![719. A Second Lot of Eight Hardback](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw0MDQwNQ==&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw0MDQwNQ==)
719. A Second Lot of Eight Hardback Art Books
Lot includes: 1) Simone Martini 2) Paolo Uccello 3) French Impressionists 4) The Real World of the Impressionists 5) Impressionist Prints 6) The Crisis of Impressionism, 1878-1882 7) Lovers in Art 8) L'Europe Du XVII Siècle: L'Art et la Culture. 1) Carli. Enzo. Simone Martini. Milan: Amilcare Pizzi Editore. 1959. B/w and color pl. Bound with cream paper, dust jacket and slip cover. 2) D'Ancona, Paolo. Paolo Uccello. Milan: Amilcare Pizzi Editore. 1959. B/w and color pl. Bound with cream paper, dust jacket and slip cover. 3) Jewell, Edward Alden. French Impressionists and their Contemporaries Represented in American Collections. New York: The Hyperion Press. 1944. 192 pp. ill. Bound with orange fabric. 4) Le Pichon, Yann. The Real World of the Impressionists: Paintings and Photographs 1848-1918. New York: Harrison House. 1983. 285 pp. B/w and col.ill. Bound with red fabric and gilt lettering and dust jacket. 5) Passeron, Roger. Impressionist Prints. Seaucus, N.J.: Wellfleet Press. 1974. 223 pp. B/w and col. ill. Bound with peach fabric. 6) Isaacson, Joel. The Crisis of Impressionism, 1878-1882. University of Michigan Museum of Art . 1980. 220 pp. ill. Bound with blue material with silver letters. 7) Johnson, Meredith. Lovers in Art. New York: Portland House. 1990. 176pp. Col ill. Bound in dusty pink fabric and dust jacket. 8) Schönberger, Arno and Halldor Soehner. L'Europe Du XVII Siècle: L'Art et la Culture. Paris: Éditions des Deux-Mondes. 1960. 366 pp. B/W and col. pl. Bound with green fabric with gilt decoration.
125/175 Sold: $46.00
![Clarence Millet (American/New Orleans,](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxNTU2MjAx&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwxNTU2MjAx)
Clarence Millet (American/New Orleans, 1897-1959), “The Bayou at Lafitte”, 1941, oil on canvas, signed lower left, “New Orleans Art League” and “National Art Week Exhibition, New Orleans, November 1941” labels with title and owner’s inscription en verso, 22 in. x 26 1/4 in., original frame. $10000/15000
Provenance: Purchased from the artist by Los Angeles art collector Elizabeth Holmes Fisher at the National Art Week Exhibition, New Orleans, 1941, gift from Fisher to an Illinois couple on the occasion of their wedding; thence by descent.
Illustrated: The Times Picayune, New Orleans, November 17, 1941.
Exhibited: The National Art Week Exhibition, New Orleans, November 10-25, 1941.
Note: Formed in 1935 by the Works Progress Administration, the Federal Art Project (FAP) was designed to bring art into the everyday lives of Americans while also providing work relief to artists. The Louisiana branch of FAP employed more than fifty artists, primarily in New Orleans, who created hundreds of original works of art that are now featured in prominent public and private collections. In both 1940 and 1941, FAP branches across the country participated in National Art Week, a nationwide set of exhibitions and sales campaigns timed for the beginning of the Christmas shopping season.
The painting offered here is not only exemplary of Clarence Millet’s light-filled, impressionistic scenes of south Louisiana, but it also represents a unique moment in history as part of the National Art Week Exhibition of 1941 in New Orleans, where it was purchased by well-known art collector Elizabeth Holmes Fisher. At the time, Millet was one of the most important and prolific painters in New Orleans, where he was active in local art organizations and clubs.
Mrs. Fisher began collecting artwork in 1928 with a keen eye for the old masters as well as rising American artists. In 1939, the Elizabeth Homes Fisher Gallery opened at the University of Southern California, where Fisher was the first woman to sit on the Board of Trustees (1936). The Fisher collection at USC grew to include over 70 important paintings prior to Mrs. Fisher’s death in 1955 and became the core of the Fisher Museum of Art.
References: “The Elizabeth Holmes Fisher Collection.” Fisher Museum of Art. https://fisher.usc.edu/collections/fisher.html. Accessed January 2, 1015. Saward, Susan and David Johnson, ed. “Clarence Millet.” Knowla Encyclopedia of Louisiana: Louisiana Endowment for the Humanities. www. knowla.org/entry/1127. Accessed January 2, 2015.
![(CIVIL WAR) Nine books. 1) Nevins A.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxMzY2OTk2&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwxMzY2OTk2)
(CIVIL WAR) Nine books. 1) Nevins A. War For the Union. NY 1959. Four vols. Q. 2) Greeley Horace The American Conflict. Hartford 1864. Two vols. Q. Ex-lib. 3) Johnson R. Frank Leslie's Illustrations: The American Soldier and the Civil War . (1895). Q. Cover loose. Some pages with slight chips. Ex-lib. 4) Frank Leslie's Illustrated History of the Civil War. NY (1895). Folio. Spine as is. Ex-lib. 5) Johnson R. Campfire and Battlefield. NY 1896. Folio.
![EUGENIO BENVENUTI, WATERCOLOR, VENETIAN](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjkxMjUw&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjkxMjUw)
EUGENIO BENVENUTI, WATERCOLOR, VENETIAN VIEWEugenio Benvenuti (Italian, 1881-1959) Venetian view watercolor on paper signed E Benvenuti lower right sight 6 1/2 x 12in (16.5 x 30.5cm)Provenance: The Duffield Collection, Sacramento. Property from the Collection of Kate Edelman Johnson sold to benefit The Johnson Charitable Remainder Unitrust and the Deane F. Johnson Alzheimers Research Foundation.
Condition:
Not examined out of the frame. There are areas of staining to the paper along the left side of the bottom edge (in the water).
![Gabor F. Peterdi (American, 1915-2001)](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxNjIzNzc1&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwxNjIzNzc1)
Gabor F. Peterdi (American, 1915-2001) Vertical Rocks, 1959, edition of 45 (Peterdi & Johnson, 166). Signed and dated "G Peterdi 59" in pencil l.r., titled in pencil l.c., numbered "22-45" in pencil l.l. Etching with engraving and aquatint on paper, plate size 32 1/2 x 22 3/4 in. (82.5 x 57.7 cm), framed. Condition: Not examined out of frame. Estimate $300-350 The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
![? ATTRIBUTED TO THOMAS POOLEY (IRISH](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTMxOTAz&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTMxOTAz)
? ATTRIBUTED TO THOMAS POOLEY (IRISH 1646-1723)
HALF LENGTH PORTRAIT OF JONATHAN SWIFT AS A STUDENT IN DUBLIN COLLEGE With later inscription, feigned oval, oil on canvas71cm x 58cm (28in x 22.75in)Provenance (supporting documents sold with the lot):1) Thomas Percy (1729-1811), Bishop of Dromore; acquired by him in 1801 from Anthony Trail or Traill (1755-1831) of Mount Druid, Ballycastle, later Archdeacon of Connor, who in two letters to Percy (27 April and 5 May 1801) describes his own acquisition of the work c.1790 from 'Gonne, a carver and gilder in Abbey Street', evidently the Henry Gonne (fl.1765-99) who is recorded as a carver and looking-glass seller at 26 Abbey Street, Dublin (Glin & Peill, Irish Furniture, 2007, p. 293):‘An old family mansion house in the Co of Louth was about to be pull’d down, previous to the erection of a new one, and all the pictures in it were sent up to Dublin to be sold, as the proprietor did not chuse to be at the expence of new frames for them, and thought they would be unsuitable ornaments for a new house in their old black ones. Not chusing to sell them separately, I was oblig’d to purchase the whole in order to get three or four of them that I lik’d. The account given me of the Dean’s picture was as follows – He had been while at college an intimate companion of the young gentlemen of the above family, and frequently spent his vacations with them in the country. During one of these visits a painter was employed to paint some portraits in the family, and the Dean’s was painted along the rest, and had remain’d in the house ever since. As no particular value was set upon the picture, and as I had express’d no particular desire of purchasing it, it is improbable that such a story should have been told me, if it had not been true. I am sorry however that I have forgot the name of the family, but it has escap’d my memory.'Thence by descent to:2) Mr Edward Richard Meade (1805-1890) of 5 Gloucester Place, Portman Square, London, the picture with him by 1867, when exhibited at South Kensington (see below). Meade was the grandson of Thomas Percy by the marriage of Percy’s daughter Elizabeth to Pierce Meade (1776-?), Archdeacon of Dromore (John Sharpe, Peerage of the British Empire, [1833], volume I, f. 2A6 v.).3) Miss Constance Meade (1852-1941), of 15 Eaton Terrace, Knightsbridge, London, daughter of Edward Richard Meade.4) Mr Kenneth George Francis Balfour (1909-1998), of Quoitings, Marlow, Buckinghamshire, nephew of Constance Meade.5) Mrs Virginia Cardwell Moore, of Coupar Angus, Perthshire.Exhibited:1) South Kensington Museum, Second Special Exhibition of National Portraits commencing with the Reign of William and Mary and ending the Year 1800, 1867. (Catalogue no. 139, described as 'Jonathan Swift, D.D., Dean of St Patrick's ... Bust. as a young man in student's black gown, when a student at Trin. Coll. Dublin', owner recorded as Mr. E. Meade, a copy of the catalogue with presentation plate to Meade sold with the lot, q. v.).2) Exhibition Palace, Dublin, Exhibition of Arts, Industries and Manufactures, 1872.3) National Library of Ireland, Fair Liberty! was all his cry: Jonathan Swift and his Contemporaries, 1999.Published:A Series of Historical Portraits Selected from the National Portrait Exhibitions at South Kensington: Photographed from the Original Paintings (London, [1867]) (plate 139).The Prose Works of Jonathan Swift, D. D., edited by Temple Scott (London, 1911) (frontispiece).Bruce Arnold, Swift: An Illustrated Life (Dublin, 1999) (cover illustration).Literature:David Woolley, ‘Miscellanea in Two Parts: I. An Autograph, II. A Portrait’, Swift Studies, 8 (1993), 94-99.Jane Fenlon, ‘More about the Portrait of Jonathan Swift when a Student at Trinity College, Dublin’, Swift Studies, 15 (2000), pp. 33-38.David Woolley, ‘A Rejoinder from the Author of The Doubtful Portrait, etc.’, Swift Studies, 15 (2000), pp. 39-41.Joseph McMinn, Jonathan Swift and the Arts (Newark, DL: University of Delaware Press, 2010), p. 168 n. 7.Supporting documents:Full information available on request.Note: The earliest supposed likeness of one of the greatest writers in English, and the embodiment of the elusiveness or otherwise of the historical Swift, this remarkable portrait comes to market by direct descent from Thomas Percy, Bishop of Dromore, who acquired it in 1801 as ‘a small portrait of Dean Swift’, and is now offered for sale for the first time in 200 years, with documented provenance to the late 18th century.First exhibited at South Kensington in 1867, for the next century it drifted in and out of public view. In 1898 Leslie Stephen, writing in the Dictionary of National Biography, declared that ‘the present whereabouts of this portrait is unknown’. It reappeared c.1967 in the collection of a descendant of Percy’s and came to the attention of Swift scholars, at which point there first emerged an attribution to Thomas Pooley which is now current: ‘A portrait thought to be of the young Jonathan Swift, c.1682, is clear and direct in Pooley's early manner. The attribution is probable because the Pooley family married into the Swift family’ (Dictionary of Irish Biography).The attribution to Pooley, and the longstanding identification of Swift as the subject, were on the occasion of the portrait’s exhibition at the National Library of Ireland in 1999 advanced by Bruce Arnold in support of the theory that Swift was in fact the illegitimate son of his benefactor Sir John Temple (1600-1677), master of the rolls in Ireland, and hence a more likely candidate for such a sumptuous likeness. Originally developed by Denis Johnston (In Search of Swift, 1959), this theory has been used to explain otherwise intractable ambiguities in Swift’s relationships with the two most important women in his life, firstly ‘Stella’ (Esther Johnson), who on this view is supposed to have been the daughter of William Temple and therefore Swift’s niece, and ‘Vanessa’ (Hester Vanhomrigh).Writing in 1993, David Woolley (q.v.), editor of The Correspondence of Jonathan Swift (5 vols, 1999-2014), presented several arguments against Swift’s being the subject of the portrait, chiefly that ‘The dress style is of c.1710. By this time, however, Swift was into his forties’, and that ‘The portrait style is of the school of Kneller. When Swift graduated, in the reign of James II, the dominant portrait style was still of the school of Sir Peter Lely’.In 2000, art historian Jane Fenlon noted that Woolley had only seen the painting in reproduction, that his analysis contained no reference to the attribution to Thomas Pooley, who had various connections to Swift, and that the sitter’s costume is similar to known examples of academic dress from the late 17th century:‘The portrait in question has a long-standing attribution to the painter Thomas Pooley. The attribution is sound in that the style and manner of painting compare well with other portraits by the artist. The age of the sitter, between fifteen and nineteen years, is appropriate for the years 1682-86, the time spent by Jonathan Swift at Trinity College, Dublin. The costume worn by the sitter would also seem to be appropriate to the period in question. Social and familial links have been established between the painter and the sitter. In art-historical terms, after such close examination of the evidence, a portrait with a long-standing provenance and attribution such as this one has a sound basis for acceptance’.In a brief response to Fenlon’s article (published in the same volume of Swift Studies) Woolley reiterated a few of his original arguments while conceding the strength of ‘the Pooley connection’.‘His life and works continue to vex as well as instruct and amuse his readers … Rumours and legends about Swift's parentage, alleged marriage, misanthropy, and madness started early and developed freely, not least during the Victorian period … His work has provoked strong responses from each generation of readers, and he is one of those writers whose effect on our minds and imagination will not go away. In the words of a fellow Irishman, who also believed that Swift was the founding figure in Irish political nationalism, “Swift haunts me; he is always just around the next corner” (W. B. Yeats)’ (Clive Probyn in ODNB)
![Patents for Inventions Abridgements](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxNTQ2NzU=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwxNTQ2NzU=)
Patents for Inventions Abridgements of specifications. 900,001-920,000 1959-61. 920,001-940,00 1962-62. Including some patents of the following famous companies. Esterbrook. Faber Castell. Lyra. Mentmore. Schwann. Herbin. Hardmuth. Johnson Mathey.
![SOULAGES, GOTTLIEB, NEWMAN, FRANKENTHALER,](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTgwNzE5&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTgwNzE5)
SOULAGES, GOTTLIEB, NEWMAN, FRANKENTHALER, LEWITT: TEN MONOGRAPH BOOKS & EXHIBITION CATALOGS 12 1/2"H X 10"W (LARGEST)Soulages, Gottlieb, Newman, Frankenthaler, LeWitt: ten monograph books & exhibition catalogs, The Prints of Barnett Newman 1961-1969, Gabriele Schor and Verlag Gerd Hatje, exhibition catalog, 1996 Adolph Gottlieb Works on Paper, The Art Museum Association of America, 1985 Soulages Eaux-fortes, Lithographies, 1952-1973, Yves Rivière, Arts et Métiers Graphiques, 1974 Sol LeWitt Prints 1970-1995, The Detroit Institure of Arts, June 15- August 24, 1997 Johns, Kelly, Lichtenstein, Motherwell, Neumann, Rauschenberg, Serra, Stella: Prints from Gemini G. E. L., exhibition catalog, Walker Art Center, 1974 Adolph Gottlieb The Complete Prints, January 13 - February 26, 1994, Associated American Artists Adolph Gottlieb, Paintings 1938 -1973, November - December 1999, Bentley Gallery Helen Frankenthaler, Prints: 1985 - 1987, Tyler Graphics, June 20-July 25, 1987, Alice Simsar Gallery Soulages Paintings since 1963, James Johnson Sweeney, M. Knoedler & Co., Ltd, 1964 Soulages, Hubert Juin, Evergreen Gallery Book 6, Twelve Color Plates and Black and White Illustrations, Grove Press, Inc. 1959 Dimensions: 12 1/2"H x 10"W (largest)
![KEN PRICE, (AMERICAN, 1935-2012), CURLEY,](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg3MDI1&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg3MDI1)
KEN PRICE, (AMERICAN, 1935-2012), CURLEY, 2005, FIRED AND HAND-PAINTED CLAY IN LIGHTED WOODEN DISPLAY BOX, 4"H X 4"W X 3 1/2"D (SCULPTURE), 19"H X 18"W X 8"D (BOX).Ken Price (American, 1935-2012) Curley, 2005 fired and hand-painted clay in lighted wooden display box signed under base and marked "#9 KP05-2212" Provenance: Property of the Estate of Craig W Johnson, purchased from the Gemini G.E.L., Los Angeles, CA. Kenneth Price, ceramist and printmaker, has been an important figure in the "resurgence of clay" in fine art. This renaissance in reaction to the large-scale art of the 1950s and 1960s spurred Price to create small-scale ceramic sculptures. Early cups were often adorned with animals and other motifs, defying artist interpretation because of their seeming directness. The cups evolved with bio-morphic shapes in earth tones, then abstract miniature work in polychrome glaze and paint utilizing geometric forms. Price studied at the Chouinard Institute in Los Angeles, before receiving his BFA degree from the University of Southern California in 1956, studying at the Los Angeles County Art Institute in 1957, and gaining his MFA degree from New York State College of Ceramics at Alfred University in 1959. He has been awarded a Tamarind Fellowship. Source: Les Krantz, "American Artists, Illustrated Survey of Leading Contemporary Artists" 4"H x 4"W x 3 1/2"D (sculpture), 19"H x 18"W x 8"D (box). fired and hand-painted clay in lighted wooden display box Dimensions: 4"H x 4"W x 3 1/2"D (sculpture), 19"H x 18"W x 8"D (box).
![A lot of sixty-six Topps baseball cards](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzMzc3MDM=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzMzc3MDM=)
A lot of sixty-six Topps baseball cards from 1954 to 1960. One 1954 card 172 Hal Brown. 1956 cards include: 12 Andy Carey, 18 Dick Donovan, 21 Joe Collins, 40 Bob Turley, 44 Windy McCall, 89 Norm Zauchin, 207 Jim Small, 210 Mike Garcia, 215 Tommy Byrne, 216 Jerry Schoonmaker, 231 Bob Hale, 234 Pete Runnels, 264 Ray Monzant, 267 Bob Nieman, 268 Dale Mitchell, 287 Bobby Adams, 302 Eddie Robinson, 304 Frank Malzone, 307 Hoyt Wilhelm, 321 Jim Konstanty, 332 Don Larsen. 1957 cards include 11 George Zuverink, 39 Al Worthington, 59 Dick Williams, 81 Herm Wehmeier, 99 Bob Keegan, 132 Art Ditmer, 189 Willard Nixon, 195 Bobby Avila, 221 Dixie Howell, 230 George Kell, 305 Chica Fernandez, 306 Darrell Johnson, 365 Ossie Virgil, 379 Don Lee, 381 Dean Stone, two 388 Pete Daley, 391 Ralph Terry, 402 Jim Pisoni, 407 Yankees' Power Hitters. 1959 cards include (mixed white and gray backs) 316 Ralph Lumenti, 344 Russ Nixon, 377 Johnny Antonelli, 387 Don Drysdale, 389 Joe Nuxhall, 391 Milt Pappas, 392 Whitey Zerzog, 401 Ron Blackburn, 413 Camilo Pasqual, 416 Haywood Sullivan, 418 Gino Cimoli, 419 Check List, 499 Johnny O'Brien, 502 Al Dark, two 505 Tony Kubek, and two 506 Bob Purkey. 1960 cards include two 14 Jim Grant, 35 Whitey Ford, 65 Elston Howard, and two 109 Cletis Boyer. MEASUREMENTS: 2-1/2" x 3-1/2". CONDITION: The 1954-1956 cards with slightly to moderately rounded corners. Newer cards with fuzzy to slightly rounded corners. A couple with water damage. Some off centering overall (60/40 to 80/20).
![GRP: MODERN AND CONTEMPORARY ART BOOKSLarge](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjc1NjA2&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjc1NjA2)
GRP: MODERN AND CONTEMPORARY ART BOOKSLarge group of reference books, monographs, and catalogs on modern and contemporary art, including works on major movements such as Futurism and Synchromism, and artists including Zao Wou-Ki, Georges Rouault, Pablo Picasso, and Anselm Kiefer, among many others. Additionally includes works on Eastern European and Latin American art during the period, along with several auction catalogs. A full list of titles included is as follows: three catalogs from Arthur Tooth and Sons Limited; William C. Seitz, "Hans Hofmann"; George W. Staempfli invitation to "Mary Bauermeister" exhibition; Frank O'Hara "New Spanish Painting and Scupture"; an issue of "In the Art World" catalog; catalog from San Jose State University "Holly Lane"; catalog of the University Art Museum, University of California "Lindner"; Marlborough New London Gallery catalog "Ben Nicholson: Twelve New Works June 1967"; catalog of Galerie des Granges "Andre Planson: Oeuvres Recentes (1970-1975); Graham W. J. Beal "Wayne Thiebaud Painting"; an issue of the Arts Club of Chicago "Germaine Richier, January 21-February 19, 1966"; Eine Sammlung "Werner Gilles"; catalog from Centro Cultural San Angel "Mauricio Cervantes: El Codigo de lo Intangible"; resume/promotional material of John Black; Max Bill promotional material; Museum of Modern Art catalog "Picasso: 75th Anniversary Exhibition"; catalog from Marlborough Gallery "William Baziotes: Late Work 1946-1962"; catalog from the Italian Festival - San Francisco April-May 1959 "Italy: Three Directions in Painting and Sculpture of Younger Italian Artists"; catalog from Aquavella Galleries "XIX & XX Century Drawings, Watercolors, Pastels, Gouaches, Collages: October 21-November 24, 1982"; catalog from Richard Gray Gallery "Picasso's Picassos: Paintings, Drawings & Sculpture from the Artist's Estate"; catalog from Howard Wise Gallery "Light Ballet"; catalog from Galeria Arte Actual Mexicano "Ricardo Mazal Pinturas"; catalog from Centro Cultural San Angel "Alberto Castro Lenero: La Fragmentacion"; two copies of Frank Gaard's "Terence la Noue"; 2 copies of a catalog from the Arts Club of Chicago, The University Gallery and the Jewish Museum "Pierre Alechinsky"; catalog from the Weintraub Gallery "Henry Moore: Sculpture, Watercolors & Drawings, Graphics, Portfolios"; catalog from Marlborough Gerson Gallery "Arnaldo Pomodoro"; Deborah Wye "Louis Bourgeois"; Allison C. Meier, Kris Kuksi, and Samuel D. Gliner "Colin Christian: Trypophobia"; Time Magazine, "Covers"; a catalog from Staempfli "Minoru Yamasaki: The Architect and his use of Sculpture as an Integral Part of Design"; catalog from the Arts Club of Chicago "Tom Holland"; Peter Selz "15 Polish Painters"; Werner Schmalenbach "The Known and Unknown of Julius Bissier"; "Adrian Berg: Recent Paintings of Gloucester Gate, Regents's Part"; Atherton Curtis and Paul Proute "Adolphe Appian: son Oeuvre Grave et Lithographie"; catalog from Marisa del re Gallery "Diego Giacometti"; Thalia Gouma-Peterson "Miriam Schapiro: A Retrospective, 1953-1980"; Ebria Feinblatt and Bruce Davis "Los Angeles Prints, 1883-1980"; catalog from La Sociedad Mexicana de Arte Moderno "Alberto Castro Lenero: Castillo Interior"; catalog from the University of California, Los Angeles/Cleveland Museum of Art/Minneapolis Institute of Arts/Museum of Fine Arts, Boston/Philips Gallery, Washington D.C./San Francisco Museum of Art "John Marin Memorial Exhibition"; catalog from Chapellier Gallery "Frank Duveneck 1849-1919"; Edward Kienholz "Volksempfangers Nationalgalerie Berlin"; the Connoisseur, January 1963; publication from Galleria Fiamma Vico Frezzeria San Marco "Gaston Orellana Aldo Bresciani"; Robert Rosenblum "The Sculpture of Picasso"; catalog from the Sidney Janis Gallery "The High-Kitsch of Eilshemius at Janis"; catalog from the Sun Valley Art Auction June 29, 1991; catalog from Galerie van de Loo "Alfred Kremer: Seichnungen"; catalog from the Sidney Janis Gallery "New Paintings Sculpture & Drawings by Jim Dine"; Maurice Tuchman "American Sculpture of the Sixties"; catalog from the Ravinia Festival Art Exhibit 1962; Vittore Frattini "Miklos N. Varga: Frammenti Lirici 2"; Beelden Schilderijen Tekeningen Grafisch Werk "Robert Vander Eycken"; catalog from the Chicago Sculpture International May 10-15 1984"; "Edward Lentsch"; catalog from Minnesota Museum of Art "Kollwitz"; catalog from the Art Institute of Chicago "Anselm Kiefer"; catalog from the Marlborough Gallery "Ettore Colla"; catalog from Manny Silverman Gallery "Edward Dugmore Burning Bright: Paintings 1950-1959"; catalog from Wexner Center of the Arts "Will / Power: New Works by Papo Colo, Jimmie Durham, David Hammons, Hachivi Edgar Heap of Birds, Adrian Piper, Aminah Brenda Lynn Robinson"; catalog from Staempfli "Fritz Koenig"; catalog from Robert Miller gallery "Robert S. Zakanitch"; Jennifer Licht "Eight Contemporary Artists"; catalog from Stephen Roman + Private Art Dealer "Darcilio Lima 1944-1991"; catalog from Musee d'Art Americain Giverny and Terra Museum of American Art, Chicago "Roxy Paine"; catalog from Robert Fraser Gallery "Peter Blake"; catalog from Grand Central Art Galleries "August Mosca: A Fifty Year Retrospective"; catalog from Marlborough Gallery "Larry Rivers 1970-1973"; catalog from Marlborough Gallery "Isaac Witkin"; Martin Friedman "Adolph Gottlieb"; catalog from Marisa del re Gallery "Baj Fontana Manzoni"; catalog from Howard Wise Gallery "Otto Piene: Elements"; catalog from Lefebre Gallery "Corneille"; catalog from FineArts Printing Services "Johnmarc Edwards"; "Tongabezi: Victoria Falls, Zambia"; 1998 Pew Fellowships in the Arts catalog; catalog from BlumHelman gallery "David True--Recent Paintings"; catalog from Marlborough-Gerson Gallery "R. B. Kitaj"; 5 issues of Art in America magazine; William Firebrace "Things Worth Seeing: A Guide to the City of W"; catalog from Curt Valentin Gallery "Lehmbruck and his Contemporaries"; "Karl Hartung"; Katrina Daschner "Killing the Systems Softly"; 8 Walker catalogs; a catalog from Kunstmuseum Luzern; catalog from Felix Landau Gallery "Harry Kramer: Sculptures, Objects and Films"; Rita Caurio "Artexile No Brasil: Viagem pelo Mundo da Tapecaria"; Francisco Goya and Philip Hofer "The Disparates or, The Proverbios"; a catalog from The Art Gallery at Kennesaw State College "Cameroon Art: Selections from the Collection of William Arnett"; 2 issues of Art in America journal; Albert E. Elsen "Modern European Sculpture 1918-1945: Unknown Beings and Other Realities"; a catalog from the Art Institute of Chicago "A Century of Progress : Exhibition of Paintings and Sculpture, June 1 to November 1 1933"; an issue of Directions in Contemporary Painting and Sculpture from the Art Institute of Chicago publication; Alan G. Wilkinson "The Drawings of Henry Moore"; a catalog of Marlborough Gallery "Grisha Bruskin"; three publications by the Museum of Modern Art; one issue of Paris/New York Arts Yearbook 3"; five issues of Arts International journal; four issues of Art International: The Lugano Review journal; publication/catalog from the Dr. Martyna Miskinis Collection; four issues of the Journal of Decorative and Propaganda Arts; catalog of the National Gallery of Jamaica and the Smithsonian Institution exhibition "Jamaican Art: 1922-1982"; a catalog from the Museu de Art Moderna's VII Bienal "Estados Unidos da America" 1963; Gail Levin "Synchromism and American Color Abstraction 1910-1925"; a catalog from Gebr. Douwes Fine Art "Russian Paintings"; catalog from National Collection of Fine Arts "Sao Paulo 9"; two issues of "Alan D'Arcangelo" from Marlborough Gallery; a catalog from Associated American Artists "Lyonel Feininger: Ships and Seas"; Frances Carey and Antony Griffiths "From Manet Toulouse-Lautrec: French Lithographs 1860-1900, catalog of an Exhibition at the Department of Prints and Drawings in the British Museum, 1978"; catalog from Walker Art Center "Tyler Graphics: The Extended Image"; a catalog from Hauswedell & Nolte Auction House; Handzeichnungen, "Documenta III," two copies; Ken Friedman "Fluxus Virus: 1962-1992"; Ann Temkin "Alice Neel"; catalog from Knoedler Contemporary Art "David Smith"; Andre Maisonneuve "Ger Lataster"; catalog from the Edinburgh Festival 1955 "Paul Gauguin: Paintings, Sculpture and Engravings"; catalog from Richard Gray Gallery "Jennifer Bartlett"; catalog from Felix Landau Gallery "First West Coast Exhibition Kinetic Sculpture and Cinematisations by Pol Bury"; Earl S. Braggs "Hat Dancer Blue"; catalog from Lefebre Gallery "Julius Bissier"; "Italian Art: Monographs on Artists" catalog 115; catalog from Dayton's Gallery 12 "Calder"; Andrew Carnduff Ritchie "The New Decade: 22 European Painters and Sculptures"; Frederick A. Sweet "Sargent, Whistler and Mary Cassatt"; catalog from Pamela Auchincloss Gallery "Charles Arnoldi: Recent Monotypes from the Garner Tullis Workshop"; an issue of The Arts Club of Chicago journal May 6 through June 26, 1985; catalog from Bowdoin College Museum of Art "Leonard Baskin"; catalog from Dayton's Gallery 12 and Dwan Gallery "Charles Ross: Prisms"; Walker Arts Center publication "Nicholas Krushenick"; an issue of Sport Equestri journal "La Vita di Caprilli"; three catalogs from Marlborough Gallery; Jean Leymarie "Zao Wou-Ki"; Janis Conner and Joel Rosenkranz "Rediscoveries in American Sculpture: Studio Works 1893-1939"; catalog from Stedelijk Museum Amsterdam "Anselm Kiefer: Bilter 1986-1980"; Paul Maenz & Gerd de Vries "Anselm Kiefer"; Henrik Cornell "Carl Milles and the Milles Gardens"; catalog from Comune di Milano "Giorgio de Chirico; Jenny Lion "Magnetic North"; catalog from Wexner Center for the Arts "Maya Lin: Public/Private"; Walker Art Center "6 Artists 6 Exhibitions"; Howard Wise Gallery "Lights of Silver by Mack"; catalog from Stadische Kunsthalle Dusseldorf, ARC/Musee d'Art Moderne de la Ville de Paris, The Israel Museum "Anselm Kiefer"; catalog from Marian Goodman Gallery "Anselm Kiefer"; catalog from Walker Art Center "New Art of Argentina"; Museum of Modern Art "Georgio de Chirico"; Kasmin Limited "John Howlin Recent Paintings"; Marlborough-Gerson "Four London Artists: Gordon House, Colin Lanceley, Richard Lin and Joe Tilson"; Marlborough Prints Price List; catalog from the Arts Club of Chicago and University of Minnesota Gallery "Alan Davie"; Marlborough Gallery "Colin Lanceley"; catalog from the Junior Council of the Museum of Modern Art "Recent Painting USA: The Figure"; Martin Friedman, Graham W.J. Beal, Lisa Lyons "Drawings by Lesak and Rainer"; promotional material from Borgenicht Gallery; catalog from Katonah Museum of Art "Dorothy Dehner: Sixty Years of Art"; two promotional pamphlets from Staempfli; Elizabeth Armstrong and Sheila McGuire "First Impressions: Early Prints by Forty-Six Contemporary Artists"; catalog from Hapsburg, Feldman Fine Art Auctioneers "Soviet Contemporary Art: The Property of the Kniga Collection, Paris"; Vavara Rodchenko and Aleksandr Lavrentiev "The Rodchenko Family Workshop"; Walker Art Center catalog "Richard Sussman"; catalog from Charles Cowles Gallery "Tom Holland"; catalog for the VII Bienal in Sao Paulo, Brazil "10 American Sculptors: Agostini, Chryssa, Decker, Kipp, Mallary, Schmidt, Segal, Sugarman, Weinrib, Wines"; Barbara J. Bloemink "The Art of Esteban Lisa"; Marlborough Gallery catalog "Contemporary Spanish Realists"; Robert C. Morgan "All the Lost Souls: Lu Zhang's Mirror of Identity"; promotional material for Lefebre Gallery; Walker Art Center "Michelangelo Pistoletto: A Reflected World"; Pierre Alechinsky "Three Pillories: A Key to an Image"; five catalogs from Dre Devens Dutch Constructivist; catalog from the Museum of Modern Art, Minneapolis Institute of Arts, San Francisco Museum of Art and the Art Gallery of Toronto "Les Fauves"; catalog from the Minneapolis Institute of Arts "Modern Illustrated Books from the Collection of Louis E. Stern"; Sylvan Cole, Jr and Robert Doty "Will Barnet: Etchings, Lithographs, Woodcuts, Serigraphs 1932-1972 catalog raisonne"; Edith Hoffmann "Kokoschka Life and Work"; Elac Lyon "Mattiacci, Mochetti, Nannucci"; Wladimiro Settimelli and Filippo Zevi "Gli Alinari: Fotografi a Firenze 1852-1920"; William C. Seitz "Mark Tobey"; Kunstforum International "Zwischenbilanz II Neue Deutsche Malerei"; Henry Geldzahler "New York Painting and Sculpture: 1940-1970"; Virginia M. Mecklenburg "The Patricia and Phillip Frost Collection: American Abstraction 1930-1945"; Gert von Osten "Plastik seit 1800 in Deutschland, Osterrich und der Schweiz"; Steven Heller and Louise Fili "Dutch Moderne: Graphic Design from Destijl to Deco"; one Christie's catalog; Joshua C. Taylor "Futurism"; Sotheby's catalog, "The Eye of a Collector: Works from the Collection of Stanley J. Seeger"; journal from the University of Minnesota "Germany in the Twenties: The Artist as a Social Critic"; Bruckmann Munchen "Marino Marini"; Verlag Torsten Brohan "Hans Moller"; Henri Baruk, Andre Neher and Leon Askenazi "Le Livre de Ruth"; catalog from Istituto di Cultura di Palazzo Grassi "La Pittura Metafisica"; catalog from Galerie van de Loo Munchen "Maurice Wuckaert"; Marlborough Gallery "Avigdor Arikha Ink Drawings 1965-1972"; catalog from Weinstein Gallery "Fifteenth Anniversary"; two copies of Malcolm C. Salaman "Fine Prints of the Year: An Annual Review of Contemporary Etchings and Engraving"; catalog from the Pushkin Museum, Moscow "Impressionist and Post-Impressionist Paintings from the U.S.S.R."; catalog from the Far Gallery "Leonard Baskin: The Graphic Work, 1950-1970"; catalog from Editions Limited Gallery "Jurgen Peters"; Martin Friedman and Graham W.J.Beal "George Segal: Sculptures"; Judith Zilczer "'The Noble Buyer: John Quinn Patron of the Avant-Garde"; Luis R. Cancel, Jacinto Quirarte, Marimar Benitez, Nelly Perazzo, Lowery S. Sims, Eva Cockcroft, Felix Angel, and Carla Stellweg "The Latin American Spirit: Art and Artists in the United States, 1920-1970"; catalog from the United Book Guild "Aubrey Beardsley Drawings"; Peter Selz "Emil Nolde"; Kunsthaus Richterswil "Ardyn Halter"; Jean Dubuffet "Dubuffet: 1962-66"; John Richardson "Georges Braque 1882-1963: An American Tribute"; Walker Art Center catalog "Scale and Environment: 10 Sculptors"; Pace Gallery Publications "Dubuffet"; William H. Wilson "Raoul Dufy: A Retrospective"; Publication from R.S. Johnson International, Chicago "Pablo Picasso (1881-1973): Master of Graphic Art"; Martin H. Bush and Kenworth Moffett "Goodnough"; David Eugene Smith "Mathematics and Poetry"; catalog from Galerie van de Loo Munchen "Dimitri Hadzi"; Stephanie Barron "German Expressionist Sculpture"; an issue of "Avant-Garde" magazine; Carl de Keyzer "Homo Sovieticus"; catalog from the Tel Aviv Museum of Art "Yigal Ozeri 1994-1997"; Demetrio Paparoni "Stefano Peroli"; two issues of Design Quarterly journal; Robert P. Metzger "Reuben Nakian: Centennial Retrospective 1897-1986"; Schule von Pistoia "Barni Buscioni Ruffi"; publication from Hundert Tage fur Salzburg "Mimmo Paladino"; Minnesota Museum of Art publication "Clara"; James David Draper and Guilhem Scherf "Augustin Pajou: Royal Sculptor 1730-1809"; Albert Scaglione "Laszlo Dus"; Germano Celant "Mario Merz"; catalog from Tubingen-Hamburg-Zurich "Joseph Beus Olfarben 1949-1967"; two copies of Ronald Paulson "Hogarth's Graphic Works: First Complete Edition"; Pierre Courthion "Rouault"; Leon Bellefleur postcards "12 Dessins - Drawings"; "Byelorussian Glassmaker's Art"; catalog from G. di San Lazzaro.
SKU: 04011
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Condition:
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![LARGE GROUP ARTIST CATALOGS AND PUBLICATIONS](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzNTQ3MDU5&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzNTQ3MDU5)
LARGE GROUP ARTIST CATALOGS AND PUBLICATIONS Includes approx. (13) pieces: Karel Appel, 1953 Martha Jackson Gallery; James Mont, 2004 Eric Philippe/Galerie Vero-Dodat; The Nafvequarn Foundry and the "Swedish Grace" (1919-1930), 1996 Eric Phillippe; Twelve Sculpture Commissions by Robert Cook, Jasillo Press, 1978; Myth and Symbol The Paintings of Dorothy Heller, 1975 Fairlawn NJ Library; I-Kon Magazine 1967, art by Dorothy Heller; Andy Warhol His Early Works 1947-1959, 1971 Gotham Book Mart, signed by Andreas Brown to Robert Galster, with Pre-Pop Warhol exhibition invitation laid in; (4) Alexander Calder catalogs incl. Perls Galleries 1972-1975; Location Magazine, Summer 1964, with work by Adolph Gottlieb, Reuben Nakian, Hans Namuth, Ray Johnson, and others; Berrocal, Romeo e Giulietta, 1967 Instruction booklet; largest: 13"h x 9"w
![THELMA JOHNSON STREAT (1911 - 1959)
Black](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw3MzMzMTE=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw3MzMzMTE=)
THELMA JOHNSON STREAT (1911 - 1959)
Black Kings.
Color screenprint, circa 1945-50. 342x270 mm; 13 1/2x10 1/2 inches, full margins. Diagonal hard crease, upper right corner. A good, bright impression of this scarce, experimental screenprint.
Thelma Johnson Streat was a multi-talented African-American artist who focused on ethnic themes in her work. Born on August 29, 1912, in Yakima, Washington, Streat began painting at the age of seven and received art training at the Portland Museum Art School in the mid-1930s. Streat moved to San Francisco in 1938 and began working in Works Progress Administration art programs. She participated in exhibitions at the De Young Museum, the San Francisco Museum of Art, and others. Her gouache Rabbit Man, 1941, was the first painting by an African-American woman to be exhibited and purchased by the Museum of Modern Art, New York, in 1942. She also painted murals that attracted attention for their intense content, such as her 1943 Death of a Black Sailor, which drew threats from the Ku Klux Klan. Her work is found in the collections of the Museum of Modern Art, Mills College, Oakland, the San Francisco Museum of Art, and the Honolulu Academy of the Arts. She was given a one-person exhibition at the Portland Art Museum in 2003.
![JOHNSON BROS. CERAMIC FISH PLATTER20](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjE3NjMx&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjE3NjMx)
JOHNSON BROS. CERAMIC FISH PLATTER20 x 11
Property from the estate of Philip Roth. Philip Roth was born in Newark New Jersey on 19 March, 1933. The second child of second-generation Americans Bess and Herman Roth, Roth grew up in the largely Jewish community of Weequahic, a neighborhood that he was to return to time and again in his writing. After graduating from Weequahic High School in 1950, he attended Bucknell University, Pennsylvania and the University of Chicago where he received a scholarship to complete his M.A. in English Literature. In 1959, Roth published Goodbye Columbus - a collection of stories and a novella for which he received the National Book Award. Ten years later, the publication of his fourth novel Portnoy's Complaint brought Roth both critical and commercial success, firmly securing his reputation as one of America's finest young writers. Roth was the author of thirty-one books including those that were to follow the fortunes of Nathan Zuckerman and a fictional narrator narrator named Philip Roth through which he explored and gave voice to the complexities of the American experience in the twentieth and twenty-first centuries. Roth's lasting contribution to literature was widely recognized in his lifetime, both in the United States and abroad. Among other commendations he was the recipient of the Pulitzer Prize, the International Man Booker Prize, twice the winner of the National Book Critics Circle Award and the National Book Award and presented with the National Medal of Arts and the National Humanities Medal by Presidents Clinton and Obama respectively. Philip Roth died on 22 May 2018 at the age of eighty-five having retired from writing six years previous.
(PROTH8895)(WT)
![Autographs of World War II Generals](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxNDQ2NTgy&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwxNDQ2NTgy)
Autographs of World War II Generals Eight 4-Stars Including One MOH Lot of 10 including: Wallace M. Greene Jr. USMC General TNS 1964; J. Lawton Collins TLS 1966; Harold K. Johnson TNS 1966; Harry Vaughan Major General Military Aide to President TNS 1952 on White House Stationery; Earle G. Wheeler TNS 1963; N.F. Twining TNS 1957; L.L. Lemnitzer TLS 1959; Alfred M. Gruenther TNS 1957; H.A. Drum General Commanding 1st Army TLS 1942; A.A. Vandegrift TLS 1946. TNS 1p Washington DC 4 Jan. 1957. On American Red Cross letterhead. Signed by Alfred M. Gruenther as President of the Red Cross. Alfred Maximilian Gruenther (1899-1983) graduated from USMA in 1918 and became the youngest 4-star general in WWII. He commanded U.S. forces in Austria after the war and was appointed supreme allied commander in Europe from 1953 until his retirement in 1956. After retiring he served the Red Cross until 1964. TLS 1p n.p. but likely Washington DC (where he worked and died) 19 July 1966 on Collins' letterhead. Joseph Lawton Collins (1896-1987) graduated from USMA in 1917 and commanded the 3rd Battalion 22nd Infy. in France in 1919. He achieved the ranks of Colonel and Brig. Maj. and Lieut. General (both brevet and full ranks) during WWII the remainder including General post-war. He was Chief of Staff of the Army from 1949-1953 which covered most of the Korean ''police action.'' He was also involved in crafting the Army's role in NATO. TNS 1p Washington DC 25 Oct. 1963. Signed by Earle G. Wheeler as Army Chief of Staff. Earle Gilmore Wheeler (1908-1975) graduated from USMA in 1932. Just before WWII he was teaching at West Point and spent the first years of the war training Infantry divisions. He went to Europe in 1944 and when he returned in 1945 he became an artillery instructor at Fort Sill. He was back and forth to Europe for the next decade in both U.S. and NATO positions. He was appointed Chief of Staff of the Army in 1962 and Chairman of the Joint Chiefs of Staff in 1964 a position he held through the height of the involvement in Vietnam. TNS 1p Washington DC 25 June 1952. Signed H.H. Vaughan as Military Aide to the President on White House stationery. Harry H. Vaughan (1893-1981) was one of very few generals to not attend West Point. Instead Harry's degree was from Westminster College Fulton MO. Vaughan became friends with Harry Truman during training in 1917. He seems to have left active service and moved to reserves after WWI and several of his promotions in rank stem from reserve duty. He was recalled to active duty in 1942 and sent to Australia. After the war he became Truman's military aide (1945-1953). During this time he achieved higher ranks up to Major General (1947). Vaughan was in the middle of several scandals during his time in Washington. He retired from the military when Truman left office in 1953. TNS 1p Washington DC 30 Apr. 1957. Nathan Farragut Twining (1897-1982) started military service with the 3rd Oregon Infantry a National Guard unit on Mexican border patrol in 1916. With the build up for WWI he was recalled to active duty and was appointed to USMA graduating in 1918. In 1923 he began air training at Brooks Field TX. In 1940 he was assigned to the Chief of the Air Corps in Washington. In mid-1942 he went to the South Pacific as chief of staff to Maj. Gen. Harmon commanding the U.S. Army Air Forces. The following year he was put in command of the first Joint Air Command Army Navy Marine and Allied Air Forces in the South Pacific. He was named Chief of Staff of the Air Force in June 1953 and in 1957 was nominated as Chairman of the Joint Chiefs by Eisenhower serving until 1960 in that capacity. TLS 1p Washington 22 Apr. 1959. Thanking recipient for well wishes on his appointment as Chief of Staff of the Army on letterhead signed by L.L. Lemnitzer. Lyman Louis Lemnitzer (1899-1988) graduated from USMA in 1920. He achieved the rank of Brig. General in the early days of WWII and by the end helped negotiate the Italian and German surrenders. Following the war he was assigned to the Joint Chiefs' Strategic Survey Committee before commanding the 7th ID in Korea. He became Chief of Staff of the Army in 1957 and was appointed Chairman in 1960. He got tied up in the politics of Cuba and only served one term as Chairman. He became Supreme Allied Commander of NATO in late 1962 a post he held until his retirement in 1969. TNS 1p Washington DC 13 Jan. 1966. On Army Chief of Staff letterhead signed by Harold Johnson. Harold Keith Johnson (1912-1983) graduated from USMA in 1933. Johnson requested an overseas assignment and was sent to the Philippines. He was there when Bataan fell survived the death march and spent the war as a prisoner. When the Americans started closing in the Japanese transferred their prisoners. American fighter planes sank one of the ships carrying POWs killing 300 of them. Johnson survived and was taken to Japan; he was transferred again to Korea where the 7th Infantry liberated him in Sept. 1945. Johnson went back to Korea five years later as that police action commenced. He became Chief of Staff of the Army in 1964 and was involved in the escalation of Vietnam. He advocated full mobilization decisive action and rapid withdrawal. When Lyndon Johnson did not follow this recommendation Johnson threatened to resign and later regretted not doing so. He retired from active service in 1968. TLS 1p Washington DC 15 Apr. 1946. On Marine Corps Commandant's letterhead signed by General A.A. Vandgrift. Alexander Archer Vandegrift (1887-1973) attended the University of VA; he won his commission in the Marine Corps through a week-long competitive examination. He got off to a rough start; his early evaluations were less than stellar. He went through most of the training programs available and by the time the U.S. entered WWII Vandegrift was a Major General. He was assigned to the south Pacific and for his service in the Solomon Islands he would receive the Medal of Honor. In 1944 he became Commandant of the Marine Corps and the following year was appointed General the first Marine officer to attain 4-star rank on active duty. He left active service at the end of 1947. TLS 1p Governors Island NY 15 Jan. 1942. On letterhead of the commander of the 1st Army signed by H.A. Drum Lt. Gen. Hugh Aloysis Drum (1879-1951) initially wanted to join the Jesuit priesthood. He joined the Army and rose rapidly through the ranks becoming Pershing's Chief of Staff during WWI. By 1931 he was a Major General Lieutenant General in 1939. He was in charge of Eastern Defense Command in WWII and retired by age in 1943 although he remained commander of the New York Guard until the end of the war. TNS 1p Washington DC 19 June 1964. On U.S. Marine Corps Commandant's letterhead signed by Wallace M. Greene Jr. Wallace Martin Greene Jr. (1907-2003) graduated from the Naval Academy in 1930. He had several assignments until being sent to Shanghai where he helped defend the international settlement during the Sino-Japanese hostilities in 1937 and 1938. He served in the Pacific during WWII and held many assignments until being nominated as Commandant of the Marine Corps to begin in 1964. By the time Greene's term as commandant expired in 1968 the Marine build up in Vietnam went from less than 1000 to over 100 000. He retired 31 Dec. 1967. Condition: Folds as expected. Otherwise excellent overall. One stray ink mark on last.
![Patents for Inventions Abridgements](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxNTQ2NzY=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwxNTQ2NzY=)
Patents for Inventions Abridgements of Specifications. 900,001-920,000 1959-61. 920,001-940,000 1961-62. Including some patents from the following famous companies. Esterbrook. Faber Castell. Lyra. Mentmore. Schwann. Herbin. Fend. Hardmuth. Johnson Mathey.
![CIVIL WAR BOOKS: CIVIL WAR BOOKS.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDEzMDgw&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDEzMDgw)
CIVIL WAR BOOKS: CIVIL WAR BOOKS. Comprising 19 volumes including Volumes 1, 2, & 3 of History of the War for the Union, Civil, Military, and Naval by E. A. Duyckinck, Johnson Fry & Company New York, 1861 – 1865, gilt leather spines and the interior with steel engravings by Alonzo Chappel. Together with Campfire and Battlefield, an illustrated history of the great Civil War by Rossitr Johnson, 1896, embossed gilt covers and gilt-tipped pages. As well as Tramp! Tramp! Tramp! by George F. Root, Nims & Knight, 1890. Tenting on the Old Campground by Walter Kittredge, Nims & Knight, 1891. Marching Through Georgia by Henry C. Work, Ticknor & Company, Boston, 1889. Hold the Fort by P. P. Bliss, Boston and Cincinnati 1877. Notes on the Invasion of Maryland and Pennsylvania and The Battle of Gettysburg with Explanatory Map and Souvenir Album, Ward Brothers, 1888. The Drummer Boy by George P. Carter, Crosby & Nichols 1862. Infantry Tactics by Brig. Gen. Silas Casey, 1862. Our Regiment, A History of the 102nd Illinois Infantry Volunteers by S. F. Fleharty, 1865. The Volunteer Soldier of America by John A. Logan, 1887. A Compendium of the War of the Rebellion, in three volumes by F. H. Dyer, Thomas Yoseloff, 1959. The Historical War Map Booklet, Asher & Company, Indianapolis. The Soldier’s Hymn Book, YMCA, circa 1861. Ellis’s History of the United States, Star Publishing, 1899. A re-print of Hardee’s Rifle and Infantry Tactics, and a Republican Ticket for Grant and Colfax. SHIPPING NOTICE:. Jackson’s is your sole and only source for one stop packing and shipping. With over 50 years of experience, our professional, affordable and efficient in-house shipping department will be happy to provide you a fair and reasonable shipping quote on this lot. Simply email us before the auction for a quick quote: shipping@jacksonsauction. com or call 1-800-665-6743. Jackson’s can expertly pack and ship to meet any of your needs. To ensure quality control Jackson’s DOES NOT release to third party shippers.
![Carl Chiarenza / Robert Koch EVOCATIONS](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyMzAwNjE5&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyMzAwNjE5)
Carl Chiarenza / Robert Koch EVOCATIONS 2002 Author Signed Limited First Edition Art Photography & Poetry Duotone Color & Folding Plates Title: EvocationsAuthor: Carl Chiarenza - Carl Chiarenza is Fanny Knapp Allen Professor Emeritus of Art History, and Artist-in-Residence, at the University of Rochester. He was Fanny Knapp Allen Professor there (1986-1998). At Boston University (1963-1986), he was Chairman, Director of Graduate Studies, and Professor of Art History. He also taught at Smith College and Cornell University.Born 1935, in Rochester NY, he received an A.A.S. (1955) and a B.F.A. (1957) from Rochester Institute of Technology, a M.S. (1959) and A.M. (1964) from Boston University and the Ph.D. from Harvard University in 1973. Chiarenza has lectured and taught workshops at over 100 institutions in 33 states since 1966.He is the author of numerous essays and of the critical biography, Aaron Siskind: Pleasures and Terrors (Little, Brown, Boston, 1982). His photographs have been seen in over 80 one-person, and in over 260 group exhibitions since 1957.Monographs of his work include:Chiarenza: Landscapes Of The Mind (David R. Godine, Boston, 1988), with essays by Estelle Jussim and Charles Millard, and a chronology by Susan E. Cohen and William S. Johnson; Chiarenza: Evocations (Nazraeli Press, Tucson, 2002) with poetry by Robert Koch; Peace Warriors of 2003 (Nazraeli Press, Tucson, 2005); Solitudes (Lodima Press, Ottsville, PA, 2005); Interaction: Verbal/Visual(Nazraeli Press, 2006); Chiarenza: Pictures Come From Pictures (D.R. Godine Publisher, Boston, 2008). See also: Stu Levy, Cranial Czar, Eh! (Nazraeli Press, Tucson, 2005 -- Chiarenza is the subject).Chiarenza has been reviewing books on photography for CHOICE since 1981. He continues to do so. [Information courtesy the artist's official website.], Robert KochPublisher: Nazraeli PressCity: Tucson, ArizonaYear: 2002Printing Information: Signed EditionBinding Style: HardcoverPagination: 99 pagesWidth: 12.5" Height: 13"Book Details: Condition / Notes: This is an author-signed first edition of this work, limited to one thousand copies. The book is bound in black cloth covers with stamped gilt lettering on the spine and front cover and a paper print mounted in the recessed space on the front cover. The exterior shows light shelf wear. The binding is solid.The text block is adorned with gray endpapers. Institutional markings in pencil appear in the upper right corner of the half-title page. The author's signature appears on the title page, dated 2002. Poems by Robert Koch are accompanied by 80 Chiarenza plates (76 duotone [including 4 folding], 4 four-color plates).For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $6.50
![SEMINOLE INDIAN Portait Painting, 1959:](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyMzk5NTkw&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyMzk5NTkw)
SEMINOLE INDIAN Portait Painting, 1959: Oil on board painting of a young Seminole Indian. "E. Johnson" at lower right. Signed (Eleanor Johnson), Titled (Little Seminole Indian or Little Papoose) and dated (1959) verso. Board measures 8" x 10". Framed size is 11" x 13". Excellent condition. Wear to framing. Condition This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own. Available payment options on Bidsquare
![Senator Lyndon B. Johnson Letter: (1908-1973)](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyMzkxMzA1&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyMzkxMzA1)
Senator Lyndon B. Johnson Letter: (1908-1973) On official stationery, dated August 10, 1959, in oak frame with Johnson photo
![NELL BLAIR WALDEN BLAINE, (AMERICAN,](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg2MzE0&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg2MzE0)
NELL BLAIR WALDEN BLAINE, (AMERICAN, 1922-1996), SEATED FIGURE AT A TABLE WITH FLOWERS, 1957, OIL ON PANEL, 42"H X 24"WNell Blair Walden Blaine (American, 1922-1996) Seated figure at a table with flowers, 1957 oil on panel signed and dated lower right. Provenance; From a private collection, Indianapolis, IN. Biography from The Johnson Collection NELL BLAIR WALDEN BLAINE (1922-1996) b. Richmond, VA; d. New York, NY A May 1957 issue of Life magazine recognized five "Women Artists in Ascendance," painters who had "won acclaim not as notable women artists but as notable artists who happen to be women." Photographs of the select group illustrated the article, including one of Nell Blaine sitting in her sunny New York studio surrounded by still lifes and large-scale figural works. Those canvases testify to Blaine's decades of experimentation—from naturalism in her early efforts, to radical abstraction throughout the 1940s, and back to figuration in the 1950s and beyond. This constant search for stylistic renewal characterized Blaine's sweeping, successful career. The death of her mother at a young age, the volatile temper of her father, and the conservative religiosity of her stepmother marked Blaine's upbringing in Richmond, Virginia, during the Great Depression. Severe vision problems—Blaine was born cross-eyed—further compromised her youthful stirrings toward art. Corrective surgeries liberated her from physical restrictions, and, by the age of sixteen, she had enrolled in the School of Art of the Richmond Professional Institute (now Virginia Commonwealth University), learning under the tutelage of Theresa Pollak and Worden Day. At Day's urging, Blaine set out for Hofmann's studio in New York in 1942. Although perpetually constrained by tight finances, Blaine felt like "a bird out of a cage" in New York. Nurtured by Hofmann's emphasis on organic rhythms and the rectilinearity modeled in Mondrian's images, Blaine moved from abstraction to non-figuration. At the Jane Street Gallery, an artist's cooperative founded in 1942, she adhered to purely formal art and developed an abiding love for jazz. In 1944, she joined the American Abstract Artists group, as did many other students in the Hofmann circle. Blaine's radical investigations attracted the attention of critic Clement Greenberg who enthusiastically singled out her Great White Creature as "best in the show" at the annual exhibition of the American Abstract Artists in 1945. On Greenberg's recommendation, Blaine was invited to participate in Art of This Century: The Women, Peggy Guggenheim's second landmark exhibition of women artists, held in 1945. The closing of the Jane Street Gallery in 1949 and an ensuing trip to Paris in 1950 prompted Blaine's realization that non-figuration deprived her "of some wonderful sensuous pleasure with painting," and she gradually re-embraced representation. Blaine's paintings of the 1950s track her thematic and stylistic shifts; she focused on studio interiors and portraits, but also produced luminous landscapes in brilliant, animated colors depicting her travels to New England, Mexico, Italy, and Greece. While working on the Greek island of Mykonos in 1959, Blaine contracted bulbar-spinal polio. The virus paralyzed her, necessitating an arduous rehabilitation and the exertion of enormous will to return to painting. Undaunted, Blaine modified her approach and focused on smaller compositions like Anemones with Red Cloth. Although limited in her mobility, Blaine was by no means confined; she often painted in Gloucester, Massachusetts, and traveled widely throughout Europe with the help of devoted friends. For the rest of her life, Blaine enjoyed an almost frenetic pace of individual and group exhibitions in galleries and museums, fueled by the steady output of small-scale oils and watercolors. In 1992, on the occasion of her fifty-first solo exhibition showcasing intensely colored flower paintings and landscapes, the indomitable Blaine vowed that "art is central to my life. Not being able to make or see art would be a major deprivation." The Johnson Collection, Spartanburg, South Carolina 42"H x 24"W oil on panel Dimensions: 42"H x 24"W
![Large Collection of Early Childrens](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDI5MDA1&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDI5MDA1)
Large Collection of Early Children's Books/First Editions: Large group of early children's books, including several first editions. Christopher Morley (1890-1957), “Where the Blue Begins, ” Doubleday, Page & Company, New York, 1922; Frances Hodgson Burnett (1849-1924), “Two Little Pilgrims’ Progress, A Story of the City Beautiful, ” Charles Scribner’s Sons, New York, 1895. first edition; John Groth (b. 1908), “Studio: Europe, ” The Vanguard Press, New York, 1945. Introduction by Ernest Hemingway (1899-1961); Harry Golding, F. R. G. S, “The Wonder Book of Ships, ” Ward, Lock & Co. Limited, London and Melbourne, 1927. 13th edition; Munro Leaf (1905-1976), “Wee Gillis, ” The Viking Press, New York, 1938; Kenneth Mahood (b. 1930), “The Laughing Dragon, ” Charles Scribner’s Sons, New York, 1970; Robert Browning (1812-1889), “The Pied Piper of Hamelin, ” Frederick Warne and Co. , London and New York. Illustrated by Kate Greenaway. Originally published in 1842, this edition unknown. Spine is in poor condition; Robert Heitmann, “The Man in the Red Flannel Suit, ” Golden Press, New York, 1959; Henry L. Stephens (1824-1882) and Gaston Fay, “Mother Goose’s Melodies for Children, or Songs for the Nursery, ” Hurd and Houghton, New York, 1869. First edition. Illustrations by Stephens and Fay. Binding is ripped on first page; William Rossa Cole (1919-2000), “The Birds and the Beasts Were There, ” The World Publishing Company, Cleveland and New York, 1963. First edition. Woodcuts by Helen Siegl (1924-2009); Hans Christian Andersen (1805-1875), “Fairy Tales, ” The Orion Press, New York, 1958; Christianna Brand (1907-1988), “Naughty Children, ” E. P. Dutton & Co. , New York, 1963. First edition. Illustrations by Edward Ardizzone (1900-1979); Johnny Gruelle (1880-1938), “Raggedy Ann and Andy and the Nice Fat Policeman, ” Johnny Gruelle Company, New York, 1942. First Edition; Howard R. Garis (1873-1962), “Uncle Wiggily and His Friends, ” Platt & Munk, New York, 1939. Binding is loose. ; “Snow White and the Seven Dwarfs, ” Grosset & Dunlap, New York, 1938. Illustrated by Walt Disney (1901-1966). First edition, rare. Some damage to spine; Ruth Krauss (1901-1993), “The Carrot Seed, ” Scholastic Book Services, New York, 1945. Pen, pencil, and crayon markings and doodles. Very worn book; Kate Greenaway (1846-1901) and Edmund Evans (1826-1905), “Under the Window, Pictures and Rhymes for Children” George Routledge & Sons, New York, 1878. First edition. Silas Weir Mitchell (1829-1914), “The Wonderful Stories of Fuz-Buz the Fly and Mother Grabem the Spider, ” J. B. Lippincott & Co. , Philadelphia, 1867. Binding and corners slightly damaged; William Steig (1907-2003), “The Lonely Ones, ” Duell Sloan and Pearce, New York, 1942. Books spin label detached; Horatio Alger, Jr. (1832-1899), “Ragged Dick Series. Fame and Fortune; or The Progress of Richard Hunter, ” Loring, Boston, 1868. Front, binding, back covers are missing. Title page torn, some pencil markings, handle with care; Horatio Alger, Jr. , “Rufus and Rose; or The Fortunes of Rough and Ready, ” Loring, Boston, 1870. Book, binding, and spine is a little worn; Horatio Alger, Jr. , “, Ragged Dick Series. Mark the Matchbox; or Richard Hunter’s Ward, ” Loring, Boston, 1899. Binding is a little loose, spine has a little worn; Angelo Patri (1876-1965), “Pinocchio in America, ” Doubleday, Doran & Company, inc. , New York, 1930; Annie Fellows Johnston (1863-1931), “The Little Colonel Stories, ” L. C. Page & Company, Boston, 1904. Illustrated by Etheldred B. Barry; W. H. Auden (1907-1946), “The Dyer’s Hand and other Essays, ” Random House, New York, 1962. First edition; Padraic Colum (1881-1972), “The Boy Apprenticed to an Enchanter, ” The Macmillan Company, New York, 1920. Illustrated by Dugald Stewart Walker. First edition; Alf Prøysen (1914-1970), “Mrs. Pepperpot’s Outing, ” Pantheon Books, New York, 1970. Illustrated by Björn Berg; Unknown author, “The Cost of Revenge; or Dirty Dick and His Dog Bones; and other stories, ” Kessinger Publishing, London. Torn first page; Kate Douglas Wiggin (1856-1923), “The Birds’ Christmas Carol, ” Houghton, Mifflin and Company, Boston and New York, 1888. First edition; Kate Douglas Wiggin, “Rebecca of Sunnybrook Farm, ” Houghton, Mifflin and Company, Boston and New York, 1903. Spine is ripped and a little worn; Lois Lenski (1893-1974), “Spinach Boy, ” Frederick A. Stokes Co. , New York, 1930. One ripped off page. Binding is quite loose; William O. Stoddard (1835-1925), “The First Cruiser Out, ” Herbert S. Stone and Company, Chicago and New York, 1898; T. M. O, “Adventures of a Green Dragon, ” Auburn Publishing Co. , New York, 1908. Binding is loose; Willard B. Canopy (1931-2011), “The High School Stunt Show and Carnival, ” T. S. Denison & Company, Minneapolis, 1929; Jerome K. Jerome (1859-1927), “Three Men on Wheels, ” Dodd, Mead and Company, New York, 1900. Illustrations by Harrison Fisher; Henry Wadsworth Longfellow (1807-1882), “The Seaside and the Fireside, ” Ticknor, Reed, and Fields, Boston, 1850. First edition; Louise Chandler Moulton (1835-1908), “New Bed-Time Stories, ” Roberts Brothers, Boston, 1880. Cloth is ripped on spine; Crockett Johnson (1906-1975), “Barnaby and Mr. O’Malley, ” Henry Holt and Company, New York, 1944. First edition. Includes pencil note on first page, and post card note. SKU: 01948 Follow us on Instagram: @revereauctions Condition Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions. com with any condition questions. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
![Lot of 12: 1956 - 1959 Topps Football](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw1NDQwOTk=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw1NDQwOTk=)
Lot of 12: 1956 - 1959 Topps Football Cards. Description Includes1956 #37 Chuck Drazenovich PSA graded 7.0. 1957 #22 Norm Van Brocklin PSA graded 8.0 and #32 Bobby Layne PSA graded 8.0. 1958 #4 Bill Barnes PSA graded 5.0. Also includes 1959 #20 Farnk Gifford PSA graded 8.0, #44 John Johnson PSA graded 8.0, #60 Lou Groza PSA graded 7.5, #82 Paul Hornung PSA graded 8.0, #105 John David Crow PSA graded 8.0, #113 Dave Middleton PSA graded 7.0, #118 Chicago Cardinals Team card with checklist back PSA graded 8.0, and #130 Y.A. Tittle PSA graded 7.5.Condition (Excellent - Near Mint).
![1970 Triumph 650cc T120RFrame no. AD37857T120R
In](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw4OTQ1ODg=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw4OTQ1ODg=)
1970 Triumph 650cc T120RFrame no. AD37857T120R
In 1951, the BSA Group purchased the assets of Triumph Engineering Company. This takeover would lead to problems for Triumph, and its eventual demise years later. The concept of the legendary Triumph Bonneville was resisted by BSA management, partially because it would show up BSA’s line. There was much debate between BSA and Triumph’s two American distributors, the Triumph Corporation in Baltimore and Johnson Motors in Pasedena. The Bonnie was eventually introduced in 1959, its name reflective of records set by Triumph-powered bikes at the storied Bonneville Salt Flats.
The Bonneville reflected of the tension between the British company’s conservative philosophy, and the demands of the Americans, who wanted an even more powerful version of the TR6 Trophy scrambler and the ageing 6T Thunderbird. The result was a styling mix of frumpy British fully valenced fenders, a dated headlamp nacelle and a wide, touring seat. The new twin-carburetor head made it the fastest road bike Triumph had ever made, but it sure didn’t look it. After a buildup of 1959 Bonneville inventory and American dealers converting TR6s to the new twin-carb’ head so as not to lose sales, the Brits got the message. The 1960 Bonneville came to the ‘States with a smaller seat and tank, narrow fenders, a separate chromed headlight assembly and a tachometer – all features appealing to the more sporting rider. The Bonneville was on its way to motorcycling immortality.
Over the years, the Bonnie was continually updated. A major redo was undertaken on the 1963 models, which got a new version of the engine, which incorporated the gearbox into the crankcase. A new frame with improved tensional stiffness was used for the new engine. Throughout the updates, the styling remained crisp and there were no jarring year-to-year changes.
This Bonneville is from 1970 production, the year many feel was the pinnacle before corporate missteps changed the appearance of the model. It has been the subject of a thorough, accurate restoration right down to the ‘Astral Red’ with Silver twin-scallop tank design. With the odometer showing a mere 814 miles, the purchaser will have the opportunity to enjoy the pride of ownership of a ‘need nothing’ example of one of Triumph history’s signature motorcycles.
Without reserve
![A VINTAGE HERBERT JOHNSON VARNISHED](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw0NDg2NTc=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw0NDg2NTc=)
A VINTAGE HERBERT JOHNSON VARNISHED CLOTH-COVERED CORK MOTOR RACING HELMET with leather and canvas lining, tan leather chin strap and leather trimmed Perspex visor, maker's label of Herbert Johnson (Bond Street) 38 New Bond St London W and with royal warrant (By Appointment HatTers to the Late King George VI); British Automobile Racing Club chromium plated and enamel member's radiator badge, numbered M648 and a membership card dated 1959 (3)
![MARJORIE LEE O/B ABSTRACT LANDSCAPE](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzNzAxNDU0&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzNzAxNDU0)
MARJORIE LEE O/B ABSTRACT LANDSCAPE PAINTING, PEACH ORC...Marjorie Johnson Lee (Texas, 1911-1997) oil on board abstract landscape painting titled "Peach Orchard in Bloom" rendered in brightly hued impasto depicting a dense orchard bursting with pink foliage. Signed "M Lee" lower right corner. Titled, signed, and dated "painted in 1959" along with personal written inscription "1972 Jo Spuzzy: with all my love" in pen, en verso of backing. Housed in a giltwood frame with canvas liner. Sight: 9 3/8" H x 13 3/8" W. Framed: 14 3/4" H x 18 3/4" W. Artist biography: Marjorie Johnson Lee was one of the founders of the Fort Worth School of Artists (1932), which was established to expose Texans to abstract art. She attended Texas Christian University, Fort Worth School of Fine Arts, the Art Institute of Chicago, Colorado Springs Fine Arts Center, and the Arts Student League in New York. She volunteered alongside many other artists in the U.S. Navy WAVES during WWII including as a flight instructor and later lived in New York for many years. She returned to Texas in 1974 and continued painting until her death. (Source: The Old Jail Art Center Art Museum). Lee's paintings are in the collections of the Amon Carter Museum of American Art, the Grace Museum, and the Blanton Museum.
Condition:
Minor surface grime. Otherwise in overall very good condition.
![The English Pintail Drake John English](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyMjIwNDk1&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyMjIwNDk1)
The English Pintail Drake John English (1848 The English Pintail Drake
John English (1848-1915)
Florence, NJ, c. 1880
17 in. long
John English was the “the innovator of the Delaware River decoy,” yet his existence alluded collectors for years and information about his life is just now being discovered. English’s importance as the father of the Delaware River school of carving is documented by virtually every authority from the region. Robert “Bob” White, describes English as “the ultimate Delaware River carver.” Author Kenneth L. Gosner notes, “The work of John English set a standard against which other Delaware River makers have been measured and compared ever since. Indeed, for many collectors, the English style is the Delaware River style.”
The most immediate recipients of English’s technique were his sons, Dan (1883-1962) and John “Jack,” Jr. (b. 1881). They both used his patterns and carved with a measure of their father’s distinctive style. However, according to Harrison Huster and Doug Knight in “Floating Sculpture,” “John’s decoys are much lighter than those made by either of his sons. His carving is more refined and classic.”
“John English of Florence, New Jersey no doubt produced some of the finest decoys ever used on the Delaware River,” writes Delaware River historian Alan Linkchorst. He continues, “His delicate hollow lures, with their lightly raised primaries and carefully incised wing and tail carving, clearly showcase his skills as one of the most talented makers of floating sculpture. If he wasn’t the innovator of the Delaware River style of decoy, he certainly was its early champion. Yet in the early recorded annals of the history of decoys and their makers, due to the gifted brushstrokes of an avid duck hunter from nearby Trenton, his contributions were nearly overlooked.” In Linkchorst’s article on John English the author explains “one of the reasons why John English decoys were so late in being identified by collectors could be attributed to the fact that a large rig of John English decoys were acquired by John Dawson [1886-1959], a hunter from nearby Trenton, who repainted the rig in bold geometric patterns. While this unplanned collaborative effort produced a rig that is highly sought by collectors, it undoubtedly reduced the number of John English decoys in original paint.”
English was in complete command of his artistry when creating this decoy, which features a razor sharp upturned bill, subtle mandible and nostrils, and the precise raised wing-tip carving that marks the region’s style. The form and paint of this high-head pintail exhibit English’s best efforts and work in perfect harmony with one another.
English’s elegant work shows a repetition of design. His pintail hens feature a strong V-shape to the raised wing tips that are repeated in the paint pattern. Until the discovery of this bird, English’s thoroughness and intent had not been seen in a pintail drake. The S-shaped curve of the head, neck, and breast is echoed perfectly by the white, chestnut, and gray paint patterns in that area. This smooth S-shape is repeated again in the green speculums and their white and orange accents.
While there are several known John English pintails painted by John Dawson (1889-1959), this decoy remains the only pure English pintail drake to have surfaced. Several fine pintail hens have come to market, including a graceful hen that set the world record auction price for any decoy from the region, selling for close to a quarter of a million dollars.
Bob White recalls that Lloyd Johnson (1910-1965) was “the first to realize that Delaware River birds were collectible and that while Mackey, Barber, and Earnest would visit him to buy decoys, he kept the best for himself.” This pintail was one that Johnson kept.
This drake pintail sat front and center on a prominent shelf in O’Brien’s home as a bookend to the Barber-Dudley ruddy duck (see lot 34).
Along with the Phillips and Long pintail drakes by A. Elmer Crowell (1862-1952), this is perhaps the most important pintail ever to come to market.
In excellent original paint with minimal gunning wear and a tight age line in sprig tip.
Provenance: Lloyd Johnson Collection
Morton M. Hanson Collection, acquired from the estate of the above
Donal C. O'Brien Collection, acquired from the above
LITERATURE: William J. Mackey, Jr., American Bird Decoys, New York, NY, 1965, p. 127, plate vi, English-Dawson illustrated. Allen Linkchorst, “John English,” Decoy Magazine, March/ April 2000, Lewes, DE, front cover and pp. 8-12, exact decoy illustrated. Robert H. Boyle, “The Art of Deception,” Audubon, May-June 2002, New York, NY, P.47, exact decoy illustrated.
![[WRIGHT, FRANK LLOYD. 1869-1959.]
ARCHIVE](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw5MTA3ODY=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw5MTA3ODY=)
[WRIGHT, FRANK LLOYD. 1869-1959.]
ARCHIVE ASSEMBLED BY PROFESSOR HENRY-RUSSELL HITCHCOCK FOR THE WORK HE CO-AUTHORED WITH FRANK LLOYD WRIGHT, IN THE NATURE OF MATERIALS.
1. Approximately 600 photographs of Wright's buildings and interiors, assembled for potential publication in the book. Various processes including gelatin silver, cyanotype and carbon prints, a small percentage copy prints, various sizes, many contemporary with the completion of the buildings. Photographers mainly uncredited, but including: Henry Fuermann of Chicago, Gilman Lane of Oak Park, IL, Samuel H. Gottscho of Jamaica, NY, and G.E. Kidder-Smith of New York. Most with annotations on verso, some on recto, usually for publication purposes; many either stamped "Property of F.LL. Wright" or with the penciled initials "FLLW."
2. Approximately 300 photographic reproductions of drawings and plans. Gelatin silver prints, 8 by 10 inches, probably 1950s or 1960s, typed captions pasted on verso. These not used in In the Nature of Materials.
3. Several plans by members of the Taliesin Fellowship, redrawn specifically for Hitchcock's book. Ink and pencil on tracing paper, various sizes.
4. 7 plans and one perspective of various projects, believed to be by Wright, ink, pencil and wash, including: ground plan of atelier for Richard Bock, 1903; C.H. MacAfee, 1894; Harry Brown ground floor, 1909; Brown concrete block house (perspective); Eckhart, 1899.
5. 3 Typed Letters Signed ("Frank Lloyd Wright," "FLLW"), 3 pp, 4to, Taliesin, Spring Green, WI, June 1938 to June 1941, to Hitchcock, two with manuscript amendments, folds, one with heavy staining in margin. Together with a further Typed Letter Signed by Wright's assistant Eugene Masselink regarding drawings for publication in the book.
Hitchcock and Wright's book was intended to be a sort of ex post facto catalogue of the 1940 MoMA exhibition Frank Lloyd Wright: American Architect – described by the man himself as "the show to end all shows." The Great Depression, Wright's prolonged absence from the country, and his turbulent personal life had resulted in a dearth of commissions for the first half of the 1930s. At the time of the MoMA show, he was still at the opening of his "second career," which had been revived by the Kaufmann house (Fallingwater) and the Johnson office building.
In the Nature of Materials, published in 1942, was swiftly acknowledged as a standard work on Wright and remained in print for nearly a quarter century. Its author Hitchcock [1903-1987] had risen to prominence through the 1920s and early 30s, cementing his reputation with the 1932 International Style show at the MoMA, co-curated with the architect Philip Johnson. The year after the book's publication, Wright was commissioned to design a permanent home for the art collection of the Solomon R. Guggenheim Foundation – a project that occupied him for some fifteen years but resulted in one of the most instantly recognizable buildings in the world.
The present archive offers an exceptionally rich documentation of the work of Frank Lloyd Wright. The content is well-organised, and arranged chronologically in file folders. Many of the interior photographs show the original furnishings and the houses in daily use – papers strewn across desks, tables set for dinner, and toys on the floor. Families can be seen standing proudly in front of their new homes. A number of photographs record buildings that no longer survive, including Taliesin I (burnt beyond recognition in 1914), Midway Gardens in Chicago (destroyed in 1929), and the Imperial Hotel in Tokyo (demolished in 1968). Several images are by noted architectural photographers such as Samuel H. Gottscho and G.E. Kidder-Smith, and many derive from Wright's own photographic collection, sent by him to Hitchcock for publication in their book (as Hitchcock explains in his acknowledgements).
Despite their collaboration, Hitchcock and Wright enjoyed a checkered relationship. They started off on the wrong foot in July 1937, when Hitchcock referred in the Architectural Review to "the absence of any new directing genius in America" and "the days when [Wright] was an active architect before the war." The first letter from Wright in the present archive suggests a rapprochement the following year: "I feel that a good talk will straighten out our 'differences' and I do think the letter I wrote apropos of your article in the Review somewhat hasty and unnecessarily unkind." In the next letter, the architect highlights certain projects for inclusion in the book ("some of these are paid up 'prospects' that did not get into bricks and mortar but are the more important on that score as they were actual work in hand"), while the last letter focuses on their deal with the publisher Duell and Wright's "great hopes for the book... [I] believe we will both be satisfied."
Provenance: Henry-Russell Hitchcock [1903-1987]; bequeathed to the present owner.
See illustrations.
![AMY DIXON, ACRYLIC, A SENSE OF FRENCH,](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjkxMjgw&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjkxMjgw)
AMY DIXON, ACRYLIC, A SENSE OF FRENCH, 2004Amy Dixon (American, b. 1959) A Sense of French, 2004 acrylic on canvas signed Amy Dixon lower right and titled, dated, inscribed and signed twice on the reverse 30 x 24in (76.2 x 61cm)Provenance: Property from the Collection of Kate Edelman Johnson sold to benefit The Johnson Charitable Remainder Unitrust and the Deane F. Johnson Alzheimers Research Foundation.
Condition:
Not examined under UV light. There appear to be no condition issues of note.
![SEMINOLE INDIAN PORTAIT PAINTING, 1959Oil](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzNTYyNTc3&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzNTYyNTc3)
SEMINOLE INDIAN PORTAIT PAINTING, 1959Oil on board painting of a young Seminole Indian. "E. Johnson" at lower right. Signed (Eleanor Johnson), Titled (Little Seminole Indian or Little Papoose) and dated (1959) verso. Board measures 8" x 10". Framed size is 11" x 13". Excellent condition. Wear to framing.
![Pair Gorham sterling five-light candelabra](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyMTc3NjQ2&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyMTc3NjQ2)
Pair Gorham sterling five-light candelabra dated 1959, ornate design, pattern 629-5, pair candlesticks with removable candelabra, marked: GORHAM (lion and anchor) STERLING; H16 1/2"; weighted candlesticks 43.0ozT, detachable top 88.5ozT; totaling 131.5ozT (2pcs) Provenance: Estate of Sue Rogers Johnson Condition statement: appears to be in good original condition, normal wear consistent with age and use.
![[ARCHITECTURE]. WRIGHT, Frank Lloyd](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDA5NjMw&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDA5NjMw)
[ARCHITECTURE]. WRIGHT, Frank Lloyd (1867-1959). A group of 12 architectural drawings, renderings, and blueprints relating to the S. C. Johnson and So: [ARCHITECTURE]. WRIGHT, Frank Lloyd (1867-1959). A group of architectural drawings, renderings, and blueprints relating to the S. C. Johnson and Sons Office Building in Racine, Wisconsin, comprising: . . 3 original finished architectural drawings in pencil, titled lower margin: "Mezzanine Office Allotment, " unframed; "'Electroliers' for Carport, " unframed; "Ash Stand, " matted, framed, and glazed (unexamined out of frame). Each hand-lettered lower margin "Frank Lloyd Wright Architect" with his square (colored red in "Ash Stand" drawing). . . [With:]. . 2 original architectural drawings in pencil, presumably drafts, titled lower margin: "Space Allotment Ground Plan, " unframed; "Triplicate cantilever office desk, " matted, framed and glazed (unexamined out of frame). Both unsigned, presumably by a member of Wright's firm. . . [With:]. . 7 blueprints relating to the project (rolled, a few with tears). -- Together, 12 items. Provenance: acquired from Nelson Construction Company, Racine, Wisconsin. . . Condition For condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions. com
![MODERN PRINTMAKERS
Group of 10 prints.
BORIS](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw3Mzc0MjQ=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw3Mzc0MjQ=)
MODERN PRINTMAKERS
Group of 10 prints.
BORIS MARGO. From Meteorites, color cellocut. Signed, titled, annotated and numbered 194/200 in pencil, lower margin * NORMAN BATE. Remnants of Night and Tide, etching and aquatint, 1959. Signed, titled, dated and numbered 20/20 in pencil, lower margin * GABOR PETERDI. Triumph of Weed, etching, 1959. Artist's proof. Signed, titled, dated and inscribed "Artist's proof II" in pencil, lower margin. Johnson 175. Group of 7 etchings with poems from 21 Etchings and Poems. Various sizes and conditions. Very good impressions.
![Two Attributed Early Egyptian Figures:](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDYyNzk3&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDYyNzk3)
Two Attributed Early Egyptian Figures: age unknown, carved wood figure of a falcon, probably representing the god Horus, later painted stand, 4-1/4 x 5 in. ; double sided faience fragment of head, possibly the goddess Hathor, later stand, 3-1/2 in. , Provenance: Edna Crawford Johnson, 1959, Bird only); Collection from an Important American Family Condition bird with repair to tail and cracks to body, chips to headdress on figure, both with wear and grimeÿ
![LESTER JOHNSON
Two paintings on paper.
Woman](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw3NTEzMjU=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw3NTEzMjU=)
LESTER JOHNSON
Two paintings on paper.
Woman Seated in Bath * Woman Standing in Bath. Both oil on buff laid paper, 1959. Both 985x610 mm; 38 3/4x24 inches. Both signed and dated in pencil, lower margin. Both with scattered edge tears and mat stain verso.
![Grp: Modern and Contemporary Art Books:](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNTQxNjkz&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyNTQxNjkz)
Grp: Modern and Contemporary Art Books: Large group of reference books, monographs, and catalogs on modern and contemporary art, including works on major movements such as Futurism and Synchromism, and artists including Zao Wou-Ki, Georges Rouault, Pablo Picasso, and Anselm Kiefer, among many others. Additionally includes works on Eastern European and Latin American art during the period, along with several auction catalogs. A full list of titles included is as follows: three catalogs from Arthur Tooth and Sons Limited; William C. Seitz, "Hans Hofmann"; George W. Staempfli invitation to "Mary Bauermeister" exhibition; Frank O'Hara "New Spanish Painting and Scupture"; an issue of "In the Art World" catalog; catalog from San Jose State University "Holly Lane"; catalog of the University Art Museum, University of California "Lindner"; Marlborough New London Gallery catalog "Ben Nicholson: Twelve New Works June 1967"; catalog of Galerie des Granges "Andre Planson: Oeuvres Recentes (1970-1975); Graham W. J. Beal "Wayne Thiebaud Painting"; an issue of the Arts Club of Chicago "Germaine Richier, January 21-February 19, 1966"; Eine Sammlung "Werner Gilles"; catalog from Centro Cultural San Angel "Mauricio Cervantes: El Codigo de lo Intangible"; resume/promotional material of John Black; Max Bill promotional material; Museum of Modern Art catalog "Picasso: 75th Anniversary Exhibition"; catalog from Marlborough Gallery "William Baziotes: Late Work 1946-1962"; catalog from the Italian Festival - San Francisco April-May 1959 "Italy: Three Directions in Painting and Sculpture of Younger Italian Artists"; catalog from Aquavella Galleries "XIX & XX Century Drawings, Watercolors, Pastels, Gouaches, Collages: October 21-November 24, 1982"; catalog from Richard Gray Gallery "Picasso's Picassos: Paintings, Drawings & Sculpture from the Artist's Estate"; catalog from Howard Wise Gallery "Light Ballet"; catalog from Galeria Arte Actual Mexicano "Ricardo Mazal Pinturas"; catalog from Centro Cultural San Angel "Alberto Castro Lenero: La Fragmentacion"; two copies of Frank Gaard's "Terence la Noue"; 2 copies of a catalog from the Arts Club of Chicago, The University Gallery and the Jewish Museum "Pierre Alechinsky"; catalog from the Weintraub Gallery "Henry Moore: Sculpture, Watercolors & Drawings, Graphics, Portfolios"; catalog from Marlborough Gerson Gallery "Arnaldo Pomodoro"; Deborah Wye "Louis Bourgeois"; Allison C. Meier, Kris Kuksi, and Samuel D. Gliner "Colin Christian: Trypophobia"; Time Magazine, "Covers"; a catalog from Staempfli "Minoru Yamasaki: The Architect and his use of Sculpture as an Integral Part of Design"; catalog from the Arts Club of Chicago "Tom Holland"; Peter Selz "15 Polish Painters"; Werner Schmalenbach "The Known and Unknown of Julius Bissier"; "Adrian Berg: Recent Paintings of Gloucester Gate, Regents's Part"; Atherton Curtis and Paul Proute "Adolphe Appian: son Oeuvre Grave et Lithographie"; catalog from Marisa del re Gallery "Diego Giacometti"; Thalia Gouma-Peterson "Miriam Schapiro: A Retrospective, 1953-1980"; Ebria Feinblatt and Bruce Davis "Los Angeles Prints, 1883-1980"; catalog from La Sociedad Mexicana de Arte Moderno "Alberto Castro Lenero: Castillo Interior"; catalog from the University of California, Los Angeles/Cleveland Museum of Art/Minneapolis Institute of Arts/Museum of Fine Arts, Boston/Philips Gallery, Washington D. C. /San Francisco Museum of Art "John Marin Memorial Exhibition"; catalog from Chapellier Gallery "Frank Duveneck 1849-1919"; Edward Kienholz "Volksempfangers Nationalgalerie Berlin"; the Connoisseur, January 1963; publication from Galleria Fiamma Vico Frezzeria San Marco "Gaston Orellana Aldo Bresciani"; Robert Rosenblum "The Sculpture of Picasso"; catalog from the Sidney Janis Gallery "The High-Kitsch of Eilshemius at Janis"; catalog from the Sun Valley Art Auction June 29, 1991; catalog from Galerie van de Loo "Alfred Kremer: Seichnungen"; catalog from the Sidney Janis Gallery "New Paintings Sculpture & Drawings by Jim Dine"; Maurice Tuchman "American Sculpture of the Sixties"; catalog from the Ravinia Festival Art Exhibit 1962; Vittore Frattini "Miklos N. Varga: Frammenti Lirici 2"; Beelden Schilderijen Tekeningen Grafisch Werk "Robert Vander Eycken"; catalog from the Chicago Sculpture International May 10-15 1984"; "Edward Lentsch"; catalog from Minnesota Museum of Art "Kollwitz"; catalog from the Art Institute of Chicago "Anselm Kiefer"; catalog from the Marlborough Gallery "Ettore Colla"; catalog from Manny Silverman Gallery "Edward Dugmore Burning Bright: Paintings 1950-1959"; catalog from Wexner Center of the Arts "Will / Power: New Works by Papo Colo, Jimmie Durham, David Hammons, Hachivi Edgar Heap of Birds, Adrian Piper, Aminah Brenda Lynn Robinson"; catalog from Staempfli "Fritz Koenig"; catalog from Robert Miller gallery "Robert S. Zakanitch"; Jennifer Licht "Eight Contemporary Artists"; catalog from Stephen Roman + Private Art Dealer "Darcilio Lima 1944-1991"; catalog from Musee d'Art Americain Giverny and Terra Museum of American Art, Chicago "Roxy Paine"; catalog from Robert Fraser Gallery "Peter Blake"; catalog from Grand Central Art Galleries "August Mosca: A Fifty Year Retrospective"; catalog from Marlborough Gallery "Larry Rivers 1970-1973"; catalog from Marlborough Gallery "Isaac Witkin"; Martin Friedman "Adolph Gottlieb"; catalog from Marisa del re Gallery "Baj Fontana Manzoni"; catalog from Howard Wise Gallery "Otto Piene: Elements"; catalog from Lefebre Gallery "Corneille"; catalog from FineArts Printing Services "Johnmarc Edwards"; "Tongabezi: Victoria Falls, Zambia"; 1998 Pew Fellowships in the Arts catalog; catalog from BlumHelman gallery "David True--Recent Paintings"; catalog from Marlborough-Gerson Gallery "R. B. Kitaj"; 5 issues of Art in America magazine; William Firebrace "Things Worth Seeing: A Guide to the City of W"; catalog from Curt Valentin Gallery "Lehmbruck and his Contemporaries"; "Karl Hartung"; Katrina Daschner "Killing the Systems Softly"; 8 Walker catalogs; a catalog from Kunstmuseum Luzern; catalog from Felix Landau Gallery "Harry Kramer: Sculptures, Objects and Films"; Rita Caurio "Artexile No Brasil: Viagem pelo Mundo da Tapecaria"; Francisco Goya and Philip Hofer "The Disparates or, The Proverbios"; a catalog from The Art Gallery at Kennesaw State College "Cameroon Art: Selections from the Collection of William Arnett"; 2 issues of Art in America journal; Albert E. Elsen "Modern European Sculpture 1918-1945: Unknown Beings and Other Realities"; a catalog from the Art Institute of Chicago "A Century of Progress : Exhibition of Paintings and Sculpture, June 1 to November 1 1933"; an issue of Directions in Contemporary Painting and Sculpture from the Art Institute of Chicago publication; Alan G. Wilkinson "The Drawings of Henry Moore"; a catalog of Marlborough Gallery "Grisha Bruskin"; three publications by the Museum of Modern Art; one issue of Paris/New York Arts Yearbook 3"; five issues of Arts International journal; four issues of Art International: The Lugano Review journal; publication/catalog from the Dr. Martyna Miskinis Collection; four issues of the Journal of Decorative and Propaganda Arts; catalog of the National Gallery of Jamaica and the Smithsonian Institution exhibition "Jamaican Art: 1922-1982"; a catalog from the Museu de Art Moderna's VII Bienal "Estados Unidos da America" 1963; Gail Levin "Synchromism and American Color Abstraction 1910-1925"; a catalog from Gebr. Douwes Fine Art "Russian Paintings"; catalog from National Collection of Fine Arts "Sao Paulo 9"; two issues of "Alan D'Arcangelo" from Marlborough Gallery; a catalog from Associated American Artists "Lyonel Feininger: Ships and Seas"; Frances Carey and Antony Griffiths "From Manet Toulouse-Lautrec: French Lithographs 1860-1900, catalog of an Exhibition at the Department of Prints and Drawings in the British Museum, 1978"; catalog from Walker Art Center "Tyler Graphics: The Extended Image"; a catalog from Hauswedell & Nolte Auction House; Handzeichnungen, "Documenta III, " two copies; Ken Friedman "Fluxus Virus: 1962-1992"; Ann Temkin "Alice Neel"; catalog from Knoedler Contemporary Art "David Smith"; Andre Maisonneuve "Ger Lataster"; catalog from the Edinburgh Festival 1955 "Paul Gauguin: Paintings, Sculpture and Engravings"; catalog from Richard Gray Gallery "Jennifer Bartlett"; catalog from Felix Landau Gallery "First West Coast Exhibition Kinetic Sculpture and Cinematisations by Pol Bury"; Earl S. Braggs "Hat Dancer Blue"; catalog from Lefebre Gallery "Julius Bissier"; "Italian Art: Monographs on Artists" catalog 115; catalog from Dayton's Gallery 12 "Calder"; Andrew Carnduff Ritchie "The New Decade: 22 European Painters and Sculptures"; Frederick A. Sweet "Sargent, Whistler and Mary Cassatt"; catalog from Pamela Auchincloss Gallery "Charles Arnoldi: Recent Monotypes from the Garner Tullis Workshop"; an issue of The Arts Club of Chicago journal May 6 through June 26, 1985; catalog from Bowdoin College Museum of Art "Leonard Baskin"; catalog from Dayton's Gallery 12 and Dwan Gallery "Charles Ross: Prisms"; Walker Arts Center publication "Nicholas Krushenick"; an issue of Sport Equestri journal "La Vita di Caprilli"; three catalogs from Marlborough Gallery; Jean Leymarie "Zao Wou-Ki"; Janis Conner and Joel Rosenkranz "Rediscoveries in American Sculpture: Studio Works 1893-1939"; catalog from Stedelijk Museum Amsterdam "Anselm Kiefer: Bilter 1986-1980"; Paul Maenz & Gerd de Vries "Anselm Kiefer"; Henrik Cornell "Carl Milles and the Milles Gardens"; catalog from Comune di Milano "Giorgio de Chirico; Jenny Lion "Magnetic North"; catalog from Wexner Center for the Arts "Maya Lin: Public/Private"; Walker Art Center "6 Artists 6 Exhibitions"; Howard Wise Gallery "Lights of Silver by Mack"; catalog from Stadische Kunsthalle Dusseldorf, ARC/Musee d'Art Moderne de la Ville de Paris, The Israel Museum "Anselm Kiefer"; catalog from Marian Goodman Gallery "Anselm Kiefer"; catalog from Walker Art Center "New Art of Argentina"; Museum of Modern Art "Georgio de Chirico"; Kasmin Limited "John Howlin Recent Paintings"; Marlborough-Gerson "Four London Artists: Gordon House, Colin Lanceley, Richard Lin and Joe Tilson"; Marlborough Prints Price List; catalog from the Arts Club of Chicago and University of Minnesota Gallery "Alan Davie"; Marlborough Gallery "Colin Lanceley"; catalog from the Junior Council of the Museum of Modern Art "Recent Painting USA: The Figure"; Martin Friedman, Graham W. J. Beal, Lisa Lyons "Drawings by Lesak and Rainer"; promotional material from Borgenicht Gallery; catalog from Katonah Museum of Art "Dorothy Dehner: Sixty Years of Art"; two promotional pamphlets from Staempfli; Elizabeth Armstrong and Sheila McGuire "First Impressions: Early Prints by Forty-Six Contemporary Artists"; catalog from Hapsburg, Feldman Fine Art Auctioneers "Soviet Contemporary Art: The Property of the Kniga Collection, Paris"; Vavara Rodchenko and Aleksandr Lavrentiev "The Rodchenko Family Workshop"; Walker Art Center catalog "Richard Sussman"; catalog from Charles Cowles Gallery "Tom Holland"; catalog for the VII Bienal in Sao Paulo, Brazil "10 American Sculptors: Agostini, Chryssa, Decker, Kipp, Mallary, Schmidt, Segal, Sugarman, Weinrib, Wines"; Barbara J. Bloemink "The Art of Esteban Lisa"; Marlborough Gallery catalog "Contemporary Spanish Realists"; Robert C. Morgan "All the Lost Souls: Lu Zhang's Mirror of Identity"; promotional material for Lefebre Gallery; Walker Art Center "Michelangelo Pistoletto: A Reflected World"; Pierre Alechinsky "Three Pillories: A Key to an Image"; five catalogs from Dre Devens Dutch Constructivist; catalog from the Museum of Modern Art, Minneapolis Institute of Arts, San Francisco Museum of Art and the Art Gallery of Toronto "Les Fauves"; catalog from the Minneapolis Institute of Arts "Modern Illustrated Books from the Collection of Louis E. Stern"; Sylvan Cole, Jr and Robert Doty "Will Barnet: Etchings, Lithographs, Woodcuts, Serigraphs 1932-1972 catalog raisonne"; Edith Hoffmann "Kokoschka Life and Work"; Elac Lyon "Mattiacci, Mochetti, Nannucci"; Wladimiro Settimelli and Filippo Zevi "Gli Alinari: Fotografi a Firenze 1852-1920"; William C. Seitz "Mark Tobey"; Kunstforum International "Zwischenbilanz II Neue Deutsche Malerei"; Henry Geldzahler "New York Painting and Sculpture: 1940-1970"; Virginia M. Mecklenburg "The Patricia and Phillip Frost Collection: American Abstraction 1930-1945"; Gert von Osten "Plastik seit 1800 in Deutschland, Osterrich und der Schweiz"; Steven Heller and Louise Fili "Dutch Moderne: Graphic Design from Destijl to Deco"; one Christie's catalog; Joshua C. Taylor "Futurism"; Sotheby's catalog, "The Eye of a Collector: Works from the Collection of Stanley J. Seeger"; journal from the University of Minnesota "Germany in the Twenties: The Artist as a Social Critic"; Bruckmann Munchen "Marino Marini"; Verlag Torsten Brohan "Hans Moller"; Henri Baruk, Andre Neher and Leon Askenazi "Le Livre de Ruth"; catalog from Istituto di Cultura di Palazzo Grassi "La Pittura Metafisica"; catalog from Galerie van de Loo Munchen "Maurice Wuckaert"; Marlborough Gallery "Avigdor Arikha Ink Drawings 1965-1972"; catalog from Weinstein Gallery "Fifteenth Anniversary"; two copies of Malcolm C. Salaman "Fine Prints of the Year: An Annual Review of Contemporary Etchings and Engraving"; catalog from the Pushkin Museum, Moscow "Impressionist and Post-Impressionist Paintings from the U. S. S. R. "; catalog from the Far Gallery "Leonard Baskin: The Graphic Work, 1950-1970"; catalog from Editions Limited Gallery "Jurgen Peters"; Martin Friedman and Graham W. J. Beal "George Segal: Sculptures"; Judith Zilczer "'The Noble Buyer: John Quinn Patron of the Avant-Garde"; Luis R. Cancel, Jacinto Quirarte, Marimar Benitez, Nelly Perazzo, Lowery S. Sims, Eva Cockcroft, Felix Angel, and Carla Stellweg "The Latin American Spirit: Art and Artists in the United States, 1920-1970"; catalog from the United Book Guild "Aubrey Beardsley Drawings"; Peter Selz "Emil Nolde"; Kunsthaus Richterswil "Ardyn Halter"; Jean Dubuffet "Dubuffet: 1962-66"; John Richardson "Georges Braque 1882-1963: An American Tribute"; Walker Art Center catalog "Scale and Environment: 10 Sculptors"; Pace Gallery Publications "Dubuffet"; William H. Wilson "Raoul Dufy: A Retrospective"; Publication from R. S. Johnson International, Chicago "Pablo Picasso (1881-1973): Master of Graphic Art"; Martin H. Bush and Kenworth Moffett "Goodnough"; David Eugene Smith "Mathematics and Poetry"; catalog from Galerie van de Loo Munchen "Dimitri Hadzi"; Stephanie Barron "German Expressionist Sculpture"; an issue of "Avant-Garde" magazine; Carl de Keyzer "Homo Sovieticus"; catalog from the Tel Aviv Museum of Art "Yigal Ozeri 1994-1997"; Demetrio Paparoni "Stefano Peroli"; two issues of Design Quarterly journal; Robert P. Metzger "Reuben Nakian: Centennial Retrospective 1897-1986"; Schule von Pistoia "Barni Buscioni Ruffi"; publication from Hundert Tage fur Salzburg "Mimmo Paladino"; Minnesota Museum of Art publication "Clara"; James David Draper and Guilhem Scherf "Augustin Pajou: Royal Sculptor 1730-1809"; Albert Scaglione "Laszlo Dus"; Germano Celant "Mario Merz"; catalog from Tubingen-Hamburg-Zurich "Joseph Beus Olfarben 1949-1967"; two copies of Ronald Paulson "Hogarth's Graphic Works: First Complete Edition"; Pierre Courthion "Rouault"; Leon Bellefleur postcards "12 Dessins - Drawings"; "Byelorussian Glassmaker's Art"; catalog from G. di San Lazzaro. SKU: 04011 Follow us on Instagram: @revereauctions Condition Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions. com with any condition questions.
![A modern Royal Worcester bone china](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxNDI4NzYx&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwxNDI4NzYx)
A modern Royal Worcester bone china pot-pourri vase and pierced cover painted with a still life of fruits and signed M. Johnson 10.5ins high (printed factory mark for post 1959 and painted initials DH 1286 and M/S to base)
![Oil on board painting of a young Seminole](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNzY4ODY5&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyNzY4ODY5)
Oil on board painting of a young Seminole Indian. "E. Johnson" at lower right. Signed (Eleanor Johnson), Titled (Little Seminole Indian or Little Papoose) and dated (1959) verso. Board measures 8" x 10". Framed size is 11" x 13". Excellent condition. Wear to framing.
![W. EUGENE SMITH(1918-1978)
Madness](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjEzNDU0&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzNjEzNDU0)
W. EUGENE SMITH(1918-1978)
Madness (Haiti), 1959, unsigned, gelatin silver print, image/sheet 9-1/2 x 13 in.; mounted, 16 x 20 in.
Note: Smith W. Eugene William Johnson and James Enyeart. 1981. W. Eugene Smith Master of the Photographic Essay . Millerton New York New York N.Y: Aperture Inc, no. 27052, p. 189.
Condition:
mounted, two small surface scratches, possibly retouched upper left, no margins; mount in good condition
![Tony Griffin: (North Carolina, born](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDU5MDg4&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDU5MDg4)
Tony Griffin: (North Carolina, born 1959)Ash County Barn, stamped lower right "TG", watercolor on paper, 7-3/4 x 11-3/4 in. ; modern wooden frame, 14-1/4 x 18 in. Provenance: Collection of Hollister Houghton, Aiken, South Carolina Condition overall condition is good, not examined out of frame; frame with minor surface abrasion; tag verso for Neal Johnson Fine Art, Ltd
![A Sam Cooke and others original boxing](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw4NTA0MTg=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw4NTA0MTg=)
A Sam Cooke and others original 'boxing style' poster for "Supersonic Attractions of '59," 1959
Advertising a dance and concert at the Memorial Auditorium in Chattanooga, Tennessee for such musicians as Sam Cooke, Jackie Wilson, The Falcons, Marv Johnson, Sil Austin, Cliff Driver, Jessie Belvin, Baby Washington, and others.
35 x 22in
![(4) CASSINA FRANK LLOYD WRIGHT JOHNSON](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzMTA1MTk2&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzMTA1MTk2)
(4) CASSINA FRANK LLOYD WRIGHT JOHNSON WAX CHAIRS(lot of 4) Johnson Wax office chairs, after a design by Frank Lloyd Wright (American, 1867-1959), manufactured by Cassina, Italy, late 20th c., painted steel tubular frame, wood armrests, tilting back rest, padded seat, on brass casters, approx 34.75"h, 24"w, 20"d, seat height: 18.75"h **Provenance: Designer Courtney Blanton's CBI Studio collection, Austin, Texas**
![JUAN ASENSIO, (EQUADORIAN, B.1959),](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg3MDI5&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg3MDI5)
JUAN ASENSIO, (EQUADORIAN, B.1959), UNTITLED 2007, STAINLESS STEEL SCULPTURE, APPROXIMATELY 70"H X 11"W X 8 1/2"D.Juan Asensio (Equadorian, b.1959) Untitled 2007 stainless steel sculpture Provenance: Property of the Estate of Craig W Johnson, purchased from the Galeria Artnueve, Spain. Biography from Galería Elvira González: Juan Asensio was born in Cuenca in 1959. Asensio's initial works were anatomy studies and portraits in clay later reproduced in wood or marble. He started by displaying his artwork in different collective exhibitions. Soon, however, he abandoned this formative stage to move into a more influential environment at the Museum of Abstract Art in Cuenca. There, he worked in some more abstract pieces with reference to artists such as Oteiza and Brancusi. In 1987, Asensio moved to Madrid where he started to contact gallerists and critics of the Spanish capital. There, he worked alone at the same time that he collaborated with other artists including Oteiza, Manolo Valdés and Martín Chirino. Among his early exhibitions in Madrid were those at the Gallery Theo. Gallery that later was closed but continued by one of its founders, Elvira González, as Galería Elvira González. She kept working with the sculptor until now days. The first geometrical line of work of Juan Asensio evolved with time into a more organic line referring to nature forms. The artist has been presented with the "Ojo Crítico" - the critic eye of the Plastic Arts- and the first award of the XX sculpture of the Box of Madrid, both in 1996. Same year that inaugurates his first exhibition at Galería Elvira González. Today, his work can be found in museums, art foundations, banks and private collections around the world. Approximately 70"H x 11"W x 8 1/2"D. stainless steel sculpture Dimensions: Approximately 70"H x 11"W x 8 1/2"D.
![FRANCISCO DE ZURBARAN (SPANISH 1598-1664):](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNTQ0NjU0&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyNTQ0NjU0)
FRANCISCO DE ZURBARAN (SPANISH 1598-1664): FRANCISCO DE ZURBARAN (SPANISH 1598-1664). . Veil of Veronica, circa 1638-1640 . oil on canvas . 101 x 82 cm (39 3/4 x 32 1/4 in. ) . . PROVENANCE. In Spain by the 19th century. Sands Johnson Collection, London. Their sale, Christie's, May 19-20, 1926, lot 314. Acquired at the above by R. Ward (£47). Anonymous sale, Christie's, May 28, 1926, where acquired by Morson (£47). A. Ruck Collection, London, 1929. Collection of J. Hamilton-Jones, London, 1958. Kleinberger & Co. , Paris. Acquired at the above March 19, 1959 by Bob Jones University, Greenville, South Carolina, accession no. P. 59. 169. KI (label on verso). M. Knoedler & Co. , Inc. , New York, inventory no. A9976 (label on verso). Where acquired by the present owner, May 29, 1974. . LITERATURE. Martin Soria, The Paintings of Zurbaran (London: Phaidon Press, 1953), pp. 169-170, no. 147 (illustrated, fig. 102). Ellen Johnson, "College Museum Notes, " College Art Journal 19, no. 2 (Winter, 1959-1960): p. 171 (illustrated, fig. 5). Jose Guidol, Art Quarterly (Spring 1960), p. 94. Paul Guinard, Zurbaran et les peintures espagnols de la vie monastique (Paris : Ed. du Temps, 1960), p. 219, no. 89. . CONDITION. Observed in frame, the painting is in overall age appropriate condition. The canvas is re-lined. Overall craquelure visible to the naked eye. Scattered nicks to the perimeter. Inspection under UV shows an uneven layer of varnish with scattered overall fluorescence underneath. Atop the varnish layer, a rectangular area of retouching measuring 4 x 3 cm to the bottom right of the veil. Visible termite damage to the wooden frame. . . N. B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC. , including its consultants and agents, shall have no responsibility for any error or omission. Dimension
![Ray Johnson, collection of art and ephemera:](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyMzgzMDM3&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyMzgzMDM3)
Ray Johnson, collection of art and ephemera: . Ray Johnson. collection of art and ephemera. . USA. collage, printed and Xeroxed paper. . This collection is comprised of two Ray Johnson collages, three envelopes, a typed letter, five Xeroxed sheets and several various newspaper and magazine articles pertaining to the artist. Also included is a copy of Out of the Ordinary published by the Contemporary Arts Association of Houston, 1959. Condition Each component and sheet showing imperfections as made by the artist. Sheets have bene handled and moved around over the years and bear signs of this in minor scattered areas. Book in very good condition. All elements are loose and unframed.
![TOM WESSELMANN, (AMERICAN, 1931-2004),](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg2OTg2&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg2OTg2)
TOM WESSELMANN, (AMERICAN, 1931-2004), “ROSEMARY LYING ON ONE ELBOW” FROM THE STEEL DRAWING EDITION, 1989, ALKYD ON LASER CUT STEEL, 8"H X 15"W X 1/8"D.Tom Wesselmann (American, 1931-2004) "Rosemary Lying on One Elbow" from the Steel Drawing Edition, 1989 alkyd on laser cut steel signed, numbered 10/45, and dated verso in pencil. Provenance: Property of the Estate of Craig W Johnson, purchased from the David Klein Gallery, MI. From the archives of AskArt: Known for his Pop-Art* nude figures--the Great American Nude Series--as well as collages, often with food themes, Tom Wesselmann is a Cincinnati born artist who studied at the Art Academy of Cincinnati and at Cooper Union* in New York City in the late 1950s. When he was a student at Cooper Union, he was much influenced by Abstract Expressionism*, especially painters Willem de Kooning and Jackson Pollock. However, he turned away from that style because he determined these artists had become so introspective that there was little room for creative exploration by others. His reaction took him to Pop Art, the other extreme of action painting to a tightly controlled style and subject matter that was mundane--the antithesis of psychological complexities. Joining a rebellion against the New York School* of Abstract Expressionists that which had become the establishment, he, like Andy Warhol and Wayne Thiebaud, asserted that everyday objects had significance unto themselves and that they were worthy of depiction because of a common understanding about what they were. Of this reaction, Norman Geske, Director of Sheldon Memorial Art Gallery, wrote: "The swing of the pendulum was complete, from the esoteric to the commonplace, from passionate individualism to the popular language of the marketplace. The new point of view was not merely popular, it was 'pop,' assertive, declamatory, defiant, achieving a stylistic identity in the soup cans of Andy Warhol, the comic strips of Roy Lichtenstein, the billboards of James Rosenquist, and the domestic icons of Tom Wesselmann." (192) In 1959, Wesselmann began his collages*, which show influence of modernist artists ranging from Willem de Kooning to Henri Matisse. These collages were usually interior scenes with nude figures, a subject he did so repeatedly that it seemed an obsession. During the mid-1960s, he focused solely on female nudes, presenting them as sex objects with emphasis on breasts, mouth, and genitalia. Written by Lonnie Pierson Dunbier 8"H x 15"W x 1/8"D. alkyd on laser cut steel Dimensions: 8"H x 15"W x 1/8"D.
![Aquamarine and diamond pendant on collar](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw0MDk2NDY=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw0MDk2NDY=)
Aquamarine and diamond pendant on collar 105.0ct oval light-medium blue aquamarine bezel-set within 14K yellow gold free-form pendant, set with eleven round-cut diamonds 1.0ctw, SI1-2 in clarity, G-H in color suspended on 14K yellow gold Florentine bangle collar, marked: SB14K. Replacement value $40,000.
Provenance : Margaret Brock Johnson was born in Atlanta, Georgia in 1929. She attended the University of Georgia for one year, in 1948. The next year, her family moved to Camden, South Carolina where she enrolled in the University of South Carolina as a Political Science major. It was there that she met her first husband, The Honorable Claytor Arrants, a professor and a rising political star. While married to Claytor, she was introduced to the world of politics. As a political wife, she possessed grace, charm and beauty and became known as "one of the most beautiful women in Camden." The two were later divorced.After moving with her family to Florence, South Carolina, Margaret met her second husband, Senator James P. "Spot" Mozingo, a distinguished attorney from Darlington. The two were married in December of 1959, and Margaret became further involved in the political world. During this time, she became friends with Jacquelyn Kennedy Onassis and a number of other influential political leaders. The two were happily married until 1972, when Senator Mozingo died. Later that year, Cameron Mitchell was filming a movie in South Carolina with Burt Lancaster. Mitchell was asked to attend a benefit at the Florence Country Club as a celebrity guest. Margaret and Cameron fell in love at first sight. Mitchell loved Margaret's sweet southern accent and nicknamed her "Magnolia". The two were married at the home of Laurence Rockefeller in Puerto Rico and made their home in Palisades, outside of Los Angeles. Margaret was a great philanthropist, and although she lived far from Florence during this period in her life, she never forgot her connection to the city. Mitchell purchased this magnificent aquamarine necklace for his beloved wife from a Columbia, South Carolina jeweler. Margaret donated it to the Florence Museum as a token of her affection for the community, and it was unveiled at an opening reception of the Museum on March 21, 1975.Margaret and Cameron divorced several years later, and she returned to South Carolina. She then married prominent businessman, Robert Rainwater. After his death, in 1988, she became consumed with the Florence community until her death on July 11, 2005.The necklace is being sold to benefit the acquisition fund of the Florence Museum of Art.
Other Notes: Pendant was made by Walter Dems of Columbia, South Carolina and collar was purchased from Leo Suberi of New York, circa 1975.
![DAN YOUNG, (B. 1959), EARLY AT JOHNSON,](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwzNDIyMjk3&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwzNDIyMjk3)
DAN YOUNG, (B. 1959), "EARLY AT JOHNSON", OIL ON CANVAS BOARD, 8" H X 16" WDan Young, (b. 1959) "Early at Johnson" Oil on canvas board Signed lower left: Young; signed again, with the ©, and titled verso 8" H x 16" W Provenance: Thunderbird Foundation, Maynard Dixon Country, Mt. Carmel, UT, 2014 The Estate of George David Sturges, acquired from the above Notes: In a Mayen Olson frame, 2014 Oil on canvas board Dimensions: 8" H x 16" W Provenance: Thunderbird Foundation, Maynard Dixon Country, Mt. Carmel, UT, 2014 The Estate of George David Sturges, acquired from the above
![(SPACE EXPLORATION)
Binder containing](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw3Mjg4MjA=&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSw3Mjg4MjA=)
(SPACE EXPLORATION)
Binder containing a panoramic collection of 125 black-and-white and color N.A.S.A. photographs arranged chronologically, with many amazing views of Mother Earth, pictures of the first group of astronauts in the Mercury program of 1959, to Apollo 11 views of the earth in 1969, to Apollo 17 scenes of the lunar roving vehicle in 1972, to assorted pictures of the Johnson Space Center and views of Discovery in flight in the 1980s, to scenes of the space shuttles Columbia and Atlantis in the 1990s. Silver (88) and chromogenic color (37) prints, 10x8 inches (25.4x20.3 cm.), each with the NASA imprint on recto and a lengthy caption, inventory number, and date on verso. 1959-1992
Each of the original photographs in this archive states: "No copyright is asserted for this photograph. If a recognizable person appears in the photo, use for commercial purposes may infringe a right of privacy or publicity. It may not be used to state or imply the endorsement by NASA or by any NASA employee of a commercial product, process or service, or used in any other manner that might mislead."
![FRANK STELLA, (AMERICAN, B.1936), RIVER](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg2OTcx&size=med2&dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg2OTcx)
FRANK STELLA, (AMERICAN, B.1936), RIVER OF PONDS, III, FROM THE NEWFOUNDLAND SERIES, 1971, COLOR LITHOGRAPH, 38" X 38" (SIGHT), 40 1/4" X 40 1/4" (FRAME).Frank Stella (American, b.1936) River of Ponds, III, from the Newfoundland Series, 1971 color lithograph pencil signed, numbered 39/75. Blindstamp lower right. Provenance: Property of the Estate of Craig W Johnson, purchased from the Bobbie Greenfield Gallery, Santa Monica, CA. Biography from Art Cellar Exchange Moving Beyond Minimalism Frank Stella is famous for saying of his artwork: "What you see is what you get."[1] This sentence became the mantra of minimalist artists of the 1960's and established Stella as one of the pioneers of a new art movement that stressed the reduction of the image to its most basic elements of color, shape and design. Minimalists strove to create artwork that was devoid of symbolism, representation or opinion. However, the complexity of Stella's work since the 1960's casts a shadow of doubt over whether he was able to confine his subjects to the ideas he propagated. This artist's love of the art history and international culture provided too tempting for him to continue creating within a minimalist philosophy. Unlike other minimalists such as Ellsworth Kelly, Barnett Newman and Ad Reinhardt who acted in reaction to Expressionism, Stella's work became more painterly and demonstrative as it matured. Frank Stella's career began in 1959 when paintings from his "Black Series" were purchased by Alfred Barr the Director of the Museum of Modern Art in New York. Paintings from this series are an example of the severely sparse style for which Stella became best known early in his career. The entire series of Black paintings was included in the Museum of Modern Art's exhibition that same year, titled "Sixteen Americans." Following this groundbreaking exhibition, Stella had his first solo exhibition at the Leo Castelli Gallery in Los Angeles. This show secured Stella reputation as one of the most successful and respected young artist's of the mid-20th century.[2] Over time, Stella deviated from the minimalist designs of his "Black Series" and began to incorporate sculpture as a third dimension in his work. These new works arising in the 1970s, called the "Exotic Birds" show evidence of expressionism and have a baroque sense of color and design. Through his tilting and intersecting planes of color and shape, Stella allowed his work to indulge in color and movement, like the wild birds of the Amazon River basin. The care that he takes in the titles alone is evidence of a man denying that his work exists only at face value. Stella's continued to progress toward more complex imagery grew into the elaborate, vivid works that he created in the 1990s. In these works Stella again paid homage to his extensive cultural and literary knowledge. In his "Imaginary Places" series from 1995, Stella took the names of fictional cities as titled for his works. Aiolio and Spectralia, both currently listed for sale, are names of islands in Homer's Odyssey. Nemrik, on the other hand, is an ancient Mesopotamian hunter-gather village in what is now Iraq.[3] Another literary source that Stella frequently referenced is the work of Herman Melville, particularly Moby Dick. Frank Stella has been a pioneer in the art world for four decades. Beginning with his early fascination with Minimalism to his current love of sculptural line space and movement, he has consistently challenged our view of the world. Stella, like Picasso, has had the creative might to recreate his style again and again and challenge our notions of his creative aesthetic. He possesses the one quality that defines a great artist: an insatiable curiosity and fascination for the world in which he lives. 38" x 38" (sight), 40 1/4" x 40 1/4" (frame). color lithograph Dimensions: 38" x 38" (sight), 40 1/4" x 40 1/4" (frame).