A few examples of appraisal values for
1959 JOHNSON

• (CIVIL WAR) Nine books. 1) Nevins
  (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,
  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).
• ? ATTRIBUTED TO THOMAS POOLEY
  ? 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)
• GRP: MODERN AND CONTEMPORARY ART
  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 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.
• LARGE GROUP ARTIST CATALOGS AND
  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
• JOHNSON BROS. CERAMIC FISH
  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
  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.
• MARJORIE LEE O/B ABSTRACT LANDSCAPE
  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.
• AMY DIXON, ACRYLIC, A SENSE OF
  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,
  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.
• A modern Royal Worcester bone china
  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)
• W. EUGENE SMITH(1918-1978)
  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
• (4) CASSINA FRANK LLOYD WRIGHT
  (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**
• DAN YOUNG, (B. 1959), "EARLY AT
  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