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8"LX5"H MINT CONDITION

Mercedes Pardo, no coa, private collection, medium: acrylic measurements: 50"hx40"w no frame, good condition Biography:Mercedes Clementina Marta del Carmen Pardo Ponte, known as Mercedes Pardo was a Venezuelan abstract art painter. Pardo was born July 29, 1921 (or July 20, 1921, according to her obituary in El País in Caracas, Venezuela. By age 13 she began taking free classes at the Academia de Bellas Artes. In 1941 she joined the Escuela de Artes Plásticas y Aplicadas in Caracas. She was active in painting, printmaking, and collage, and in 1991 the National Art Gallery in Caracas held an exhibition to review her work from 1941 to 1991. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Gordon Cook, no coa, private collection, medium: oil measurements: 34"HX28"W framed, good condition Biography: A painter and printmaker, Gordon Cook became active in the Bay Area California art scene from the time he was married to abstract painter Joan Brown in the 1970s. In fact, Brown painted a portrait of the two of them posed with their dog in the formal garden of the San Francisco War Memorial Opera House. His early paintings were small in size, muted in color, and usually depicted single still-life subjects such as a box, a single flower or a wheel. These works were both very defined and quite expressive with impasto paint application. Before then, his reputation was for printmaking, and after the 1970s, his focus turned to landscape painting. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Drago Prelog, no coa, private collection, medium: acrylic, measurements: 48"wx36"h no frame, good condition Biography: Drago J. Prelog was born in 1939 in Slovenia. Prelog moved with his parents to Austria. From 1954 to 1958, he attended the Bundesgewerbeschule in Graz, focusing mainly on decorative painting. From 1958 to 1962, he studied at the Akademie der Bildenden Künste, where he held a chair in 1969. Drago Prelog was awarded the title of Professor in 1999. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Edgargdo Coghlan, no coa, private collection, medium: oil measurements: 34"wx28"h framed, good condition Biography: Edgardo Coghlan, was a Mexican painter who mostly specialized in watercolors depicting Mexican landscapes and people. His work became very popular during his lifetime, collected by museums, other institutions and Mexican presidents and today can be found in public and private collections in various parts of the world. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Franz Kline, no coa, private collection, medium: oil, measurements: 48"wx36"h no frame, good condition Biography: Franz Kline was an American painter. He is associated with the Abstract Expressionist movement of the 1940s and 1950s. Franz Kline (May 23, 1910 – May 13, 1962) was an American painter. He is associated with the Abstract Expressionist movement of the 1940s and 1950s. Kline, along with other action painters like Jackson Pollock, Willem de Kooning, Robert Motherwell, John Ferren, and Lee Krasner, as well as local poets, dancers, and musicians came to be known as the informal group, the New York School. Although he explored the same innovations to painting as the other artists in this group, Kline's work is distinct in itself and has been revered since the 1950s. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

10"H X 10"L MINT CONDITION

Walter Launt Palmer, no coa, private collection, medium: oil, measurements: 30"w by 24" h no frame, good condition Biography:Walter Launt Palmer was an American Impressionist painter. Palmer's father Erastus Dow Palmer was a prominent sculptor, and the family residence was frequented by his father's friends, notably Frederic Edwin Church All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

John Frederick, no coa, private collection, medium: oil, measurements: 30"hx24"w framed, good condition Biography: John Frederick Peto was an American trompe-l'œil painter who was long forgotten until his paintings were rediscovered along with those of fellow trompe-l'œil artist William Harnett. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Lucio Fontana, no coa, private collection, medium:oil, measurements: 32"w by 28"h framed, good condition Biography: Lucio Fontana was an Argentine-Italian painter, sculptor and theorist. He is known as the founder of Spatialism and exponent of abstract painting as the first known artist to slash his canvases - which symbolizes an utter rejection of all prerequisites of art. In 1927 Fontana returned to Italy and studied alongside Fausto Melotti under the sculptor Adolfo Wildt,[5] at Accademia di Brera from 1928 to 1930. It was there he presented his first exhibition in 1930, organized by the Milan art gallery Il Milione. During the following decade he journeyed in Italy and France, working with abstract and expressionist painters. In 1935 he joined the association Abstraction-Création in Paris and from 1936 to 1949 made expressionist sculptures in ceramic and bronze. In 1939, he joined the Corrente, a Milan group of expressionist artists. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Alfredo Castaneda, no coa, private collection, medium: oil, measurements:43"w by 31"h framed, good condition Biography:Alfredo Castañeda was born in Mexico City on February 18, 1938. He lived in his paternal grandfather's house, surrounded by people for whom drawing and painting was part of daily life, a way of interacting. He is known for his surrealist paintings, often depicting portraits of men with subdued colors. His work has been showcased internationally in the US and many Latin American countries including Mexico. His work is collected across the Americas, Europe and Asia. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Palmer Hayden, no coa, private collection, medium:watercolor, measurements: 43"h by 31"w needs new frame, Biography: Palmer C. Hayden was an American painter who depicted African-American life, landscapes, seascapes, and African influences. He sketched, painted in both oils and watercolors, and was a prolific artist of his era.Hayden moved to Washington, D.C. during his teenage years in order to find work to make a living. He worked as a carrier and an errand boy while finding inspiration for his work from the everyday bustle of the city. It was in Washington, D.C. where Hayden ultimately began to pursue an art career, and where he first encountered an experience with explicit racism. Hayden had placed an ad in the local paper for an artist's assistant, and was bewildered when he was rejected for being African-American upon arriving at the interview. Discouraged, Hayden decided to go into employment as a laborer for the Buffalo Bill Circus and then the Ringling Brothers Circus. He bounced from occupation to occupation with little commitment, then decided to enter the army's black company stationed in the Philippines. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

6"H MINT CONDITION

Marie Hull, no coa, private collection, medium:oil, measurements: 30"h by 24"w framed, good condition Biography: Marie Hull was an American painter from Mississippi. Her work was exhibited in the United States and Europe. In her home state of Mississippi, October 22, 1975, was designated as Marie Hull Day. Some of her paintings are in the permanent collection of the Mississippi Museum of Art in Jackson, Mississippi. Hull taught art at Hillman College in Clinton, Mississippi from 1913 to 1914.[2] One of her students was painter Andrew Bucci.[5] Meanwhile, she also taught African-American schoolchildren at the College Park Clubhouse in Jackson.[6] Hull was a member of the Mississippi Art Association, from which she received a gold medal in 1920.[1] Six years later, in 1926, she won the first prize in a Southern States Art League contest.[1] Three years later, in 1929, she won the second prize at the Texas Wild Flower Painting Competition for her painting of yucca blossoms.With this prize, she covered the tuition fees of an eight-month art school in Europe with painter George Elmer Browne, during which time she "produced over six hundred oils and watercolors that reflected her travels."Over the years, she painted "birds, nature scenes, architecture, portraits, flowers" and "abstract art." Some of her paintings were commissioned by the Works Progress Administration. By the 1930s, her paintings were exhibited in San Francisco, California, New York City, and Paris, France. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Alfons Walder, no coa, private collection, medium: oil, measurements: 33"w by27"h framed, good condition Biography: Alfons Walde was an Austrian artist and architect. Walde was born in Oberndorf (near Kitzbühel) in Tyrol. He produced his first watercolour and tempera paintings during his school days. From 1910 to 1914 he studied architecture at the Technische Hochschule in Vienna, while continuing his education as a painter. In the Danubian metropolis he moved in artistic circles that included Egon Schiele and Gustav Klimt, and he became influenced by Ferdinand Hodler. In 1911 Walde had his first exhibition in Innsbruck, and in 1913 presented four farm pictures at the prestigious Vienna Secession exhibition. From 1914 to 1917 he actively participated in World War I as a Tyrolean Kaiserschütze in the high mountains. After returning to Kitzbühel, he fully devoted himself to painting and participated again in exhibitions of the Secession and the Vienna Künstlerhaus throughout the 1920s. He was active as a graphic artist, and beginning in 1926 designed many posters. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Oscar Zalameda, no coa, private collection, medium: acrylic, measurements: 42"W BY 30"H framed, good condition Biography: Oscar Zalameda stunned Manila audiences when he mounted an exhibition of 16 paintings at the old Hotel Filipinas along Roxas Boulevard in the 1960s, charging P7,000 then the price of a VW Beetle for each piece. From the onset of his career, Zalameda firmly believed that artists should be amply rewarded. According to his friend, Wilson Tan, Zalameda remarked that "not everyone knows art, so it should command a high price." All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Rufino Tamayo,no coa, private collection, medium: mixed media measurements: 32"H BY 26"W framed, good condition Biography: Rufino del Carmen Arellanes Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juárez, Mexico. Tamayo was active in the mid-20th century in Mexico and New York, painting figurative abstraction with surrealist influences. Rufino Tamayo, along with other muralists such as Rivera, Orozco, and Siqueiros, represented the twentieth century in their native country of Mexico.[8] After the Mexican Revolution, Tamayo devoted himself to creating a distinct identity in his work. He expressed what he envisioned as traditional Mexico and eschewed the overt political art of such contemporaries as José Clemente Orozco, Diego Rivera and David Alfaro Siqueiros. He disagreed with these muralists in their belief that the revolution was necessary for the future of Mexico but considered, instead, that the revolution would harm Mexico. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Jose Tanig Joya, no coa, private collection, medium: acrylic, measurements:41"w by 29"h framed, good condition Biography: José Tanig Joya was a Filipino abstract artist and a National Artist of the Philippines awardee. Joya was a printmaker, painter, mixed media artist, and former dean of the University of the Philippines' College of Fine Arts. He pioneered abstract expressionism in the Philippines. José Tanig Joya[1] (June 3, 1931 – May 11, 1995) was a Filipino abstract artist and a National Artist of the Philippines awardee.[2] Joya was a printmaker, painter, mixed media artist, and former dean of the University of the Philippines' College of Fine Arts. He pioneered abstract expressionism in the Philippines. His canvases were characterized by "dynamic spontaneity" and "quick gestures" in action painting. He is the creator of compositions that were described as "vigorous compositions" of heavy impastoes, bold brushstrokes, controlled dips, and diagonal swipes" All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

13"H MINT CONDITION

Peter Max, no coa, private collection, medium: acrylic, measurements: 37"hx36"w no frame, good condition Biography: Peter Max is an American artist known for using bright colors in his work. Works by Max are associated with the visual arts and culture of the 1960s, particularly psychedelic art and pop art. In 1948, the family moved to Haifa, Israel, where they lived for several years. Peter attended school in Mount Carmel, but was often drawing instead of taking notes. His principal suggested to his parents that he be put in art lessons after school, and he began to study under Professor Hünik, a Viennese Expressionist. From Israel, the family continued moving westward and stopped in Paris for several months—an experience that Max said greatly influenced his appreciation for art. In their short time in Paris, Max's mother enrolled him in drawing classes at the Louvre, where he began to study Fauvism. After nine months in Paris, Max and his family made their final move, settling in Brooklyn, New York, USA. Max and his parents first settled in Bensonhurst, Brooklyn, in 1953 where he attended Lafayette High School, classmates with future actor Paul Sorvino. In 1956, Max began his formal art training at the Art Students League of New York in Manhattan, studying anatomy, figure drawing and composition under Frank J. Reilly who had studied at the League alongside Norman Rockwell. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Paul Delvaux, no coa, private collection, medium:oil measurements: 34"w by 28"h framed, good condition Biography:Paul Delvaux was a Belgian painter noted for his dream-like scenes of women, classical architecture, trains and train stations, and skeletons, often in combination. He is often considered a surrealist, although he only briefly identified with the Surrealist movement. The young Delvaux studied Greek and Latin, and absorbed the fiction of Jules Verne and the poetry of Homer's Odyssey. His artwork was to be greatly influenced by these works, starting with his earliest drawings showing mythological scenes.[9] His music lessons were conducted in the school's museum room, where a human skeleton in a glass cabinet was always present.[10] From 1910 to 1916, he studied Classics at the Atheneum of Saint-Gilles, where he was a middling or average student.[11] Upon his graduation, his parents got him an office job with a shipping company in Brussels. It was soon evident that he had no skills or interests in business or law, and he was grudgingly allowed to study architecture at the Académie Royale des Beaux-Arts despite his ambition to become a painter. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Hernando Ruiz Ocampo, no coa, private collection, medium: acrylic measurements: 48"h by 36"w no frame, good condition Biography: Hernando Ruiz Ocampo was a Filipino National Artist in the visual arts. He was also a fictionist, playwright and editor. His works as a writer includes "Don’t Cry, Don’t Fret" in poetry; "Ikalawang Pagdalaw," "Unang Pamumulaklak," "Rice and Bullets," and "Bakia" in fiction; and "Buntot Page," a screenplay written with Mario David. His major works in the visual arts include Ina ng Balon, Calvary, Slum Dwellers, Nude with Candle and Flower, Man and Carabao, Angel's Kiss, Palayok at Kalan, Ancestors, Isda at Mangga, The Resurrection, Fifty-three "Q," Back drop, Fiesta, Mother and Child, Easter Sunday, and his most acknowledged work Genesis, which served as the basis of curtain design in the Cultural Center of the Philippines Main Theater. His works were exhibited in Washington, New York, London, and Tokyo, among others.His work was also part of the painting event in the art competition at the 1948 Summer Olympics. Ocampo museum nameplate Awards received include: Republic Cultural Award in 1965; Patnubay ng Sd in 1969; Diwa ng Lahi Award in 1976; and Gawad CCP para sa Sining Award in 1979. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Herman Maril, no coa, private collection, medium: oil, measurements: 30"wby 24"h framed, good condition Biography: Herman Maril was an artist and emeritus professor of painting at the University of Maryland. Maril was a modernist painter whose style reduced figures and objects to their essence. Subjects ranged from urban landscapes to coastal seascapes. Maril's art demonstrated a consistent development: it was based in nature, abstractly organized, and simplified in form and content. The noted artist and critic Olin Dows, wrote about the then 26-year-old artist, "Herman Maril's painting is reserved, and, like most good painting, it is simple. He is interested in the essentials. Each picture has its core; each is beautifully conceived and organized. It is clothed in a certain poetry." All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Norman Stiegelmeyer, no coa, private collection, medium:oil measurements: 40"h by 30"w no frame, good condition Biography: Norman Stiegelmeyer (1937 - 1985) was active/lived in California, Colorado. Norman Stiegelmeyer is known for Modernist funk imagery. Norman Stiegelmeyer was born in Denver, CO on October 28, 1937.Norman Stiegelmeyer was born in Denver, CO on October 28, 1937. Stiegelmeyer was a long-time resident of Mill Valley, CA. A visionary surrealist, he taught for many years at the San Francisco Art Institute. He died in Walnut Creek, California in January 1985. Exhibited: Whitney Museum of American Art, 1967. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

9.5"H MINT CONDITION

Barkley L. Hendricks, no coa, private collection, medium: acrylic, measurements: 43"h by 30"w framed, good condition Biography: Barkley L. Hendricks was a contemporary American painter who made pioneering contributions to Black portraiture and conceptualism. While he worked in a variety of media and genres throughout his career, Hendricks' best known work took the form of life-sized painted oil portraits of Black Americans. All authorship of items in this catalog are describHendricks was Professor of Studio Art at Connecticut College, where he taught drawing, illustration, oil and watercolor painting, and photography, from 1972 until his retirement in 2010, when he became Professor Emeritus.[4][6] In the mid-1960s while touring Europe, he fell in love with the portrait style of artists like van Dyck and Velázquez.[3] In his visits to the museums and churches of Britain, Italy, Spain and the Netherlands, he found his own race was absent from Western art, leaving a void that troubled him.[3] As the Black Power movement gained momentum, Hendricks set about to change what he saw in Europe by correcting the balance, in life-size portraits of friends, relatives and strangers, encountered on the street, that communicated a new assertiveness and pride among Black Americans. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Kazimierz Mikulski, no coa, private collection, medium: oil, measurements: 42"h x30"w framed, good condition Biography:Kazimierz Mikulski was born in Krakow in 1918. He began painting studies before the Second World War in the Academy of Fine Arts in Krakow, and then he continued them in the years 1939-1940 under the direction of professor Fryderyk Pautsch in Kunstgewerbeschule, created during the occupation in place of the Academy. After the war, Mikulski completed a two-year acting study at the Dramatic Studio at the Old Theater in Krakow and until 1948 he worked as an actor. At the same time, in 1945 he graduated from the Young Film Workshop. In the years 1948-1979 he was the artistic director and set designer of the Groteska Theater in Krakow, for which he designed dolls, costumes, decorations, etc. At the same time Kazimierz Mikulski was involv ... Displaying 750 of 1520 characters. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Leroy Neiman, no coa, private collection, medium: oil, measurements: 36"h by 24 " w no frame, good condition Biography: LeRoy Neiman was an American artist known for his brilliantly colored, expressionist paintings and screenprints of athletes, musicians, and sporting events. Neiman was born in 1921 in Saint Paul, Minnesota, the son of Lydia Sophia (née Serline), of Braham, Minnesota,[2] and Charles Julius Runquist, who were married in 1918 and lived in Grasston, Minnesota (Kanabec County).He was of Turkish and Swedish descent ("as near as I can figure out", as he has said).His father deserted his family, and when his mother married his stepfather, John L. Niman (Neiman) in 1926, LeRoy changed to the new surname as well. His mother divorced Neiman about 1935, and married for the third time in about 1940, to Ernst G. Hoelscher, of St. Paul. She died in St. Paul on November 14, 1985, aged 87. LeRoy was raised in the Macalester-Groveland and Frogtown neighborhoods of St. Paul. The home he lived in the longest, from about 1940 to about 1955, still stands at 569 Van Buren Avenue. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Loren Mozley, no coa, private collection, medium: oil, measurements: 32"h by 28"w framed, good condition, Biography: Loren Mozley was an artist of the American Southwest. He is known for his New Deal artwork post office mural in Albuquerque, New Mexico that depicts the Pueblo Revolt of 1680. He has other New Deal commissions in Clinton, Oklahoma and Alvin, Texas. Loren Mozley (October 2, 1905 – September 22, 1989) was an artist of the American Southwest. He is known for his New Deal artwork post office mural in Albuquerque, New Mexico that depicts the Pueblo Revolt of 1680.He has other New Deal commissions in Clinton, Oklahoma and Alvin, Texas. His painting Rocks and Cypresses is in Huntington Gallery at the University of Texas.He had a retrospective there in 1978; most of the works shown were landscapes of Mexico, New Mexico and central Texas.In 2013, the Dallas Museum of Art hosted a show of his work called Loren Mozley: Structural Integrity. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Gertrude Abercrombie, no coa, private collection, medium: oil, measurements: 32"w by 28"h framed, good condition Biography: Gertrude Abercrombie was an American painter based in Chicago. Called "the queen of the bohemian artists", Abercrombie was involved in the Chicago jazz scene and was friends with musicians such as Dizzy Gillespie, Charlie Parker, and Sarah Vaughan, whose music inspired her own creative work.In 1932, she began to focus strictly on her art.[5] The following summer she made her first sale at an outdoor art fair in Chicago and received an honorable mention in the newspaper for the event.[3] In the mid-1930s she moved out of her family's home and became active in the regional art scene.[3] From 1934 to 1940 she served as a painter for the Works Progress Administration and in 1934 the Chicago Society of Artists held a solo show of her work. During the 1930s and 1940s she also began creating woodcuts. In 1940, she married lawyer Robert Livingston, and in 1942 gave birth to their daughter Dinah. In 1948 the couple divorced. That same year she married music critic Frank Sandiford, with Dizzy Gillespie performing at the wedding. The couple were active in the bohemian lifestyle and jazz scene of Chicago hence their connection with Gillespie. They met musicians through Sandiford and through Abercrombie's own skills as an improvisational pianist. The couple would divorce in 1964. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

10"H MINT CONDITION

Grandma Moses, no coa, private collection, medium: oil, measurements: 30"w by 26"h framed, good condition Biography:Anna Mary Robertson Moses, or Grandma Moses, was an American folk artist. She began painting in earnest at the age of 78 and is a prominent example of a newly successful art career at an advanced age. Moses gained popularity during the 1950s, having been featured on a cover of Time Magazine in 1953.As a young wife and mother, Moses was creative in her home; for example, in 1918 she used housepaint to decorate a fireboard. Beginning in 1932, Moses made embroidered pictures of yarn for friends and family.[2][10] She created quilted objects, a form of "hobby art". Lucy R. Lippard stated in "The Word in Their Hands" that she found "hobby art" to be "an activity so 'low' on the art lists that it still ranks way below 'folk art'". She found that hobby art often involves reuse of otherwise discarded objects. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

William Hollingsworth, no coa, private collection, medium: watercolor measurements:37"W BY 29"H framed, good condition Biography:William R. Hollingsworth Jr. was an American watercolor and oil painter from the state of Mississippi. He died by suicide at age 34.William R. Hollingsworth Jr. was born on February 17, 1910, in Jackson, Mississippi. He attended the University of Mississippi for two years and then transferred to the Chicago Art Institute, graduating in 1934. Career Hollingsworth returned to Jackson, Mississippi after failing to find work in Chicago during the Great Depression.[1] He worked for the Federal Emergency Relief Administration during the day and painted at night.[1] In 1942, during the Second World War, he tried to enlist in the United States Navy, but his application was rejected due to "poor eyesight" within two weeks. Hollingsworth specialized in oil paintings and watercolors.[3] Many of his paintings depicted the lives of African-Americans in West Jackson during segregation. He won prizes from the Chicago Arts Club, the Southern States Art League and the National Watercolor Society. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Frank Lobdell, no coa, private collection, medium: mixed media measurements:30"H BY 24"W framed, good condition Biography:Frank Lobdell was an American painter, often associated with the Bay Area Figurative Movement and Bay Area Abstract Expressionism.Frank Lobdell was born on August 23, 1921, in Kansas City, Missouri, and raised in Minnesota. He attended the St. Paul School of Fine Arts, St. Paul, Minnesota in 1939-40, and painted independently in Minneapolis from 1940 to 1942. He served in the U.S. Army in Europe during World War II (1942–46).[1] Following the war, he moved to Sausalito, CA (1946–49), and from 1947-50 he attended the California School of Fine Arts on the G.I. Bill.[2] In 1950, he left the U.S. for Paris, where he painted and studied at L’Academie de la Grande Chaumiere in 1950-51. After returning to the Bay Area, he taught at CSFA from 1957 to 1964. He was Visiting Artist at Stanford University in 1965, and taught as Professor of Art at Stanford from 1966 until his retirement in 1991. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Bob Thompson, no coa, private collection, medium: oil, measurements: 33"w by 27"h framed, good condition, Biography: Bob Thompson (June 26, 1937 – May 30, 1966)[1] was an African-American figurative painter known for his bold and colorful canvases, whose compositions were influenced by the Old Masters. His art has also been described as synthesizing Baroque and Renaissance masterpieces with the jazz-influenced Abstract Expressionist movement.[ He was prolific in his eight-year career, producing more than 1,000 works before his death in Rome in 1966. The Whitney Museum mounted a retrospective of his work in 1998.[3] He also has works in numerous private and public collections throughout the United States. Early life and education Robert Louis Thompson was born in Louisville, Kentucky, into a middle class family, the youngest of three children. He had two older sisters, Cecile and Phyllis. His mother was a school teacher, his father owned a start-up dry cleaning business.[4] Shortly after he was born, the family moved to Elizabethtown, Kentucky, where his father worked for a dry-cleaning business, eventually opening his own business. Thompson's father discouraged him from associating with lower-income black families. As a result, both he and his two sisters grew up relatively socially isolated All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Manuel Rodriguez Lazano, no coa, private collection, medium: oil measurements: 32"h by 26"w framed, good condition Biography: Manuel Rodríguez Lozano was a Mexican painter, known for his “melancholy” depiction of Mexico rather than the more dominant political or festive one of the Mexican muralism movement.Manuel Rodríguez Lozano was born in Mexico City, with his birth year placed between 1894 and 1897.[1][2][3] He was from a wealthy family, the son of Manuel Z. Rodríguez and Sara Lozano, who were interested in art and music and entertained visitors such as poet Amado Nervo. When he was eleven, he enlisted in the military service and took examinations to enter the diplomatic corps. However, he eventually abandoned both. He then began to paint on his own in 1910,[2][4] moving on to attend the Academy of San Carlos under teachers such as Germán Gedovius and Alfredo Ramos Martínez. However, he left the school after a short time for unknown reasons. In 1913, Rodríguez Lozano married Carmen Mondragón, later known as Nahui Ollín. The two met at a dance and she became smitten with him. At first he was not interested but her father, General Manuel Mondragón, was a powerful man politically, and this changed the artist’s mind. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

7"H MINT CONDITION

Georg Baselitz, no coa, private collection, medium: mixed media measurements: 36"H BY 30" W framed, good condition Biography:Georg Baselitz is a German painter, sculptor and graphic artist. In the 1960s he became well known for his figurative, expressive paintings. In 1955, he applied to study at the Kunstakademie in Dresden but was rejected. In 1956, he successfully enrolled at the Hochschule für Bildende und Angewandte Kunst in East Berlin. There he studied under professors Walter Womacka[6] and Herbert Behrens-Hangler and befriended Peter Graf and Ralf Winkler (later known as A. R. Penck). After two semesters, however, he was expelled for "sociopolitical immaturity" because he did not comply with the socialist ideas of the DDR.[citation needed] In 1957, he resumed his studies at the Hochschule der Künste in West Berlin, where he settled down and met his future wife, Johanna Elke Kretzschmar. In 1961, he attended Hann Trier's master class and completed his studies the following year. Trier's classes were described as a creative environment largely dominated by the gestural abstraction of Tachism and Art Informel.[5] At the Hochschule der Künste, Baselitz immersed himself in the theories of Ernst Wilhelm Nay, Wassily Kandinsky, and Kasimir Malevich. During this time he became friends with Eugen Schönebeck and Benjamin Katz. Art historian Andreas Franzke describes Baselitz's primary artistic influences at this time as Jackson Pollock and Philip Guston. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Cy Twombly, no coa, private collection, medium:mixed media measurements: 44"h x36"w framed, good condition Biography: Edwin Parker "Cy" Twombly Jr. was an American painter, sculptor and photographer. Twombly influenced artists such as Anselm Kiefer, Francesco Clemente, Julian Schnabel and Jean-Michel Basquiat.Twombly influenced artists such as Anselm Kiefer, Francesco Clemente, Julian Schnabel and Jean-Michel Basquiat.[2][3] His best-known works are typically large-scale, freely-scribbled, calligraphic and graffiti-like works on solid fields of mostly gray, tan, or off-white colors. His later paintings and works on paper shifted toward "romantic symbolism", and their titles can be interpreted visually through shapes and forms and words. Twombly often quoted poets such as Stéphane Mallarmé, Rainer Maria Rilke and John Keats, as well as classical myths and allegories, in his works. Examples of this are his Apollo and The Artist and a series of eight drawings consisting solely of inscriptions of the word "VIRGIL". All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

THEORA HAMBLETT, no coa, private collection, medium: oil measurements: 33"w by 27"h framed, good conditionBiography:Theora Hamblett was an American painter, one of the first Mississippi folk artists to achieve national prominence. Hamblett's paintings can be divided into three categories: memory paintings, dream paintings, and landscape paintings. Theora Hamblett (January 15, 1895 – March 6, 1977) was an American painter, one of the first Mississippi folk artists to achieve national prominence.[1] Hamblett's paintings can be divided into three categories: memory paintings, dream paintings, and landscape paintings.[2] Early life Theora Alton Hamblett was born 15 January 1895, in Paris, Mississippi. Her father Samuel was a Civil War veteran, who was 72 years old when Theora was born. She was educated at Lafayette County Agricultural High School and at Blue Mountain College. .[3] Hamblett was raised in a very religious household and rotated between Methodist and Baptist churches.[2] Theora Hamblett became interested in painting at a young age, though she did not start taking painting classes until later in her life at age fifty-five. Carol Crown states that when Hamblett was eight years old, she was given crayons as a present which could have stimulated her interest in painting.[2] Hamblett was a teacher in her early adulthood; she left the classroom in 1931, and cared for her dying mother for several years. In 1939 she bought a house in Oxford, Mississippi, where she lived and rented rooms to students. In her mid-fifties, she took her first nighttime painting class at the University of Mississippi. She also took correspondence courses on art. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

Jean Michel Basquiat, and Andy Warhol, no coa, private collection, medium: oil, measurements:46"h by 36"w framed, good condition Biography:Jean-Michel Basquiat was an American artist who rose to success during the 1980s as part of the Neo-expressionism movement Basquiat first achieved notoriety in the late 1970s as part of the graffiti duo SAMO, alongside Al Diaz, writing enigmatic epigrams all over Manhattan, particularly in the cultural hotbed of the Lower East Side where rap, punk, and street art coalesced into early hip-hop culture. By the early 1980s, his paintings were being exhibited in galleries and museums internationally. At 21, Basquiat became the youngest artist to ever take part in Documenta in Kassel, Germany. At 22, he became one of the youngest to exhibit at the Whitney Biennial in New York. The Whitney Museum of American Art held a retrospective of his artwork in 1992. Andy Warhol was an American visual artist, film director and producer. A leading figure in the pop art movement, Warhol is considered one of the most important artists of the 20th century. All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.

SALVADOR DALI no coa, private collection, medium: measurements:38" by 29" Biography:Salvador Domingo Felipe Jacinto Dalí i Domènech, Marquess of Dalí of Púbol gcYC, known as Salvador Dalí, was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work Born in Figueres in Catalonia, Dalí received his formal education in fine arts in Madrid. Influenced by Impressionism and the Renaissance masters from a young age, he became increasingly attracted to Cubism and avant-garde movements.[3] He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí lived in France throughout the Spanish Civil War (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism, and recent scientific developments All authorship of items in this catalog are described according to the following terms: Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given. By [Artist Name] : The work is by the artist. Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship. In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist. After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist. Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil. Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil). American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period). Condition It is the buyer's responsibility to inspect each lot and deem their own opinions on condition, description, provenance, and validity BEFORE purchasing. All descriptions are visual opinions based on the auction house's experience and do not warrant as a guarantee.