tony Hernandez is haunted by photographs of children who perished in the Holocaust. He is also preoccupied with images of boys and girls who struggled through the Great Depression, especially in the ghettos of the Bronx where his grandparents lived. “Unlike adults, children are powerless,” he says. “They’re usually the ones to suffer the most from man’s supreme ability to be ignorant throughout history.” Imbued with a rich symbolism of his own creation, Hernandez’s paintings of pre-adolescent boys and girls grapple with this powerlessness, as well as the “mind of wonder” that sustains children even in the darkest hours.
Over the past several decades, Hernandez has singlemindedly explored these themes, working exclusively on handmade birch wood panels using the technicallydemanding process of encaustic painting. With a deceptively simple visual vocabulary, depicting children adrift in a featureless landscape, he creates vignettes of a subtle psychological power. His poignant compositions are distilled down to their emotional essence, granting viewers entry into a world of transcendence.” - Modernism Gallery, San Francisco
Estimate: $3,000 - $5,000
Through familiar themes of pain and loss, Tony Hernandez creates artworks through encaustic paintings that blend powerlessness with possibility. Hernandez has felt called to interpret some of these grievances through his common paintings of children found in suffering areas and time periods, from children of the Holocaust to those found in the ghettos of the Bronx. All of these children have had to face varying repercussions of ignorant actions made by adults. What Hernandez emphasizes in his work is how these children often turn to imagination to survive, and it is at this point where something horrific can be turned into something beautiful. These children can often be found depicted floating on a plain wooden background, creating an unavoidable focus on his subject. His works are often simple in composition and at the same time overflowing with sentiment. Tony Hernandez is an internationally recognized artist and currently works from his studio in Charlotte, North Carolina.
44
Ron Arad Magis Voido Chair red, amorphous design, signed “Made in Italy, Voido design by R Arad for Magis”, 30 x 43 x 22 in., staining, scuffing and scratching to surface
Provenance: Private Collection, Arden, North Carolina
Estimate: $600 - $900
45
Pair of Attributed George Nelson for Herman Miller Steel Lounge Chairs white painted steel frames with turquoise fabric, black painted wooden armrests, 26 x 28-1/2 x 29 in., wear to black paint, some minute chipping to white paint on edges
Provenance: Private Collection, Nashville, Tennessee
Estimate: $800 - $1,200
46
Pair of Frank Lloyd Wright Tables for Henredon square end tables, marked “452-C, 10-55”, 12 x 26 x 26 in., restoration to one corner top, scratches and wear consistent with age and use
Provenance: Private Collection
Estimate: $300 - $500
47
Danish Sterling Teapot and Open Sugar, Karl Gustav Hansen; Book late 20th century, square body and handle, form with circular lid, ”Anno/1984” in dotted circle, 559 (design no.), Hans Hansen, marks for Karl Gustav Hansen “Ekspl. 6”, 45.18 oz. T., teapot 6-3/4 x 7-3/4 x 4-1/2 in. and open sugar 3-3/4 x 3-3/8 x 3-1/4 in.; with copy of the book Karl Gustav Hansen: Sølv : 1930-1994 = Silber : 1930-1994 (Danish Edition) ,light scratches an average wear
Provenance: purchased from Hans Hansen silver, with original receipts; Private Collection, Charlottesville, Virginia Estimate: $1,500 - $2,000 Karl Gustav Hansen was one of Denmark’s top silversmiths in the Scandinavian Modern period, creating high-quality modernist designs that shaped silver craftsmanship in Denmark and Scandinavia. Under his leadership, Hans Hansen’s firm employed prominent silversmiths like Bent Knudsen, Allan Scharff, and Bent Gabrielsen. Despite the rise of automation, Hansen remained committed to traditional handcraft methods throughout his 60-year career.
Son of renowned silversmith Hans Hansen, Karl started as an apprentice in his father’s workshop in 1930. His jewelry designs broke new ground with geometric forms, influencing the field. In 1932, he introduced the “Future” series, avant-garde pieces combining strict lines with unexpected angles.
After his father’s death in 1940, Karl Gustav took over Hans Hansen during a difficult time of war and occupation. Under his leadership, the business expanded, and he served as a guest professor at the University of Indiana in 1959. He led Hans Hansen until 1987, collaborating with sculptors like Henry Moore. Hansen’s work is represented in museums worldwide, including the V&A and The Metropolitan Museum of Art. The company was bought by Georg Jensen A/S in 1992 and production in Kolding later closed.
48
Henning Koppel for Georg Jensen Caravel Salad Set mid/late 20th century, sterling bowl and tines, marks for Georg Jensen, 6.4 oz. T., 10-1/4 in., light scratching and minor wear
Provenance: Property from a Private Chicago Estate
Estimate: $200 - $400
49
Edward Moulthrop (American/Georgia, 1916-2003)
Leopard Maple Acer Rubrum Turned Vessel, signed, titled, and numbered “018880” on base, 5 x 14-3/4 x 14-3/4 in., some scratches to surface, notably at underside and base, glaze void on top, surface dust/accretion
Provenance: Purchased from the artist in the late 1980’s by Marianne Lambert; by descent to the consignor
Estimate: $3,000 - $4,000
50
Custom Designed Glass Amorphic Coffee Table four part base with metal connectors, amorphic top with 3/4 in. beveled edge, overall size, 17 x 51 x 36 in., in overall good condition, some wear to plastic runners under base, some pitting to metal, minimal scratching to surface consistent with age and use
Provenance: Private Collection
Estimate: $200 - $400
51
Michael Szabo, Metal Vase (American/California, 20th century)
Vase, 2007, signed and dated “9/07/Szabo”, stainless steel with soldered bolts, 9-1/4 x 3-7/8 in., overall good condition, slight wear to base
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
52
George Nelson for Herman Miller Sectional Sofa With Record Storage Cabinet four piece sectional sofa with ebonized birch legs, walnut record/magazine storage cabinet, label in cabinet reads “George Nelson Design, Herman Miller, Zeeland, Michigan”, two sectionals, 32 x 35 x 30 in.; two sectionals, 32 x 35 x 24 in.; storage cabinet, 22 x 34 x 34 in.; overall length for each side when configured, 89 in., reupholstered in 2012, slight wear to fabric, a few small dents to cabinet with some slight surface scratching but in overall good presentable condition
Provenance: Village Antiques at Biltmore, Asheville, North Carolina, June 14, 2012, (accompanied by copy of receipt for $5,200 for sofa and $1,250 for Hi Fi cabinet); Private Collection, Nashville, Tennessee
Estimate: $1,200 - $1,800 With packet of information containing original receipt and a copy of a page from a Herman Miller catalog showing sectional.
53
John Dickinson, Turned Wood Vessel (American, 20th century)
signed and dated on base “John Dickinson + 2000”, turned burlwood, 4-3/4 x 6-1/2 in. diameter,overall good condition
Provenance: Private Collection, Asheville, North Carolina
Estimate: $300 - $500
54
Set of Three Arne Jacobson for Fritz Hansen
Laminated Walnut and Chrome Bar Stools
modern, each with a label “Republic of Fritz Hansen”, 44-1/2 x 18 x 16 in., good condition, some bumps and edge wear to seats, other light wear
Provenance: Private South Carolina Collection
Estimate: $200 - $400
56
55
Mark Doolittle Sculpture, Ancient Icon (California, 20th/21st century)
2010, biologically inspired, finely carved relief composition, signed on wood placard verso “Mark Doolittle”, hand carved African padauk heartwood, inset with polished segment of fossilized Madagascar ammonite, with green calcite crystals, curly maple table frame with corner African padauk key splines, overall 21-3/4 x 33 x 9-7/8 in., good condition
Provenance: Purchased from the artist, 2010; Private Asheville Collection
Estimate: $500 - $1,000
Malcom J. Tibbetts, Growth (California, 20th/21st century)
Cornucopia, signed underside “Malcom J. Tibbetts”, segmented wood sculpture of myrtle, maple, and ebony, 1996, 28 x 19 x 7-1/2 in.; The Art of Segmented Wood Turning: A Step-by-Step Guide by Malcom Tibbetts, Fresno: Linden
Publishing Inc., 2006, good condition
Provenance: Private Collection, Asheville, North Carolina
Estimate: $1,000 - $2,000
Literature: This piece is pictured in The Art of Segmented Wood Turning: A Step-by-Step Guide by Malcom Tibbetts, p. 135 fig. 13-15.
57
Larry Rivers, Parts of the Body, Hair & Eye * (New York, 1923-2002)
Abstract figural composition, 1963, signed verso “Rivers/’63” and titled, collage, oil, crayon, nails and staples, 60 x 40 in.; parcel gilt and painted wood frame, 64-1/4 x 45-1/2 x 2-1/4 in., tear left edge (as made?), not removed from framing; frame with abrasions
Provenance: Gimpel Fils Gallery, London (labels verso); The Estate of Mrs. Lloyd S. Lloyds, Manhattan, New York and Palm Beach, Florida; by descent in the family
Estimate: $50,000 - $70,000
“In 1962 the Mayfair gallery Gimpel Fils began to place increasing emphasis on American art, starting with the exhibition A Selection of East Coast and West Coast American Painters (March 1962). This was followed by the first British exhibition of Larry Rivers, then living in Paris. Rivers had visited England the previous year, when he lectured at the Ealing School of Art. The catalogue included texts by poet John Ashbery and Art News editor Thomas B. Hess, who proclaimed Rivers ‘one of the leaders of the second wave of New York school painting ‘Rivers’s playful figurative art generated substantial interest as part of the movement towards a ‘return to the image’, although its spontaneity owed as much to abstract expressionism as to pop art.
Rivers’s 1962 Gimpel Fils exhibition included Parts of the Body: French Vocabulary Lesson, 1961, which was purchased that year by the Tate Gallery.” - The Tate Gallery, London
58 Larry Rivers, Rainbow Rembrandt III, 1977 (New York, 1923-2002)
A modern derivation from Rembrandt van Rijn, The Polish Rider, circa 1655, in the Frick Collection, color annotations at top, signed lower right “Larry Rivers ‘77”, signed and titled verso, acrylic, graphite on paper, 30 x 34-1/2 in.; fine gold leaf frame and liner with silk mat, 39-1/4 x 43-1/4 x 1-3/8 in., not examined out of frame, foxing, light toning; frame with abrasions
Provenance: Irving Galleries, Palm Beach (label verso); Private Collection
Estimate: $10,000 - $15,000
This modern interpretation of Rembrandt’s composition, is one of at least a few drawings and eventual paintings. Some were exhibited by the Robert Miller Gallery in New York in an October 1977 exhibition titled Rainbow Rembrandt. Rivers was one of the first artists to really merge non-objective, non-narrative art with narrative and objective abstraction. A talented musician, Rivers took up painting in 1945 and studied at the Hans Hofmann School from 1947-48.
59
Ernest Trova Sectional Sculpture, Study/Falling Man (Missouri, 1927-2009)
Horizontal Cut Figure, 1970, edition of 6 with 4 in plated bronze and two in plated steel, this possibly unique and made with larger feet, in eight sections, plated bronze, 60 x 11 x 12 in.; with black painted wood plinth, 20-1/8 x 15 x 15 in., plating seams, abrasions, some areas of plating with lifting; plinth with abrasions
Provenance: Estate of Mrs. Lloyd S. Lloyds, Manhattan, New York and Palm Beach, Florida, purchased from the artist, circa 1970; by descent in the family
Estimate: $20,000 - $30,000
According to the Trova Archive, this configuration debuted in a smaller scale in Trova’s 1971 exhibition at Pace Gallery, New York and was eventually produced in editions with 6", 12 ", 24", and 60" figures. Only four of the 60 inch bronze examples (the present lot) are recorded to have been produced with an additional two at the 60” scale made later in stainless steel. This configuration of the Falling Man has the very rare ability to be reconfigured manually by the viewer without the use of tools. This version is unique in that the feet were made to be a bit more stabile and two anchor points are present as it was to be installed on the yacht Antibes (See Architectural Digest, “Futuristic Decor For Yachting; Ocean Going Urban Elegance” July, 1, 1974, ill., pp 42-45).
In the late 1960s and early 1970s, Ernest Trova was among the most widely acknowledged sculptors working in the United States, resulting in invitations to exhibit in three Whitney Annuals, three Venice Biennales, and Documenta 4 in Kassel, Germany. In 1969 his work was heralded by the New York Times as “among the best of contemporary American sculpture,” and throughout those decades examples of his art were prominently displayed in dozens of major museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Walker Art Center in Minneapolis. Trova’s life-size bronze, Study/Falling Man (Wheelman), once greeted visitors at the Guggenheim’s 5th Avenue entrance, and for more than twenty years he was represented by the estimable Pace Gallery, which inaugurated its first New York space with an exhibition of his work.
60
Tony Hernandez (American/Georgia, born 1964)
From Cold Country, signed verso “Tony Hernandez 2002”, encaustic and gold leaf on wood, 60 x 60 in.; unframed ,surface lightly crazed, minor loss at top edge
Provenance: Purchased from the artist
“Tony Hernandez is haunted by photographs of children who perished in the Holocaust. He is also preoccupied with images of boys and girls who struggled through the Great Depression, especially in the ghettos of the Bronx where his grandparents lived. “Unlike adults, children are powerless,” he says. “They’re usually the ones to suffer the most from man’s supreme ability to be ignorant throughout history.” Imbued with a rich symbolism of his own creation, Hernandez’s paintings of pre-adolescent boys and girls grapple with this powerlessness, as well as the “mind of wonder” that sustains children even in the darkest hours.
Estimate: $8,000 - $10,000
Through familiar themes of pain and loss, Tony Hernandez creates artworks through encaustic paintings that blend powerlessness with possibility. Hernandez has felt called to interpret some of these grievances through his common paintings of children found in suffering areas and time periods, from children of the Holocaust to those found in the ghettos of the Bronx. All of these children have had to face varying repercussions of ignorant actions made by adults. What Hernandez emphasizes in his work is how these children often turn to imagination to survive, and it is at this point where something horrific can be turned into something beautiful. These children can often be found depicted floating on a plain wooden background, creating an unavoidable focus on his subject. His works are often simple in composition and at the same time overflowing with sentiment. Tony Hernandez is an internationally recognized artist and currently works from his studio in Charlotte, North Carolina.
61
Rodney Marshall Winfield, Orpheus and Eurydice (American, 1925-2017)
Abstract figural composition, 1963, with vertical monogram, encaustic on Masonite, 11-7/8 x 9 in.; gilt wood frame, 15-5/8 x 18-3/4 x 1-1/2 in., good condition; frame with minor abrasions
Provenance: Private Collection
Estimate: $500 - $700
62
Rodney Marshall Winfield, Spirit Box (American, 1925-2017)
Portrait of a black woman with stag beetles, tempera on panel inset within a two door wood stand frame, with repousse silver panels featuring various arthropods, an Italian Piazza and figures, the front with snakeskin veneer, overall 22-7/8 x 16-1/2 x 5 in., good condition
Provenance: Private Collection
Estimate: $1,000 - $2,000
63
Antonio Grediaga Kieff Sculpture (Canada/Spanish, born 1936)
Dancer, edition 7/9, signed at base of bronze “Kieff”, polished bronze on black stone base, 22 x 9-1/2 x 6 in., abrasions, small chips in stone base
Provenance: Property from a Private Chicago Estate
Estimate: $600 - $900
64
Antonio Grediaga Kieff Genesis Series Sculpture (Canada/Spanish, born 1936)
Genesis of a Form #1, 1972-1974, edition 7/9, unsigned, identified on gallery label underside, polished bronze on black stone base, 15-1/2 x 14 x 6 in., abrasions with one scratch, loose on base, some fingerprints, chips on base
Provenance: Hokin Gallery, Palm Beach, Florida, No. H174-361 (label underside); Property from a Private Chicago Estate
Estimate: $800 - $1,200
65
Thomas Downing, Woman in a Chair (District of Columbia, 1928-1985)
Unsigned, ink and ink wash on paper, sight 21-1/8 x 16 in.; metal frame, 21-3/4 x 16-3/4 x 7/8 in., waviness, some toning, not examined out of frame
Provenance: By descent in family of artist
Estimate: $300 - $500
Most noted for being a color field artist, Downing, experimented during his early years as he travelled in Europe in 1950 through 1951. He studied at the Académie de la Grande Chaumière and became a studio assistant to Fernand Léger, a second generation cubist. As with earlier in New York, Downing visited museums and galleries.
Sources: The Johnson Collection, Spartanburg, South Carolina, thejohnsoncollection.org
66
Itzchak Isaac Tarkay (Israeli, 1935-2012)
Women in a Cafe, signed lower left “Tarkay”, gallery label on strainer verso, oil on canvas, 30 x 30 in.; gilt wood and composition frame, 39-1/2 x 39-1/2 x 2-3/4 in., canvas with clear accretion lower area, light surface dirt; frame with wear and abrasions, damage and loss from hardware upper center, areas of loss to gilt
Provenance: Private Collection
Estimate: $3,000 - $5,000
68
Giacomo Manzu, The Awakening, 1953 (Italian, 1908-1991)
67 Ben Benn, Torso (New York/Connecticut, 1884-1983)
Nude woman with arms raised, signed lower left “Benn”, oil on canvas board, 6-3/4 x 12-3/8 in.; parcel gilt and painted wood frame, 14-3/4 x 9-1/8 x 1-1/4 in., surface dirt; frame with abrasions
Provenance: Private Collection
Estimate: $300 - $500
Woman Seated Under a Tree, Male Nude, signed lower right “Manzu”, India ink on cream wove paper, sight 10-1/4 x 15-1/8 in.; parcel gilt wood frame, 19-5/8 x 27-3/8 x 1 in., handling creases, light toning, small stain, not examined out of frame; frame with abrasions
Provenance: The Estate of Mrs. Lloyd S. Lloyds, Manhattan, New York and Palm Beach, Florida; By descent in the family
Estimate: $2,000 - $3,000
Exhibited: World House Galleries, New York, New York, organized by The American Federation of Arts, Manzu and Morandi, February-June, 1958 (label verso)
For a similar composition see: Sotheby’s Milan, 26 May 1998, lot 77
70
Edna Hibel Plotkin, Mother and Child (Florida/Massachusetts, 1917-2014)
69
Edna Hibel Plotkin, Portrait (Florida/Massachusetts, 1917-2014)
Lady Wearing Red Hat, signed lower left “Hibel”, oil on board, 11-3/4 x 10-1/2 in.; carved gilt wood frame, 20 x 19-1/8 x 2 in., areas of crackle, yellowed varnish; frame with wear and abrasions, some lotss to detailing
Provenance: Private Collection
Estimate: $300 - $500
signed lower right “Hibel”, inscribed on frame verso “Bought in Palm Beach Florida/1973”, oil on silk, applied to Masonite, 11-3/4 x 8-3/4 in.; carved gilt wood frame, 21-7/8 x 18-7/8 x 1-3/4 in., good condition; frame with wear and abrasions, areas of loss
Provenance: Private Collection
Estimate: $500 - $700
71
Bernard Simon, Figural Sculpture (New York, 1896-1980)
Woman Grooming, circa 1975, signed on base “B. Simon”. carved Rojo Alicante marble, 13 x 10-1/2 x 7-1/2 in., good condition
Provenance: Medici II Gallery, Bay Harbor Islands, Florida, (accompanied by a facsimile document from the gallery); Private North Carolina Collection
Estimate: $300 - $500
73
Edward Schlinski, Satirical Painting (New York, 1920-1983)
72
Mary Whyte (American/South Carolina, born 1953)
Jumble Sale, 1981, signed lower right “Mary Whyte”, oil on canvas, 26 x 30 in., modern gilt wood frame, 30-1/2 x 34-1/2 x 2 in., surface in very good condition, minor abrasions; frame with light wear
Estimate: $2,000 - $3,000
Political speech including Barry Goldwater, signed lower right “E. Schlinski”, gouache on board, 9-1/2 x 11-1/4 in.; silver sectional frame, 14-1/4 x 18-1/4 x 7/8 in., board with wear and chips to edges, surface dirt; frame with wear and abrasions
Provenance: The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $100 - $300
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art. Also, to learn more about the artist, please visit this link: https://www.rooseveltartsproject.org/ed-schlinski
74
Valentina Cruz, Surreal Drawing
(Chile, born 1938)
Cuarto creciente, de la serie paternidad irresponsable, 1972, signed, dated and titled in ink verso “Valentina Cruz - 1972/Cuarto creciente - de la serie paternidad irresponsable”, export authorization stamp verso from Direccion de bibliotecas y museos, Santiago, Chile, ink on wove paper, 31-1/2 x 29-3/8 in.; metal sectional frame, 31-3/4 x 29-3/4 x 3/4 in., loose, paper with toning, slight wave, light staining; frame with abrasions
Provenance: The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $300 - $500
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
Also, To view more works by Valentina Cruz, view this link to access the essay titled Entre lineas y sombras, published by the University of Concepción Gallery: https://issuu.com/pinacotecaudec/docs/valentina_cruz_2021_issuu
75
Mark Beard, a.k.a. Bruce Sargeant, The Rowers (New York/Utah, born 1956)
Men’s sweep rowing, circa 1970s gear, signed upper left “Bruce Sargeant”, oil on canvas, 30 x 40 in.; modern ‘silver’ leaf frame, 37-1/8 x 47-1/4 x 3 in., good condition; frame with abrasions
Provenance: Angela Russo Fine Art Gallery, Massachusetts; Private Collection, Asheville, North Carolina
Estimate: $2,000 - $3,000
76
Hernan Puelma Urzua, Figural Sculpture (Chilean, born 1944)
Mujer recostada (Woman Reclining), signed on base “H Puelma”, aluminum, 17 x 35 x 12 in., both base and body with possibly intentional rough finish with casting anomalies, incomplete welds at seams, abrasions, cracks, areas of rubbing, accretion
Provenance: The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $400 - $600
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
This sculpture is two pieces, the figure is separated from the base.
77
Laura Kennedy, Abstract Composition (American, 20th/21st century)
Untitled, blue abstract, unsigned, 49 x 39-3/4 in.; black painted lattice frame, 511/8 x 41 x 1-3/4 in., good condition
Provenance: Private Collection
Estimate: $300 - $500
This lot is accompanied by two exhibition posters for the artist, one unframed.
78 Lorenzo Quinn, Contemporary Bronze Sculpture (Italian, born 1966)
Time Flies, man passing through an hourglass, 1994, edition 2/4, signature inscribed on sculpture “Lorenzo” with edition inscribed below, bronze, 82-7/8 x 27-1/2 x 27-1/2 in., artwork was rewelded at central point and at joining top ring, accretion, abraded, muddled weathered patina, verdigris to light brown, scratches primarily on base
Provenance: Halcyon Gallery, Mayfair, London, March 26th, 2002, sold for $29,748.12, with accompanying copies of receipt; From a Private Arizona Collection
Estimate: $3,000 - $5,000
Quote accompanied with the sculpture: “Modern man thinks he loses something - time - when he does not do things quickly; yet he does not know what to do with the time he gains - except kill it.”Erich Fromm, The Art of Loving
79 Anita Bucherer-Godeffroy, Surrealist Composition (German/France, born 1902)
Fugadora, 1966, signed and dated lower right “A. C. Bucherer 33/66”, mixed media on cardstock, 15 x 12-1/2 in.; silver sectional frame, 20-3/4 x 18-1/4 x 7/8 in., taped along top edge to liner, remnants of tape verso, light wear along cardstock corners; frame with light wear, mat liner with toning
Provenance: Galeria De Antonio Souza, Mexico City, Mexico, November 1964; The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $200 - $400
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
80 Julian Landa, Surrealist Portrait (Massachusetts, born 1947)
Beauty and the Beast, 1992, signed and dated lower left “Landa 92”, oil on canvas, 28 x 22 in.; wood frame, 32-3/8 x 26-3/8 x 1-3/8 in., canvas with light surface dirt, some small chips to paint; frame with wear and abrasions
Provenance: Private Collection
Estimate: $100 - $300
81
Brian Nissen, Abstract Ink Wash (New York/Mexico/British, born 1939)
Ritual, 1967, signed in ink lower center “Nissen 67”, gallery label verso inscribed “Nissen/Ritual/1967”, ink wash on wove paper, sheet 25-1/2 x 19-1/2 in.; black sectional frame, 25-3/4 x 20 x 3/4 in., Toning, staining, light foxing; frame with wear and abrasions
Provenance: Galeria Pecanins, Mexico City, Mexico (label verso) 1967; The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $100 - $300
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
83
Amorphic Black Cast Stone Side Table round columnar base with three sided top, 17 x 22 x 14 in., minimal surfaces wear consistent with age and use
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
82
Six Arnaldo Miniati Ceramic Knights (Italian, 1909-1979)
Six Assorted Knights, each signed on base “A. Miniati/Firenze, Italy”, two dated “1956”, painted ceramic, tallest 10-1/2 x 4-1/2 x 4-3/4 in., each with anomalies and glaze voids, small chips, breaks, and losses throughout, some surface dust/ accretion; tallest example with repair to neck and loss to back; mustachioed seated example with losses to proper right knee and headdress; scroll example with loss to headdress; seated trumpet example with loss to trumpet
Estimate: $600 - $900
84
Pat Littlefield, Three Fiber and Ceramic Sculptures (American/South Carolina/North Carolina, 20th/21st Century)
Untitled, signed on the bottom of the largest “P Littlefield”, fiber, wood and ceramic, the tallest 35 x 9 in.; winged 22 x 34 in.; face with fiber surround, 15-1/2 in., overall very good.for more information about the artist
Provenance: Private Collection
Estimate: $100 - $200
88
87
John Bozarth “Crazy Cat” Sculpture (American, 20th century)
85
Derek Weidman (American, b. 1987)
Asterion, incised signature to base “Derek Weidman”, lathe turned and carved cherry and holly wood, 6 x 7-1/2 x 10-1/2 in., overall good condition, surface dust/accretion
Provenance: del Mano Gallery (CA); Private Collection, Asheville, North Carolina
Estimate: $1,000 - $2,000
86
Paolo Soleri, Bronze Bell (Arizona/Italy, 1919-2013)
Cosanti Mermaid Wind Bell, signed on mermaid tail “P. Soleri”, artist cipher on bell, cast bronze bell with clapper and two sheet copper fins, 581/4 x 21 x 7 in., verdigris to bronze commensurate with age, some bends to copper elements, some abrasions, wear
Provenance: Private Collection, Nashville, Tennessee
Estimate: $600 - $900
unsigned, label inscribed “John Bozarth, R. Island School of Design Early...” on base, carved and painted wood, detachable legs, bronze whiskers, 13-1/2 x 21 x 15 in., surface dirt, scattered scratches and scuffs to wood, lacking one whisker, minor paint losses
Provenance: Skinner, March 3, 2013, lot 552, sold for $2,460; Private New England Collection
Estimate: $800 - $1,200
Wesley Anderegg (American, b. 1960)
The Villain Cookie Jar, 2000, signed and dated to underside “2000/Anderegg”, multimedia and painted ceramic, 25 x 12 x 12 in., faux painted wood pedestal, 42 x 15 x 15 in., overall good condition, some wear at edges, adhesive putty
Provenance: Connell Gallery, Atlanta, GA; Private Collection, Asheville, North Carolina
Estimate: $1,000 - $1,500
89
Wesley Anderegg (American, b. 1960)
Woman with Sunflowers (cup), 2003, signed and dated “Anderegg/2003”, painted ceramic, 5-5/8 x 4 x 3 in., overall good condition, some adhesive putty to base
Provenance: Connell Gallery, Atlanta, GA; Private Collection, Asheville, North Carolina
Estimate: $200 - $400
91
Terry O’Maley (Maine, 1945-2010)
90
Laurence Biddle, Still Life of Flowers (British, 1888-1968)
Pansies, Geraniums, and Virginia Stocks (No. 19), 1938, signed lower left “Lawrence Biddle/38.”, artist’s labels verso, oil on paperboard, 14 x 21 in.; modern aluminum steeped frame, 20-5/8 x 27-5/8 x 2-1/8 in., good condition; frame with some dents
Provenance: The Estate of Mrs. Lloyd Lloyds, Manhattan, New York and Palm Beach, Florida; by descent in family
Estimate: $800 - $1,200
Under the Arrowhead, 1992, watercolor on paper, artist information labels verso, 21-1/2 x 14-1/2 in.; wood frame, 28-1/2 x 22-1/2 in., not examined out of frame, some slight rubbing to frame
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
92
David A. Williams, Les Saisons Changent (California/Virginia, born 1969)
Impressionistic spring landscape, signed lower right “David Williams”, inscribed verso ” #1645/David A. Williams/Le Saisons Changent”, oil on canvas, 30 x 30 in.; light wood frame, 31-1/8 x 31-1/8 x 2 in., clean surface, minor wear to corners, some crackle along canvas edges; frame with light wear
Estimate: $600 - $900
93
David A. Williams, Autumn (California/Virginia, born 1969)
Impressionistic fall landscape, signed lower right “David Williams”, inscribed verso “#1564/”Autumn”/David A. Williams”, oil on canvas, 30 x 40 in.; light wood frame, 31 x 41 x 2 in., clean surface, overall good condition; frame with light wear
Estimate: $600 - $900
94
Oren Sherman Original Illustration, LL Bean Catalog Cover (Massachusetts, 20th/21st century)
South East Lookout, the original cover design for the L.L. Bean Summer 2001 catalog, signed lower right “Oren”, gouache on archival board, sight 18-1/8 x 241/4 in; wood frame, 27-7/8 x 33-3/8 x 1 in., not removed from archival framing, good condition; frame with minor abrasions
Provenance: Acquired from the artist; Private Collection
Estimate: $800 - $1,200
Very few original works of art appear on the market from this highly respected artist/designer. Sherman is “A Professor at Rhode Island School of Design,..[who] specializes in storytelling, branding, concept design, and entrepreneurship. He collaborates with great brands to craft engaging experiences.” See: https://www. orensherman.com/
This lot is accompanied by Oren Sherman’s letter of authenticity on his letterhead.
95
Paul Vincent, Large Watercolor (Iowa/North Carolina/Georgia, 1949-2009)
Spotted Lilies, unsigned, watercolor on paper, sight 45-1/4 x 58-3/8 in.; silver painted wood frame, 50-1/8 x 63-3/8 x 1-3/4 in., bold color, paper in good condition, not examined out of frame; frame with wear and abrasions
Provenance: Blue Spiral Gallery, Asheville, North Carolina, purchased for $5,200, 2012; Private Collection
Estimate: $2,000 - $3,000
96
Paul Vincent, Large Watercolor (Iowa/North Carolina/Georgia, 1949-2009)
Poppies, signed in pencil lower left “Vincent”, watercolor on paper, sight 45-5/8 x 57-1/2 in.; black painted wood frame, 52-1/8 x 63-7/8 x 1-1/8 in., bright, bold color, overall good condition, not examined out of frame; frame with wear and abrasions, chips
Provenance: Blue Spiral Gallery, Asheville, North Carolina, purchased for $5200, 2013; Private Collection
Estimate: $2,000 - $3,000
97
Three Jeremy Lampe Blown Glass Sculptures (Illinois/Missouri, 20th/21st century)
green coupe, ring form handle, applied pink dots, yellow lip wrap, 9-1/2 in.; rattle with green ring handle, two internal glass beads, 6 in.; decanter, pink bowl with applied red dots, blue ring form handle with purple dots, yellow lip wrap, 14 in.; each inscribed “JAMPE” ,natural variations to glass (as made)
Provenance: Purchased from the artist (accompanied by copy of receipt dated April 15, 2011 for $678.40); Private Collection
Estimate: $100 - $300
98
Jenny Lou Sherburne, Seven Ceramic Table Objects (American/North Carolina, 20th century), some signed on base ”Sherburne”, comprising: teapot, 6-1/2 x 7-1/2 in.; two tall goblets, larger 13-3/8 x 5-1/4 in.; three tripod candlesticks, of three sizes, largest 14 x 3-1/2 in.; oval dish, 1-5/8 x 7-1/4 in., overall good condition, minor anomalies as made
Provenance: Private Collection
Estimate: $200 - $400
99
Joel Bless Blown Glass Cylinder Lamp (Pennsylvania, 20th/21st century), of cylindrical form in shades of purple and blue, signed near base “Bless/Luke, 11/82”, wired for electricity, with associated lamp harp with rose quartz finial, height of vase 16 in., overall good condition
Provenance: Glasslight, Inc., Kulpsville, Pennsylvania (accompanied by specification sheet); Private Collection
Estimate: $50 - $100
100
Corrie McCallum
(American/South Carolina,1914-2009)
Dance, 1998, signed in pencil lower right “McCallum”, titled inscribed in pencil lower left “Dance”, oil monotype, image 23 x 17 in.; wood print frame; 33-1/2 x 27-1/4 x 1 in., not examined out of sealed frame, paper in good condition with bold color; frame some wear and abrasions
Provenance: Elizabeth O’Neill Verner Studio, Charleston, South Carolina (label verso); sold on May 20, 2022, $2,200, Hampton III Gallery (label verso); Private South Carolina Collection
Estimate: $200 - $400
101 S. Tucker Cooke
(American/North Carolina, born 1941)
Cauliflower on a Pedestal, 1985, signed and inscribed indistinctly, mixed media on paper, 30 x 22 in.; sectional gilt metal frame, 37-3/4 x 29-1/2 x 1-1/2 in., floated, slight wave to paper, light toning, some areas of discoloration; frame with light wear and abrasions
Provenance: Private Collection, Biltmore Forest, North Carolina
Estimate: $1,000 - $2,000
102
Bruce Brainard, Landscape (Utah/Idaho, born 1962)
Sunrise, 1999, signed lower right “Bruce Brainard/’99”, oil on canvas, 72 x 48 in.; black modern wood frame, 75-1/2 x 51-1/2 x 3 in., under drawing in sky slightly visible under oil glazing; frame with abrasions
Provenance: Estate of A. Tab Williams, Winston-Salem, North Carolina, founder of Wilco Hess LLC; by descent in family; Sold to benefit Habitat For Humanity of Forsyth County
Estimate: $1,000 - $1,500
103
Bruce Brainard, Fallen (Utah/Idaho, born 1962)
Composition with branches, 2003, signed verso “Bruce Brainard/2003”, titled and inscribed with artist’s inventory numbers, oil on canvas, 60 x 54 in.; unframed,small abrasions with paint loss right
Provenance: Gremillion and Company Fine Art, Houston, Texas; Private Collection, Asheville, North Carolina
Estimate: $800 - $1,200
104
Peter Roux, Near A Red Barn
(North Carolina/Massachusetts, born 1965)
Landscape, 1999, unsigned, oil on canvas, 33 x 53 in.; gilt wood frame, 41-1/4 x 61 x 2-1/2 in., canvas with areas of impact crackle, some abrasions to corners; frame with wear and abrasions to corners
Provenance: Raymond Lawrence Gallery, priced at $4,500 (label verso); Sold to benefit Habitat For Humanity of Forsyth County
Estimate: $800 - $1,200
Peter Roux has been active in Asheville, North Carolina since early 2017. Until recently, Peter had a studio in the Rivers Arts District, an area in Asheville that was severely destroyed during Hurricane Helene in October of 2024. Peter is currently in the process of building his new studio on his home property in the Asheville area. He is represented by various galleries around the country.
106
Peter Roux, Clearing (Memory) no. 2
(North Carolina/Massachusetts, born 1965)
Landscape, 1999, unsigned, oil on panel, 18 x 24 in.; gilt wood frame, 24 x 30 x 2 in., panel with indentations lower left margin, abrasions along edges and corners; frame with some wear and abrasions
Provenance: Sold to benefit Habitat For Humanity of Forsyth County
Estimate: $500 - $700
Peter Roux has been active in Asheville, North Carolina since early 2017. Until recently, Peter had a studio in the Rivers Arts District, an area in Asheville that was severely destroyed during Hurricane Helene in October of 2024. Peter is currently in the process of building his new studio on his home property in the Asheville area. He is represented by various galleries around the country.
105
Peter Roux, Row XX
(North Carolina/Massachusetts, born 1965)
Landscape, 1999, unsigned, oil on canvas, 18 x 24 in.; gilt wood frame, 30-1/4 x 36-1/4 in., canvas with areas of retouch along edges and at lower left; frame with wear and abrasions
Provenance: Sold to benefit Habitat For Humanity of Forsyth County
Estimate: $500 - $700
Peter Roux has been active in Asheville, North Carolina since early 2017. Until recently, Peter had a studio in the Rivers Arts District, an area in Asheville that was severely destroyed during Hurricane Helene in October of 2024. Peter is currently in the process of building his new studio on his home property in the Asheville area. He is represented by various galleries around the country.
107
Peter Roux, Lakeside no. 1
(North Carolina/Massachusetts, born 1965)
Landscape, 1999/2000, signed verso “Peter Roux”, oil on canvas, 36 x 48 in.; black painted wood frame, 42 x 54-1/4 x 2 in., canvas with some minor abrasions along edges, otherwise in good condition; frame with light wear
Provenance: Sold to benefit Habitat For Humanity of Forsyth County
Estimate: $500 - $700
Peter Roux has been active in Asheville, North Carolina since early 2017. Until recently, Peter had a studio in the Rivers Arts District, an area in Asheville that was severely destroyed during Hurricane Helene in October of 2024. Peter is currently in the process of building his new studio on his home property in the Asheville area. He is represented by various galleries around the country.
108
Gordon & Jane Martz, Ceramic Table Lamp (American, 1924-2015, 1929-2007), Grayish Brown Baluster Form Lamp with Abstract Engraved and Punched Decoration, signed near base “Martz”, ceramic and walnut, 31-1/2 x 6-7/8 x 6-7/8 in. with harp, wired for electricity; burlap lined shade, 14 x 14 x 12-3/4 in., not tested for functionality, some minor scratches and abrasions to surface, discoloration to metal elements, surface dust/accretion; shade slightly warped, with some fraying and lifting to lining
Provenance: Private Collection
Estimate: $300 - $500
110
Two Piero Fornasetti or Style Lamps 20th century, each in decoupage and enamel decoration, comprising: baluster form lamp, the body in decoration of central cartouche featuring female with headdress and staff atop faux tortoiseshell ground, 22-1/2 x 7 x 7 in.; baluster form lamp with central cartouche featuring bust of a lady atop swirling white and gilt ground, 20 x 7 x 7 in., each untested for functionality, surface dust and accretion, scattered spotting and discoloration to brass
Estimate: $600 - $900
109
French Porcelain Vase Mounted as Lamp, possibly Piero Fornasetti 20th century, with chalice form body atop cylindrical pillar, the porcelain body featuring gilt medallions with classical figures atop swirling white ground, 28 x 8-3/4 x 8-3/4 in., untested for functionality, surface dust and accretion, scattered spotting and discoloration to brass
Estimate: $400 - $600
111
Mid Century Design Lucite and Glass Floor Lamp square base, frosted Lucite, round glass shelf, to socket, 52 x 24 x 24 in., crazing to middle and top support, professionally re-wired
Estimate: $200 - $400
113
Three Lara Moore Bella Bella Arts Side Tables 21st century, each with decorated and heavily lacquered tops, black painted metal legs, each signed “Lara Moore, 2001”, 16 x 16 x 24 in., scratches to surface consistent with age and use, loss to one corner
Provenance: Private Collection
Estimate: $200 - $400
Accompanied by catalog for Bella Bella Arts.
112
Suite of Three Donghia Upholstered Club Chairs modern, comfortable chair set with 1960s style upholstery on chromed steel sprung frames, labels at underside for Donghia and Landy Gardner, 39-1/2 x 25 x 27 in., excellent condition with only light wear from use
Provenance: Private Nashville Collection
Estimate: $500 - $700
115
Jules Huemann for Metropolitan Love Seat and Chair chrome frames, geometric black and tan fabric, labels read “Metropolitan, Imported from San Francisco”, 25 x 37 x 22 in., plush fabric in overall good condition, slight area of wear along back edge of club chair, minimal pitting and scratching to surface of chrome
Provenance: Private Asheville North Carolina Collection
Estimate: $1,000 - $1,500
116
Pair of Russell Woodard or Style Sculptura Spring Base Lounge Chairs woven metal web seats and arms, 36 x 28 x 29 in., in good condition
Provenance: Le Shoppe Modern, Keego Harbor, Michigan, March 2018 for $2,000; Private Collection, Nashville, Tennessee
Estimate: $600 - $900
114
Pair of Jeff Covey Model 6 Aluminum Stools steel and aluminum, adjustable height, marked, “Jeff Covey Design, Pat Pend. USA”, 24 x 18 x 18 in., scratching to surfaces consistent with age and use
Provenance: Gabriel Ross Modern Furniture, Victoria BC, February 2018 (accompanied by copy of receipt for $520); Private Collection, Nashville, Tennessee
Estimate: $200 - $400
118
117
Pair Mid Century Modern Velvet and Glass Wall Shelves brown velvet upholstery, mirrored arch with butterfly corners and keystone, glass shelves and columns, 29 x 12-3/8 x 6-1/2 in., some picked and pulled threads, fading and discoloration to velvet, some rubbing and loss to velvet at edges, surface dust/accretion, some lifting/looseness to upholstery, notably at backing, discoloration to metal elements; one example with small tear to upholstery at base
Estimate: $200 - $400
John Widdicomb Mediterranean Treasure Chest 20th century, three drawers on round turned feet, carved and paint decorated door fronts, label reads “Wm A. Berkey Furniture Est 1881 A Division of John Widdicomb”, 22 x 26-3/4 x 18 in., two center pulls off, one retained for restoration, surface scratches and losses to surface
Estimate: $600 - $900
119
Adrian Pearsall Walnut Jacks Coffee Table Base for Craft Associates, walnut, lacking original shaped glass top, 15 x 53 x 15-1/2 in., scuffs, marks, missing glass top
Provenance: Private Collection
Estimate: $100 - $300
120
Marc Chagall, La Cirque (French/Russian, 1887-1985) (M. 504),1967, unsigned edition 65/250 without margins, Teriade, Paris, publisher, Mourlot, Paris, printer, color lithograph, 16-13/16 x 12-13/16 in.; fine leaf frame, 30-1/2 x 26-1/4 x 1-1/2 in., floated, full sheet, not removed from archival framing
Provenance: Galerie d’Orsay, Boston, Massachusetts, accompanied by their certificate of authenticity; Private Collection
Estimate: $2,000 - $3,000
123
Salvador Dali, Les Amoureux Portfolio (Spanish, 1904-1989)
Les Amoureux (F. 79-7), 1979, edition I 8/350, 1979, Duall Graphics, Inc, publisher; includes: I. The Garden of Eden, II. Anthony and Cleopatra, III, Lancelot and Guinevere, each signed lower right “Dali”, color lithographs on Arches paper, with framed Certificate of Authenticity on embossed paper, includes justification page, text, portfolio cover, sheets 29-3/8 x 21-1/2 in.; matching gilt wood frames (4), 39 x 30-3/4 x 2 in., good, strong color, some slipping from mounts, not examined out of frames; frames with abrasions; some scuffing of foil and light smudges on portfolio
Provenance: Private Collection
Estimate: $1,200 - $1,800
124
Alexander Calder Lithograph (American, 1898-1976)
Untitled, circa 1964, edition 36/100, signed lower right “Calder”, color lithograph, 19-1/2 x 25-1/2 in; unframed,full sheet, some toning and foxing, some scuffing of ink, slight paper indentations
Provenance: Private Collection, North Carolina
Estimate: $2,000 - $3,000
121
Marc Chagall Lithograph (French/Russian, 1887-1985)
Reverie (M. 605), 1969, edition 34/75, from Derriere le Miroir No. 182, signed lower right “Mark Chagall”, Maeght, publisher, Paris, Sorlier, printer, color lithograph on double page BFK Rives wove paper, 15 x 22 in.; gilt wood frame, 19-1/8 x 24-1/2 x 7/8 in., full margins with deckled edges, loose and held to backing with picture corners, linear indentation to left margin; frame with abrasions
Provenance: Private Georgia Collection
Estimate: $1,500 - $2,500
122
Marc Chagall, L’Ours et les deux Compagnons (French/Belarus, 1887-1985)
Plate 63 from the portfolio Les Fables de la Fontaine, 1952, edition from the hand-colored edition of 85, aside from the edition of 200, Maurice Potin and Raymond Haasen, Paris, printer, Teriade, publisher, 1952, drypoint etching with hand-coloring, plate 11-1/2 x 9-3/8 in.; gilt wood frame, 26-1/8 x 23-1/8 x 1-1/8 in., toning, not examined out of frame; frame with abrasions
Provenance: Gerald Peters Gallery, Santa Fe, New Mexico, C-6116-4, purchased in 1987 (accompanied by original detached label); Estate of Janet Blakeley, Weaverville, North Carolina
Estimate: $400 - $600
This portfolio was commissioned by Ambroise Vollard in 1927 to illustrate Jean de La Fontaine’s Fables de La Fontaine. Framed. Reference - Patrick Cramer, Marc Chagall The Illustrated Books Catalogue Raisonne, cat #22.
125
Jasper Johns, No. 1, 1976 (New York, born 1930)
(After Untitled, 1975, ULAE 174-179), 1976, edition 55/60, #1 (ULAE 174, Gemini 740), from the portfolio 6 Lithographs, signed lower right “Jasper Johns”, Gemini G.E.L., publisher, with blindstamps and with their inkstamp verso inscribed “JJ76-780”, lithograph on B.F.K. Rives wove paper, image 28-3/4 x 28-1/2 in., sheet 30 x 29-3/4 in.; gilt wood frame, 31-3/8 x 31 x 12-3/4 in., slight waviness to paper, remnants of linen hinging tape verso at two points, two small tears associated with framing points; frame with abrasions
Provenance: Private Charleston, South Carolina Collection
Estimate: $7,000 - $10,000
126
Jasper Johns Exhibition Poster, Two Flags (New York, born 1930)
50th anniversary of the Whitney Museum of American Art, 1980, from the edition of 5000 printed by Stony Johns, Gemini GEL, publisher, lithograph, sheet 45-3/4 x 30 in.; silver sectional frame, 46-1/8 x 30-1/8 x 3/4 in., wave to paper, foxing, toning, staining; frame with wear and abrasions, glass with abrasions, small crack upper left, gap in frame lower right
Provenance: Private Charleston, South Carolina Collection
Estimate: $200 - $400
127
George Rodrigue (Louisiana, 1944-2013)
Sometimes I Feel Like a Blue Suit, signed lower left “Rodrigue”, silkscreen on mahogany panel, 27 x 27 in.; painted frame, 30-1/4 x 30-1/4 x 2 in., some light surface dirt; minor scratches on frame
Provenance: Private Collection, Asheville, North Carolina
Estimate: $6,000 - $9,000
128
Josef Albers, Interaction of Color, 1963
After Josef Albers (Connecticut/North Carolina/Germany, 1888-1976), almost complete from an edition of 2000 includes: 78 annotated folders (lacking two folders, XII-2 and XXIII-3) with original paper guards each containing color screen prints, offset prints, 4 color separation prints, some with additional tipped in leaves and loose instructional tools with cutouts, the text and commentary volumes, Yale University Press, publisher, New Haven and London, 1963, printed cloth covered clamshell case with printed cloth covered slip case, overall 14-1/4 x 5-1/2 x 11 in., some screen prints with light scuffing, otherwise most in good condition, slight toning to edges of some folders, slip case with wear including fraying and separation of fabric at one edge, damp stains, clamshell with fading, damp stain on printed edge, books in good condition with some fading to cover, mainly spine, and light surface scuffing
Provenance: Private Collection
Estimate: $600 - $900
See article: http://albersfoundation.org/alberses/teaching/interaction-of-color
129
Richard Anuszkiewicz, Yellow Reversed (New Jersey, 1930-2020)
1970, signed lower right “Anuszkiewicz 1970”, color lithograph, sight 10-7/8 x 15-7/8 in.; metal frame, 17-1/4 x 22-1/4 x 1 in., some fading and light toning, not examined out of frame
Provenance: Private Collection
Estimate: $200 - $400
130
Jean Baier, Two Abstract Prints (Swiss, 1932-1999)
Untitled, 1972, signed lower right “Baier”, screen print, image 19-3/8 x 35-1/4 in.; Composition 70, 1970, edition 115/200, signed lower right “Baier”, screen print on foil, 23-5/8 x 33-1/4 in.; metal frames, largest 27-7/8 x 39-3/4 x 1-1/4 in., not examined out of frames
Provenance: Property of the Birmingham Museum of Art sold to benefit the Baker Acquisition Fund
Estimate: $200 - $400
131
Marylyn Dintenfass, Two Monotypes, 2001 (New York, born 1943)
Greenwich Series #1 and #7, signed lower left “Dintenfass”, titled and dated, oil monotypes in colors on Arches paper, both images 11 x 7-3/8 in. (27.9 x 18.7 cm), sheets 22 x 15 in. (55.9 x 38.1 cm); matching Black modern frames, 23-1/4 x 17-1/8 x 1-1/8 in., good condition, one with some waviness to image area, not removed from archival framing
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $300 - $500
133
Benjamin Romero, Abstract Etching (20th century)
Banista (Bather), 1967, edition 1/4, numbered, titled, and signed in pencil lower margin “1/4 Banista Benjamin Romero/67”, drypoint etching on paper, plate 8-3/4 x 10-5/8 in., sheet 11 x 13-1/2 in., toning, mat burn, slight waviness, hinged to mat at corners and center edges, remnants of old adhesive verso; liner and frame with stains and abrasions, tape verso
Provenance: Galeria Antonio Souza, Mexico City; The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $100 - $300
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
132
Italo Valenti, Eclipse (Italian, 1912-1995)
1970, edition 84/110, signed lower right “I. Valenti/1970”, titled, color lithograph, 21-5/8 x 29-3/4 in.; unframed,loose, good condition
Provenance: Property of the Birmingham Museum of Art sold to benefit the Baker Acquisition Fund
Estimate: $200 - $400
134
Vita Giorgi (Mexico/Italy, 1933-2001)
En el aire, signed in pencil lower right margin “Vita Giorgi”, inscribed and titled in pencil lower left margin “A-3 En el aire”, inscribed on gallery label verso “Vita Giorgi/Grabado/En el aire...”, polychrome etching, plate 6-3/4 x 6-1/8 in.; modern gilt wood frame, 13 x 11-1/2 x 1 in., not examined out of frame, paper with toning, slight wave; frame with wear and abrasions
Provenance: Galeria de Arte, Misrachi, S.A., Mexico City, Mexico (label verso); The Estate of Rita F. Rofe, Princeton, New Jersey
Estimate: $100 - $300
Rita Rofe, a longtime Princeton, New Jersey educator and resident, and husband Nicolas Rofe began their art collection in the 1960s, selected during their travels in the early years of their marriage. Rita Rofe was multilingual and developed a keen appreciation for art from Latin America and elsewhere, and these are among their earliest group of artists now well established and sought after in the category of Latin American Modern Art.
135
Lloyd Frederick Rees, Storm at Sunset (Australian, 1895-1988)
From the Caloola Suite, 1980, edition of 80, signed and dated lower left in felttipped pen “Lloyd Rees/80”, lithograph, sheet 19-3/4 x 26 in.; unframed,loose, slight handling creases
Provenance: Property of the Birmingham Museum of Art sold to benefit the Baker Acquisition Fund
Estimate: $100 - $300
137
Letterio Calapai, Portfolio
(New York/Illinois/Massachusetts, 1901-1993)
Twenty Five Original Wood Engravings Inspired by Thomas Wolfe’s Look Homeward Angel, a portfolio of proofs designed and engraved by Letterio Calapai, with introduction by Franz Schoenberner, 1948, edition 70/200, signed and editioned in pencil lower margin “70/200 L. Calapai”, red and black ink on cream laid paper, 20 x 13 in.; tan portfolio box, 20-7/8 x 14 x 1 in., all prints in overall good condition, small ink accretion on title page, otherwise very clean; portfolio box with some wear
Provenance: Private Collection, Ann Arbor, Michigan
Estimate: $300 - $600
This lot is accompanied by an exhibition catalog printed in Italian, signed in ink by artist; Memento, 1987, woodblock print greeting card, black ink on cream wove paper, titled and signed in pencil lower margin “Memento L. Calapai”; small retrospective booklet, scanned and copied on printer paper; and two prints of newspaper articles regarding artist.
136
Four Color Etchings by Christopher Castle (California/British, born 1946)
Megalithic Mounds II, 1977, 3/20, 30-3/8 x 20-3/8 in.; Megalithic Mounds
Metamorphosis, 1976, 3/70, 30-5/8 x 20-3/8 in.; Glendalough I, 1976, 13/20, The Round Tower, 30-1/2 x 20-3/8 in.; Glendalough Twilight Textures, 30-3/8 x 20-3/8 in., all signed “Christopher Castle”, inscribed and titled; unframed, in acid free mats,all held by corners to mounts, good condition
Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund
Estimate: $100 - $300
138
Martin Bradley, Three Chess Pieces (British, born 1931)
87/100, signed lower right “Martin Bradley”, lithograph, sight 21-1/2 x 28-5/8 in.; metal frame, 33-3/8 x 40-1/2 x 1 in., rolling creases with some ink loss, not examined out of frame
Provenance: Private Collection
Estimate: $100 - $300
139
Marko Spalatin, Pamul V (American, born 1978)
1977, AP edition aside from the edition of 70, signed lower right “Marko Spalatin” screen print, sheet 25-3/4 x 30-5/8 in.; unframed,slight scuffing in purple ink
Provenance: Property of the Birmingham Museum of Art sold to benefit the Baker Acquisition Fund
Estimate: $100 - $300
141
Patricia Tunnell (New York, born 1940)
Bergdorf, Reflections series, no visible signature, one of an edition of 8 (gallery label verso), C print; sight 26-1/2 x 40-1/4 in.; modern black wood frame, 39-3/4 x 53 x 1-1/4 in., not examined out of frame, appears in good condition; frame with minimal wear
Provenance: Private Collection
Estimate: $300 - $500
140
Patricia Tunnell (American, born 1940)
Marilyn Over New York Apartments, no visible signature, black and white print, image not including black margins 37 x 55 in.; modern black wood frame, 41-1/2 x 61-1/2 x 1-1/2 in., not examined out of frame, appears in good condition; frame with minimal wear
Provenance: Private Collection
Estimate: $300 - $500
142
Patricia Tunnell (American, born 1940)
Poodle Parlor, Bergdorff Goodman, Reflections series, not visibly signed, Lambda C print, sight 39-1/4 x 25-3/4 in. modern black wood frame, 51-1/2 x 38 x 1-1/2 in., not examined out of frame, appears in good condition; frame with minimal wear
Provenance: Private Collection
Estimate: $300 - $500
143
Patricia Tunnell
(American, born 1940)
Red Marilyn, Reflections series, inkjet color print, sight 12 x 18-1/8 in.; modern black wood frame, 19-1/4 x 25-1/4 x 1-1/4 in., not examined out of frame, appears in good condition; frame with minimal wear
Provenance: Private Collection
Estimate: $100 - $150
145
Patricia Tunnell
(American, born 1940)
Walk on By, not visibly signed, inkjet color print, sight 17-3/4 x 12-1/4 in.; modern black wood frame, 25-1/8 x 19-1/8 x 7/8 in., not examined out of frame, appears in good condition
Provenance: Private Collection
Estimate: $100 - $150
144
Patricia Tunnell (American, born 1940)
Ballerinas, Reflections series, inkjet color print, sight 18 x 12 in.; modern black metal sectional frame, 25-1/4 x 19-1/4 x 1-1/4 in., not examined out of frame, appears in good condition; frame with minimal wear
Provenance: Private Collection
Estimate: $100 - $150
146
Two Visionaire Fashion Photography Titles
52 Private, photos by Mert Alas and Marcus Piggott, guest edited by Marc Jacobs, sponsored by Louis Vuitton, New York: Visionaire Publishing, numbered 1,904 of 2,500, housed in limited edition Louis Vuitton case designed by Jacobs; 49 Decades, New York: Visionaire Publishing, 2006, containing 12 softcover portfolios with photographic works by individual artists, housed in metallic paper clamshell case,49 with scuffs and abrasions to case, bumped corners, final portfolio with some warping near spine; 52 with some scuffs and abrasions to case, otherwise minimal wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $200 - $400
147 Paper Passion Perfume
“For Book Lovers”, design by Karl Lagerfeld, perfume and book by Geza Schoen, Wallpaper*/Steidl, 2012, housed in book form case containing essays by Lagerfeld, Schoen, German author and artist Gunter Grass, and Wallpaper’s editor-in-chief
Tony Chambers, housed in paper box,minimal wear, bottle unopened
Provenance: Private Collection, Asheville, North Carolina
Estimate: $50 - $100
149
The Beauty of Violence by Karl Lagerfeld
Steidl, 2010, first edition, with slipcase,volume with minimal wear to extremities; slipcase in fragile condition and coming apart
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
148
Two Visionaire Fashion Photography Works
48 Magic, New York: Visionaire Publishing, 2006, numbered 2,200 of 3,000, containing 25 lenticular cards featuring footage from filmmakers and fashion photographers, with 18kt. Van Cleef & Arpels Alhambra charm laid into case, acrylic slipcase; 21 Deck of Cards: The Diamond Issue, New York: Visionaire Publishing, 1997, numbered 1,477 of 3,000, containing a deck of cards, each card suit featuring photos by various fashion photographers, housed in locking dark blue leatherbound case and paper box,light wear to extremities; 48 Magic with some warping and scuffs to slipcase; 21 Deck of Cards with some scuffs, bumps, and wear to box
Provenance: Private Collection, Asheville, North Carolina
Estimate: $200 - $400
150
The Little Black Jacket by Karl Lagerfeld
Steidl, 2012, housed in slipcase,slightly bumped corners, slipcase with some scuffs
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
151
Lady Chatterley’s Lover by D.H. Lawrence, Paul Smith Design
London: Penguin Books, 2006, numbered 227 of 1,000, in embroidered jacket designed by British designer Paul Smith, with striped ribbon bookmark, housed in acrylic slipcase,volume with minimal wear to extremities, very light staining at jacket back; slipcase with some scratches and edge wear
Provenance: Private Collection, Asheville, North Carolina
Estimate: $200 - $400
152
Seven Art and Design Magazines
two issues of Cabana, London: Cabana Magazine Ltd., 2015-2016, issue nos. 3 (cover by Etro), 5 (cover by Gucci with Fiona Corsini insert), each with fabric backed front cover with printed title and border; five issues of Wallpaper*, London: The Wallpaper Group, 2007-2010, issue nos. 103 (two copies, one Dieter Rams cover and one Jeff Koons cover, in plastic dust wrap); 115 (Zaha Hadid cover), 127 (Karl Lagerfeld), 135,all with light wear to extremities, a few handling creases throughout; Dieter Rams Wallpaper* with small tear to front cover at lower edge and back cover with creases
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
153
Leonetto Cappiello Poster, Monnet Cognac (French, 1875-1942)
...un soleil dans un verre/Cognac Monnet, 1927, signed in stone lower right “Cappiello/1927”, Devambez, Paris, printer, 1927, lithograph, sheet 79-1/8 x 51-1/8 in.; modern frame, 84 x 36-1/4 x 1-1/2 in., A-: mounted to papered linen, strong colors, slight toning in margins, soft creases at edges from mounting, some surface scuffing of ink, waviness from humidity, two 1/4 inch tears in upper left margin, small points of lifting or “bubbles”; frame with abrasions
Provenance: Private Collection
Estimate: $2,000 - $3,000
154
Seven Issues of Man of the World Magazine
Man of the World, New York: Man of the World, 2012-1016, issue nos. 1, 2, 8, 8 (special edition), 9, 11, and 15,light wear to extremities, minor warping and handling creases throughout
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
155
11 Issues of V Man Magazine
New York: V Man Magazine, 2004-2012, issue nos. 3, 4, 5 (two copies), 6, 9 (double sided Tom Brady and David Gandy),11, 22, 24, 25, 26,all with light wear to extremities, some scuffs and small tears to spine edges, a few handling creases
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
156
Nine Issues of Man About Town Magazine
London: Visual Talent Ltd, 2009-2022, comprising: issues Spring/Summer 2009, Autumn/Winter 2009, Spring/Summer 2012 (with six art photography postcards, one by William Wegman laid in in sleeve), Autumn/Winter 2014, Spring/Summer 2015, Autumn/Winter 2017, Winter 2018/Spring 2019, Chapter 2 2019, Spring/ Summer 2022,all with light wear to extremities and scattered handling creases throughout; Spring/Summer 2012 plastic sleeve housing postcards adhered to page (some lifting and resulting tear to page), 3-1/4 in. tear to front cover with interior tape repair; Autumn/Winter 2017 with creased corner at front cover and small tear and lifting at spine
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
157
14 Men’s Fashion Magazines
four issues of Hercules, Barcelona, Spain: Magna Productions S.L., 2009-2011, issue nos. 03, 05, 09, 10; four issues of Vogue Hommes International, Paris: Conde Nast International, 2009-2015, issues nos. 9, 10, 13, 21; five issues of L’Uomo Vogue, Milan: Edizioni Conde Nast, 2006-2016, issue nos. 371, 374, 384 (Michael Jackson, in dust wrapper), 396, 469,all with light wear to extremities, some handling creases and scuffs to spines
Provenance: Private Collection, Asheville, North Carolina
Estimate: $50 - $100
159
Four Modern Art Books
158
11 Assorted Fashion/Photography Publications
including: Darius, Afternoon Production, 2013, issue no. 1; All American by Bruce Weber, Little Bear Press, 2001, in dust wrapper, unopened; three issues of Garage No. 6 Magazine, issues Fall/Winter 2011, Fall/Winter 2013, Spring/Summer 2014; two issues of Flaunt, Los Angeles/New York: Flaunt, 2013-2014, issues 133 (The List Issue) and 128 (The Context Issue), in dust wrapper; and four others (see additional photos for titles),light wear to extremities, some minor handling creases throughout, minor warping to covers
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
160
Three Bessie Smith Moulton Miniature Artist’s Books
Bibelots set comprising: Sui Spiritus, Portland, Maine, 2003, numbered 7 of 23, signed by Moulton; 23 Sins, Falmouth, Maine, 2003, numbered 3 of 23; 13 Superstitions, Portland, Maine, 1997, numbered 3 of 13; handmade artist’s books bound in black cloth and housed in folding black cloth clamshell case,fine, minimal wear to case
Provenance: Private Collection, Asheville, North Carolina
Estimate: $100 - $300
four titles, including: Paul Gauguin: A Sketchbook, text by Raymond Cogniat, New York: Hammer Galleries, 1962, three volumes (English text, French Text, and Facsimile sketchbook) in slipcase, numbered 402(?) of 1000; Drawings for Dante’s Inferno by Rico Lebrun, New York: Kanthos Press, 1963; Vasarely: Plastic Arts of the 20th Century, ed. Marcel Joray, Switzerland: Editions du Griffon Neuchatel, 1965; Victor Vasarely by Werner Spies, New York: Harry N. Abrams Inc., wear to extremities, lacking dust jackets; Spies title binding popped and unstable, pages loose, some scuffs and tears to cloth
Provenance: Private Collection Estimate: $200 - $400 edition of 175. Printed by Mourlot, Paris. Published by Alba Editions, Inc. New York.
161
Seven Art/Literature Titles
seven volumes total, including: The Art of Romare Bearden: The Prevalence of Ritual, text by M. Bunch Washington, New York: Harry N. Abrams Publishers, 1972, with dust jacket; St. Trinian’s: The Entire Appalling Business by Ronald Searle, New York: Rookery, 2007, with dust jacket; Ulysses by James Joyce, illustrated by Eduardo Arroyo, New York: Other Press, 2020, with dust jacket; The Milk of Dreams by Leonora Carrington; Where to Go When, Eyewitness; Wood Art Today 2, Schiffer LTD; Objects: USA 2020 by Glenn Adamson,light wear to extremities, some creasing and minor edge wear to dust jackets
Provenance: Private Collection, Asheville, North Carolina
Estimate: $200 - $400
162
21st Volume VI, Flesh & Spirit
Flesh & Spirit, ed. John Wood, South Dennis, Massachusetts: 21st: The Journal of Contemporary Photography/Stephen Albahari, 2004, Photographs by Flor Garduño, Greg Gorman, Ariane Lopez-Huici, Wouter Deruytter, Philip Trager, Jerry Spagnoli, Carol Munder, Robert Stivers, Don Hong-Oai, S.J. Staniski, Dimitris Yeros, Jayne Hinds Bidaut, Christopher Bucklow, Brigitte Carnochan, Julio Pimentel Maciel, Toni Catany, in two volumes (complete) numbered 56 of 125 deluxe copies, signed by photographers, photogravures and planographs printed on French cotton and Chinese tissue papers, each bound in blue cloth with blindstamped and gilt covers, housed in beige cloth clamshell folding cases,fine, minimal wear to extremities
Provenance: Leo & Wolfe Photography, South Dennis, Massachusetts, October 2004 for $2,675 (accompanied by copy of receipt); Private Collection, Asheville, North Carolina
Estimate: $700 - $900
163
Yamamoto Masao, 21st Editions “Prism Series” Title (Japanese, b. 1957), ed. John Wood, 21st Editions/Steven Albahari, numbered 162 of 280, signed by Masao, with additional platinum print, soft bound with handmade Twinrocker paper, housed in clamshell case, fine, minimal wear and scuffs to case
Provenance: Private Collection, Asheville, North Carolina
Estimate: $500 - $700
164
Two Masao Yamamoto Photography Titles
Omizuao, Tuscon, Arizona: Nazraeli Press, 2003, one of 1,000 copies, folding accordion booklet with wood boards, housed in wood case; E, Tuscon, Arizona: Nazraeli Press, 2005, one of 2,500 copies, with dust jacket,minimal wear to extremities, E with some toning/browning to jacket edges
Provenance: Private Collection, Asheville, North Carolina
Estimate: $500 - $700
165
Johannesburg, South Africa Framed Collage (20th/21st century)
Untitled, signed middle right “Nina...”, painted canvas with applied native beads, stone, sand, chip board, 39-1/4 x 27-1/2 in.; painted wood frame, 43-1/4 x 31-1/4 x 1-3/4 in., good condition
Provenance: Private Collection
Estimate: $100 - $300
166
Clayton Bryant Young, Seascape (Colorado, 20th century)
Lava, Water, and Sky, signed lower right Clayton Bryant Young, mixed media on three Polyfiber strainers, 32 x 48 in.; blue painted wood frame, 33-7/8 x 50 x 2 in., light discoloration and wear along edges; frame with wear and abrasions
Provenance: Private Collection
Estimate: $100 - $300
168
Frank Holliday, Abstract Painting (New York/North Carolina, born 1957) Barcelona, 2004, titled, signed, and dated on canvas verso “Barcelona/Frank Holliday/H NYC 04”, oil with mixed technique on canvas, 32 x 40 x 1-1/4 in.; unframed ,bright color, light surface dirt, wear along canvas edges, some stickiness associated with medium
Provenance: Estate of Patricia Parker Washburn, Greensboro, North Carolina
Estimate: $500 - $700
167
Ethelyn Honig, Painting (New York, born 1933)
Golfinopolis, “disaster painting” of friend waving goodbye, plane crashing, and memories from Mexico, 1995, titled, signed, and dated on canvas verso, “Golfinopolis/Ethelyn Honig 1995”, artist inscription to friend verso, oil on primed canvas, 28 x 30 x 1-1/4 in.; unframed,surface dirt, cracks and chips to paint mainly along edges, wear to canvas edges
Provenance: Private Collection
Estimate: $100 - $300
169
Frank Holliday, Abstract Painting (New York/North Carolina, born 1957)
Yellow Blossoms, 2003, titled, signed, and dated in pencil on canvas verso “Yellow Blossoms/Frank Holliday/H 2003 NYC”, oil with mixed technique on canvas, 30 x 22; artist decorated wood frame, 41-1/4 x 33-1/2 x 1-3/4 in., light surface dirt; frame with wear and abrasions, chips to wood, flaking to paint layer
Provenance: Estate of Patricia Parker Washburn, Greensboro, North Carolina
Estimate: $500 - $700