A few examples of appraisal values for
MUSEUM OF THE CITY OF NEW YORK

• MARIO SANCHEZ(Cuban-American/Florida,
  MARIO SANCHEZ(Cuban-American/Florida, 1908-2005) Storm Warning, signed lower right "Mario Sanchez", carved and painted wood, 16-1/4 x 23-3/4 in.; integral plywood frame, 17-1/4 x 24-3/4 x 1-3/4 in.; together with custom made wood carrying case, 18-3/4 x 26-1/2 x 4 in. Note: Mario Sanchez was a Cuban-American folk artist from the Key West cigar-making neighborhood known as "Gato's Village". Self-taught, Sanchez began working artistically in 1930 on media like paper bags and cedar wood boards. His sketches and intaglio works project a unique vision that is playful, nostalgic and rooted to the experience of community, especially in Key West and Tampa, Florida. Sanchez received one-man exhibitions in major museums including New York's American Folk Art Museum, The Museum of the City of New York, Bacardi Museum, and Cuba's National Museum of Fine Art. He has work in the collections of the Smithsonian, The Whitney, and The American Folk Art Museums as well as many private collections in Florida and across the country. Condition: crisp multi-dimensional carving with varied surface finishes and textures, a number of drip spots in sky, some abrasions and surface dirt; frame separating at corners; carrying case with abrasions
• JACK LORIMER GRAY (1927-1981)Lobsterman signed
  JACK LORIMER GRAY (1927-1981)Lobsterman signed "Jack L. Gray" lower left oil on canvas, 26 by 36 in. Jack Lorimer Gray was one of America’s premier marine artists. Born in 1927 in Halifax, Gray was drawn to art early in life and grew up sketching the local boats. He studied at the Nova Scotia College of Art and at the Montreal Museum of Fine Art, but was consistently pulled to the sea. He worked on fishing fleets during his summers, and frequently lived on boats until he moved to New York in the mid-1950s. In New York, Gray found representation at the Kennedy Galleries. For the next thirty years of his career, the peripatetic artist moved between Maine, Nova Scotia, and Palm Beach, finding significant success and commission work in the seaside communities. Today, Gray’s paintings can be found in many prominent museums and collections, including the Peabody Essex Museum in Salem, Massachusetts, the U.S. Marine Corps Museum, and the Museum of the City of New York. A related painting, “Dressing Down the Gully,” was a gift to President John F. Kennedy in 1962 and is now in the John F. Kennedy Presidential Library and Museum in Boston. “Lobsterman” is a classic scene by this artist, displaying the characteristic turbulent seas, soaring gulls, and hardworking watermen that define Gray's work. Provenance: Private Collection, Maine
• CONSTANTIN BOYM "PEOPLE OF THE WORLD"
  CONSTANTIN BOYM "PEOPLE OF THE WORLD" GLOBECube globe painted with faces from different parts of the world; signed and dated 2008 to bottom by artist; measures approximately 20" tall and 8" in diameter to base; each square measures approximately 10" square; in Good overall condition. Constantin Boym was born in Moscow, Russia in 1955, where he graduated from Moscow Architectural Institute. In 1984-85 he earned a Master's degree in Design from Domus Academy in Milan. He became a U.S. registered architect in 1988. In 1986 he founded Boym Partners Inc in New York City. His studio's designs include tableware for Alessi and Authentics, watches for Swatch, lighting for Flos, showrooms and retail displays for Vitra, and exhibition installations for many American museums, including Museum of the City of New York and Cooper-Hewitt National Design Museum. Objects designed by Boym Partners are included in the permanent collection of the Museum of Modern Art in New York.
• CONRAD FREITAG WATERCOLOR ON BOARD "PILOT
  CONRAD FREITAG WATERCOLOR ON BOARD "PILOT BOAT #7 IN NE...CONRAD FREITAG ( AMERICAN 1843-1894) WATERCOLOR ON BOARD "PILOT BOAT #7 IN NEW YORK HARBOR" , circa 1870-1880, signed lower left. Freitag was known for his paintings of New York Harbor's pilot boats and many of his works now belong to the New York Yacht Club and the Museum of the City of New York. 6 ½ in. x 8 ¾ in. Overall 11 ¾ in. x 14 ¼ in. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• JACOB AUGUST RIIS (DANISH/AMERICAN,
  JACOB AUGUST RIIS (DANISH/AMERICAN, 1849-1914)Jacob August Riis Danish/American, 1849-1914 One of Four Pedlars who Slept in the Cellar of 11 Ludlow Street Rear , ca. 1890 mid 20th century print A man in bed, his mattress supported by a plank laid across two barrels. The verso stamped "Photograph by Jacob A. Riis/ The Jacob A. Riis Collection/ Museum of the City of New York" titled in pencil "One of Four Pedars" and numbered Rii 203. Sheet: 10.9 x 13 3/4 in. (27.7 x 34.9 cm.)
• JACOB AUGUST RIIS (DANISH/AMERICAN,
  JACOB AUGUST RIIS (DANISH/AMERICAN, 1849-1914)Jacob August Riis Danish/American, 1849-1914 Sabbath Eve in a Coal Cellar, Ludlow Street , ca. 1890 mid 20th century print The candid shot of a bearded lodger, seated at a table with a loaf of bread. The verso stamped "Photograph by Jacob A. Riis/ The Jacob A. Riis Collection/ Museum of the City of New York", titled in pencil (erroneously) "Five Cents a Spot" and numbered Riis 155. Sheet: 10.9 x 13 3/4 in. (27.7 x 34.9 cm.)
• JACOB AUGUST RIIS (DANISH/AMERICAN,
  JACOB AUGUST RIIS (DANISH/AMERICAN, 1849-1914)Jacob August Riis Danish/American, 1849-1914 Baxter Street Court , ca. 1890 mid 20th century print Four young boys and four young girls pose rigid at opposing ends of an alleyway draped in laundry, a mother turning in the doorway towards the back, a landing above revealing a silhouetted male figure of imposing stature. The verso stamped "Photograph by Jacob A. Riis/ The Jacob A. Riis Collection/ Museum of the City of New York", titled in pencil "Baxter Street Court (22 Baxter St.)" and numbered Riis 108. 13 3/4 x 10.9 in. (34.9 x 27.7 cm.)
• JACOB AUGUST RIIS (DANISH/AMERICAN,
  JACOB AUGUST RIIS (DANISH/AMERICAN, 1849-1914)Jacob August Riis Danish/American, 1849-1914 Bandits' Roost - a Mulberry Bend Alley , 1888 mid 20th century print The narrow alleyway tightly populated by men, posed, one near the foreground with a double-barreled shotgun, the heads of women emerging from windows to the right, the sky draped with laundry. The verso stamped "Photograph by Jacob A. Riis/ The Jacob A. Riis Collection/ Museum of the City of New York", titled in pencil "Bandit's Roost Mulberry St. 1888" and numbered Riis 101. Sheet: 13 3/4 x 10.9 in. (34.9 x 27.7 cm.)
• JACOB AUGUST RIIS (DANISH/AMERICAN,
  JACOB AUGUST RIIS (DANISH/AMERICAN, 1849-1914)Jacob August Riis Danish/American, 1849-1914 Baxter Street Alley in Mulberry Bend, Now Destroyed , ca. 1890 mid 20th century print Two young girls, one at the top of a flight of stairs, the other below, pose for the camera, a throng of men in hats and coats at the end of the alley behind them, one in a doorway. The verso stamped "Photograph by Jacob A. Riis/ The Jacob A. Riis Collection/ Museum of the City of New York", titled in pencil "Baxter Street Alley - Rag Pickers Row" and numbered Riis 275. Sheet: 13 3/4 x 10.9 in. (34.9 x 27.7 cm.)
• JACOB AUGUST RIIS (DANISH/AMERICAN,
  JACOB AUGUST RIIS (DANISH/AMERICAN, 1849-1914)Jacob August Riis Danish/American, 1849-1914 Italian Mother and her Baby in Jersey Street , ca. 1890 mid 20th century print The seated woman clutching a swaddled infant in a corner cluttered with barrels, soft goods, and a cast iron stove near the foreground. The verso stamped "Photograph by Jacob A. Riis/ The Jacob A. Riis Collection/ Museum of the City of New York", titled in pencil "Italian Mother" and numbered 157. Sheet: 10.9 x 13 3/4 in. (27.7 x 34.9 cm.)
• ATTRIBUTED TO JOSEPH BLACKBURN, (ENGLISH,
  ATTRIBUTED TO JOSEPH BLACKBURN, (ENGLISH, D. 1778), SARAH READE DE PEYSTER, OIL ON CANVAS, 30 X 25 IN., FRAME: 38 X 33 IN.Attributed to JOSEPH BLACKBURN, (English, d. 1778) Sarah Reade de Peyster, oil on canvas 30 x 25 in., frame: 38 x 33 in. Provenance: By descent in a Massachusetts family. Exhibitions: Museum of the City of New York, Special Exhibition, August 24, 1938 (label verso). Other Notes: Sarah de Peyster (ca. 1724-1799) was a prominent New York lady. Condition: Condition: Stable craquelure with corresponding inpainting throughout; lined.
• JAMES RYDER VAN BRUNT (NEW YORK, 1820-1916),
  JAMES RYDER VAN BRUNT (NEW YORK, 1820-1916), SUNSET LANDSCAPE, LIKELY THE HUDSON RIVER. CIRCA 1870., WATERCOLOR ON PAPER, 5.25" X 8". UNFRAMED.JAMES RYDER VAN BRUNT, New York, 1820-1916, Sunset landscape, likely the Hudson River. Circa 1870. Initialed lower right. Dimensions: Watercolor on paper, 5.25" x 8". Unframed. Provenance: Notes:James Ryder Van Brunt is a well-listed New York artist, but his works are rarely seen on the auction market. A descendant of Brooklyn's earliest settlers, he spent time sketching his native Brooklyn as well as Long Island. His works have been exhibited at the Brooklyn Historical Society, Museum of the City of New York, and the Center for Brooklyn History.
• ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA
  ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA (1908 - 1999), THE MIME (MARCEL MARCEAU), LITHOGRAPH, 19 1/2"H X 8"WArbit Blatas, New York / France, Lithuania, (1908 - 1999) The Mime (Marcel Marceau), lithograph Numbered 188/200 lower left. Signed lower right. Biography from Papillon Gallery: Arbit Blatas (né Nicolai Arbitblatas) was born in Kaunas, Lithuania on November 19, 1908. He was a precocious talent who began exhibiting in his native country at the age of 15. Soon afterwards, he left for Paris and, at the age of 21, became the youngest member of an illustrious group of artists known as the School of Paris. When Blatas was 24, the Jeu de Paume in Paris acquired its first painting of the young artist, who had already become a colleague and friend of many of the great figures of the Paris art world, such as Vlaminck, Soutine, Picasso, Utrillo, Braque, Zadkine, Léger and Dérain. He was to paint and sculpt them all, as well as Bonnard, Vuillard, Matisse, Dufy, Van Dongen, Cocteau, Marquet and many others. His 30 portraits in oil and bronze are considered a unique document of the painters and sculptors of that dynamic period in 20th-century French painting.. In the 1930s, Blatas exhibited in London and New York, as well as in his adoptive home of Paris. Fleeing Nazi-occupied Europe in 1941 for the United States, Blatas became an American citizen and solidified his reputation among the front ranks of contemporary American painters. After the war, Blatas divided his life between New York and France, where, in 1947, he was elected a life member of the Salon D'Automne. His life-size bronze of his colleague and friend Chaim Soutine, created in 1967, was highly admired by André Malraux. In 1987, the City of Paris installed the statue in Montparnasse in the square of the Gaston Baty and conferred on Blatas the Médaille de Vermeil. A life-size statue of another close friend and colleague, Jacques Lipchitz, now stands in the garden of the Hotel de Ville next to the Museum in Boulogne. In 1978, Arbit Blatas was named Chevalier de la Légion d'Honneur by the French Government for his contribution to French art as an outstanding member of the School of Paris. In 1994 he was promoted to the rank of Officier de la Légion d'Honneur. The Holocaust Blatas' parents were deported from Lithuania in 1941. His mother died in the Studthof concentration camp. His father miraculously survived Dachau; after the war, Blatas returned to France to bring his father with him to the United States. After the death of his mother, Blatas turned his back on the Holocaust until the late 1970s, when it burst forth in the artist's oeuvre and remained a recurring theme in many major works. His black-and-white drawings memorializing the unspeakable events of that time appeared in the 1978 American television series, "Holocaust." The drawings became the basis for four public memorials, consisting of seven powerful bas-reliefs, known as The Monument of the Holocaust, now on permanent display in four countries: Italy, France, The United States and Lithuania. The first edition of this monument was installed in the historic Ghetto of Venice on April 25th, 1980, the National Holiday of Liberation from the Nazis. On that occasion, Mayor Mario Rigo decorated Blatas with the gold medal Venezia Riconoscente. On September 19th, 1993, in the same Historic Ghetto of Venice, President of Italy Oscar Scalfaro honored Blatas by personally dedicating his sculpture The Last Train, a monument honoring the 50th anniversary of the deportation of the Jews from the Venetian Ghetto. The second edition of The Monument of the Holocaust was dedicated at the Shrine of the Unknown Jewish Martyrs in Paris on April 23, 1981. The third edition was placed by the Anti-Defamation League in Hammerskjold Plaza, across from the United Nations in New York on April 25, 1982. In 2009, this edition was installed permanently at the Hebrew Union College-Jewish Institute of Religion in New York City. In 2003, the fourth and final edition of this powerful series of sculptures was donated posthumously by his widow as part of the consecration of the memorial at Fort Nine in Blatas' native Kaunas, Lithuania, the notorious location from which Blatas' parents were deported in 1941. Marcel Marceau and The Threepenny Opera Two other major subjects became leitmotifs in Blatas' work: Marcel Marceau and The Threepenny Opera. Both inspired the artist in paintings, sculpture, and a third medium for which Blatas became widely appreciated: Lithography Beginning in the 1950s, the artist's great friend, Marcel Marceau, appears in all shapes, poses and sizes: from large portraits to small-scale studies, to sculptures, to sets of lithographs that capture the famous mime in mid-air. Through a magical coincidence, Blatas attended the world premiere of The Threepenny Opera in Berlin in 1928; the groundbreaking musical theatre work by Kurt Weill and Berthold Brecht would inspire Blatas for the next 70 years. His canon of work depicting scenes and characters from The Threepenny Opera includes 18 portraits, 10 sculptures, several large canvases and sets of color and black-and-white lithographs. The outstanding preface by the legendary Lotte Lenya, Weill's widow, to the first edition of Threepenny Lithographs, published in 1962, pays tribute to Blatas' profound understanding of the work. In 1984, the Threepenny Opera exhibition was displayed at Venice's Teatro Goldoni; in 1986, at the Museum of the City of New York and the Goethe Institute in Toronto. In May 1994, the Grosvenor Gallery in London presented the exhibition called "Arbit Blatas and his World of Music and Theatre." In 2000 and 2001, respectively, the entire Threepenny Opera collection appeared as part of Kurt Weill Centenary celebrations at Belmont College, Nashville, Tennessee, and the Leubsdorf Gallery, Hunter College, New York. Career as Stage Designer During the 1970s and 1980s, Blatas designed scenery and costumes for nine international opera productions in collaboration with his wife, the renowned mezzo-soprano, Regina Resnik, as stage director. These productions included Elektra (Teatro La Fenice, Venice; Teatro Sao Carlos, Lisbon; Opéra du Rhin, Strasbourg); Carmen (Hamburg State Opera); Salome (Teatro Sao Carlos); Falstaff (Teatre Wielki, Warsaw; Teatro la Fenice; Teatro Sao Carlos; Festival of Madrid); The Queen of Spades (Vancouver Opera Association; Sydney Opera House); and The Bear and The Medium (Teatro Sao Carlos). The 1980s and 1990s saw major exhibitions of Blatas' work, including several devoted to the School of Paris. In Venice, in 1982, the School of Paris portraits became a major exhibition at the Church of San Samuele under the joint auspices of the Mayor of Paris, Jacques Chirac, and the Mayor of Venice, Mario Rigo. Le Musée Bourdelle offered the first major exhibition in Paris of the portrait collection in 1986. In 1990, the entire collection of the School of Paris, portraits, drawings and bronzes, were shown at the Musée des Années Trentes in Boulogne-Billancourt, which subsequently acquired the entire collection now permanently installed in galleries dedicated to Blatas. In 1996, the Eastlake Gallery of New York presented Blatas in an exceptional exhibition entitled "Aspects of Venice." In 1997, the Beacon Hill Gallery, also in New York, presented a landmark exhibition of more than 100 of Blatas' works. From September 2008 through July 2009, the 100th anniversary of the birth of Arbit Blatas was celebrated in "Arbit Blatas: A Centenary Exhibition," at the Hebrew Union College-Jewish Institute of Religion in New York. This exhibition brought together all the major themes and media of Blatas' diverse oeuvre for the first time: French and Venetian landscapes, music and theatre subjects in painting, sculpture and lithographs, the School of Paris in sculpture, and scenic designs. The Holocaust was honored in the fourth edition of Monument of the Holocaust and four towering, major paintings. Blatas was an artist of enormous range. His vivid colors and joie de vivre extend through his entire canon of paintings: landscapes, portraits and still-lifes. The distinguished French art critic, Jean Bouret, summed the artist up this way: "He is color, his palette is color, exuberant and sensual, as is the man." On the other end of Blatas' artistic spectrum, the noted Italian art historian Enzo di Martini wrote of the Monument of the Holocaust: "In complete contrast to his paintings, these bronzes are hammered and chiseled in anger and tragedy." Arbit Blatas passed away on April 27, 1999 at his home in New York City. lithograph Dimensions: 19 1/2"H x 8"W
• ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA
  ARBIT BLATAS, NEW YORK / FRANCE, LITHUANIA (1908 - 1999), ZIZI, LITHOGRAPH, 20"H X 8 1/4"W (PLATE)Arbit Blatas, New York / France, Lithuania, (1908 - 1999) Zizi, lithograph Numbered 180/200 lower left and signed lower right. Biography from Papillon Gallery: Arbit Blatas (né Nicolai Arbitblatas) was born in Kaunas, Lithuania on November 19, 1908. He was a precocious talent who began exhibiting in his native country at the age of 15. Soon afterwards, he left for Paris and, at the age of 21, became the youngest member of an illustrious group of artists known as the School of Paris. When Blatas was 24, the Jeu de Paume in Paris acquired its first painting of the young artist, who had already become a colleague and friend of many of the great figures of the Paris art world, such as Vlaminck, Soutine, Picasso, Utrillo, Braque, Zadkine, Léger and Dérain. He was to paint and sculpt them all, as well as Bonnard, Vuillard, Matisse, Dufy, Van Dongen, Cocteau, Marquet and many others. His 30 portraits in oil and bronze are considered a unique document of the painters and sculptors of that dynamic period in 20th-century French painting.. In the 1930s, Blatas exhibited in London and New York, as well as in his adoptive home of Paris. Fleeing Nazi-occupied Europe in 1941 for the United States, Blatas became an American citizen and solidified his reputation among the front ranks of contemporary American painters. After the war, Blatas divided his life between New York and France, where, in 1947, he was elected a life member of the Salon D'Automne. His life-size bronze of his colleague and friend Chaim Soutine, created in 1967, was highly admired by André Malraux. In 1987, the City of Paris installed the statue in Montparnasse in the square of the Gaston Baty and conferred on Blatas the Médaille de Vermeil. A life-size statue of another close friend and colleague, Jacques Lipchitz, now stands in the garden of the Hotel de Ville next to the Museum in Boulogne. In 1978, Arbit Blatas was named Chevalier de la Légion d'Honneur by the French Government for his contribution to French art as an outstanding member of the School of Paris. In 1994 he was promoted to the rank of Officier de la Légion d'Honneur. The Holocaust Blatas' parents were deported from Lithuania in 1941. His mother died in the Studthof concentration camp. His father miraculously survived Dachau; after the war, Blatas returned to France to bring his father with him to the United States. After the death of his mother, Blatas turned his back on the Holocaust until the late 1970s, when it burst forth in the artist's oeuvre and remained a recurring theme in many major works. His black-and-white drawings memorializing the unspeakable events of that time appeared in the 1978 American television series, "Holocaust." The drawings became the basis for four public memorials, consisting of seven powerful bas-reliefs, known as The Monument of the Holocaust, now on permanent display in four countries: Italy, France, The United States and Lithuania. The first edition of this monument was installed in the historic Ghetto of Venice on April 25th, 1980, the National Holiday of Liberation from the Nazis. On that occasion, Mayor Mario Rigo decorated Blatas with the gold medal Venezia Riconoscente. On September 19th, 1993, in the same Historic Ghetto of Venice, President of Italy Oscar Scalfaro honored Blatas by personally dedicating his sculpture The Last Train, a monument honoring the 50th anniversary of the deportation of the Jews from the Venetian Ghetto. The second edition of The Monument of the Holocaust was dedicated at the Shrine of the Unknown Jewish Martyrs in Paris on April 23, 1981. The third edition was placed by the Anti-Defamation League in Hammerskjold Plaza, across from the United Nations in New York on April 25, 1982. In 2009, this edition was installed permanently at the Hebrew Union College-Jewish Institute of Religion in New York City. In 2003, the fourth and final edition of this powerful series of sculptures was donated posthumously by his widow as part of the consecration of the memorial at Fort Nine in Blatas' native Kaunas, Lithuania, the notorious location from which Blatas' parents were deported in 1941. Marcel Marceau and The Threepenny Opera Two other major subjects became leitmotifs in Blatas' work: Marcel Marceau and The Threepenny Opera. Both inspired the artist in paintings, sculpture, and a third medium for which Blatas became widely appreciated: Lithography Beginning in the 1950s, the artist's great friend, Marcel Marceau, appears in all shapes, poses and sizes: from large portraits to small-scale studies, to sculptures, to sets of lithographs that capture the famous mime in mid-air. Through a magical coincidence, Blatas attended the world premiere of The Threepenny Opera in Berlin in 1928; the groundbreaking musical theatre work by Kurt Weill and Berthold Brecht would inspire Blatas for the next 70 years. His canon of work depicting scenes and characters from The Threepenny Opera includes 18 portraits, 10 sculptures, several large canvases and sets of color and black-and-white lithographs. The outstanding preface by the legendary Lotte Lenya, Weill's widow, to the first edition of Threepenny Lithographs, published in 1962, pays tribute to Blatas' profound understanding of the work. In 1984, the Threepenny Opera exhibition was displayed at Venice's Teatro Goldoni; in 1986, at the Museum of the City of New York and the Goethe Institute in Toronto. In May 1994, the Grosvenor Gallery in London presented the exhibition called "Arbit Blatas and his World of Music and Theatre." In 2000 and 2001, respectively, the entire Threepenny Opera collection appeared as part of Kurt Weill Centenary celebrations at Belmont College, Nashville, Tennessee, and the Leubsdorf Gallery, Hunter College, New York. Career as Stage Designer During the 1970s and 1980s, Blatas designed scenery and costumes for nine international opera productions in collaboration with his wife, the renowned mezzo-soprano, Regina Resnik, as stage director. These productions included Elektra (Teatro La Fenice, Venice; Teatro Sao Carlos, Lisbon; Opéra du Rhin, Strasbourg); Carmen (Hamburg State Opera); Salome (Teatro Sao Carlos); Falstaff (Teatre Wielki, Warsaw; Teatro la Fenice; Teatro Sao Carlos; Festival of Madrid); The Queen of Spades (Vancouver Opera Association; Sydney Opera House); and The Bear and The Medium (Teatro Sao Carlos). The 1980s and 1990s saw major exhibitions of Blatas' work, including several devoted to the School of Paris. In Venice, in 1982, the School of Paris portraits became a major exhibition at the Church of San Samuele under the joint auspices of the Mayor of Paris, Jacques Chirac, and the Mayor of Venice, Mario Rigo. Le Musée Bourdelle offered the first major exhibition in Paris of the portrait collection in 1986. In 1990, the entire collection of the School of Paris, portraits, drawings and bronzes, were shown at the Musée des Années Trentes in Boulogne-Billancourt, which subsequently acquired the entire collection now permanently installed in galleries dedicated to Blatas. In 1996, the Eastlake Gallery of New York presented Blatas in an exceptional exhibition entitled "Aspects of Venice." In 1997, the Beacon Hill Gallery, also in New York, presented a landmark exhibition of more than 100 of Blatas' works. From September 2008 through July 2009, the 100th anniversary of the birth of Arbit Blatas was celebrated in "Arbit Blatas: A Centenary Exhibition," at the Hebrew Union College-Jewish Institute of Religion in New York. This exhibition brought together all the major themes and media of Blatas' diverse oeuvre for the first time: French and Venetian landscapes, music and theatre subjects in painting, sculpture and lithographs, the School of Paris in sculpture, and scenic designs. The Holocaust was honored in the fourth edition of Monument of the Holocaust and four towering, major paintings. Blatas was an artist of enormous range. His vivid colors and joie de vivre extend through his entire canon of paintings: landscapes, portraits and still-lifes. The distinguished French art critic, Jean Bouret, summed the artist up this way: "He is color, his palette is color, exuberant and sensual, as is the man." On the other end of Blatas' artistic spectrum, the noted Italian art historian Enzo di Martini wrote of the Monument of the Holocaust: "In complete contrast to his paintings, these bronzes are hammered and chiseled in anger and tragedy." Arbit Blatas passed away on April 27, 1999 at his home in New York City. lithograph Dimensions: 20"H x 8 1/4"W (plate)
• JOEL MEYEROWITZ, AMERICAN 1938-, FLAG,
  JOEL MEYEROWITZ, AMERICAN 1938-, FLAG, MIDNIGHT FROM THE CITY RESILIENT, PHOTOGRAPHS BY JOEL MEYEROWITZ, 2002, EXHIBITION POSTER, 35 X 23 IN. (88.90 X 58.42 CM.)JOEL MEYEROWITZ, AMERICAN, 1938- FLAG, MIDNIGHT from THE CITY RESILIENT, PHOTOGRAPHS BY JOEL MEYEROWITZ, 2002, Exhibition poster Lower right signed and numbered: Joel Meyerowitz / 28/100 Catalogue note: Limited edition exhibition poster from THE CITY RESILIENT, PHOTOGRAPHS BY JOEL MEYEROWITZ, a collaboration between the artist and the Museum of the City of New York Exhibition poster Dimensions: 35 x 23 in. (88.90 x 58.42 cm.) Provenance: Estate of General Colin L. Powell, to benefit America's Promise Alliance and the Colin Powell School at City College of New York.
• JOEL MEYEROWITZ, AMERICAN 1938-, SMOKE
  JOEL MEYEROWITZ, AMERICAN 1938-, SMOKE RING THROUGH SUNLIGHT FROM THE CITY RESILIENT, PHOTOGRAPHS BY JOEL MEYEROWITZ, 2002, EXHIBITION POSTER, 35 X 23 IN. (88.90 X 58.42 CM.)JOEL MEYEROWITZ, AMERICAN, 1938- SMOKE RING THROUGH SUNLIGHT from THE CITY RESILIENT, PHOTOGRAPHS BY JOEL MEYEROWITZ, 2002, Exhibition poster Lower right signed and numbered: Joel Meyerowitz / 5/100 Catalogue note: Limited edition exhibition poster from THE CITY RESILIENT, PHOTOGRAPHS BY JOEL MEYEROWITZ, a collaboration between the artist and the Museum of the City of New York Exhibition poster Dimensions: 35 x 23 in. (88.90 x 58.42 cm.) Provenance: Estate of General Colin L. Powell, to benefit America's Promise Alliance and the Colin Powell School at City College of New York.
• JOEL MEYEROWITZ, AMERICAN 1938-, THE
  JOEL MEYEROWITZ, AMERICAN 1938-, THE NORTH WALL FROM THE CITY RESILIENT, PHOTOGRAPHS BY JOEL MEYEROWITZ, 2002, EXHIBITION POSTER, 35 X 23 IN. (88.90 X 58.42 CM.)JOEL MEYEROWITZ, AMERICAN, 1938- THE NORTH WALL from THE CITY RESILIENT, PHOTOGRAPHS BY JOEL MEYEROWITZ, 2002, Exhibition poster Lower right signed and numbered: Joel Meyerowitz / 54/100 Catalogue note: Limited edition exhibition poster from THE CITY RESILIENT, PHOTOGRAPHS BY JOEL MEYEROWITZ, a collaboration between the artist and the Museum of the City of New York Exhibition poster Dimensions: 35 x 23 in. (88.90 x 58.42 cm.) Provenance: Estate of General Colin L. Powell, to benefit America's Promise Alliance and the Colin Powell School at City College of New York.
• VICTORIAN SILVER AND TOPAZ CROSS, MID-19TH
  VICTORIAN SILVER AND TOPAZ CROSS, MID-19TH CENTURYVictorian Silver and Topaz Cross, Mid-19th Century Having six round faceted yellow topaz stones weighing approximately 32.40 carats; attached by a gold-filled necklace with an eagle head bail and a grape cluster slide. Dimensions: Length of pendant: 1-7/8 in (4.8 cm)Length of necklace: 16 in (40.6 cm) Provenance: Provenance: Accompanied by a Hammer Galleries, New York receipt stating: Antique Topaz Cross From a well known New York collection, part of which was exhibited in several museums through-out the country including The Museum of the City of New York and The Philadelphia Museum of Fine Arts.
• JOHN FRANCIS MURPHY (AMERICAN/NEW YORK,
  JOHN FRANCIS MURPHY (AMERICAN/NEW YORK, 1853)John Francis Murphy (American/New York, 1853-1921), "Landscape", 1899, oil on canvas, signed and dated lower right, "Bernard Danenberg Galleries, Inc., New York, NY" label with artist and title and 2 typewritten labels detailing provenance on stretcher, 2 "Questroyal Fine Art, New York, NY" labels, one with artist, title and date on reverse of frame, 5 1/8 in. x 7 1/4 in., framed. Provenance: Collection of Mrs. Giles Whiting, Carborough, NY; Collection of the Museum of the City of New York, NY; Bernard Dandenberg Galleries, Inc., New York, NY; Private Collection, LA; Questroyal Fine Art, New York, NY.
• UNUSUAL STEUBEN BLUE AURENE STEMMED
  UNUSUAL STEUBEN BLUE AURENE STEMMED VASE Corning, NY. early 20th century. Exhibited: Museum of the City of New York, August 25, 2004.
• An American Carved Mahogany Dressing
  An American Carved Mahogany Dressing Table mid-19th c. attributed to J. & J.W. Meeks New York octagonal mirror with acanthus crest beveled mirror plate spiral-turned and blocked supports; white marble top above a frieze drawer paired spiral-turned legs conforming trestle base spiral stretcher scroll feet height 62 1/2 in. width 31 in. depth 20 1/2 in. Note: A nearly identical dressing table bearing the Meeks label is conserved by the Museum of the City of New York (acc. 28.29.169).
• An American Carved Mahogany Dressing
  An American Carved Mahogany Dressing Table mid-19th c. attributed to J. & J.W. Meeks New York shaped mirror with acanthus crest spiral-turned and blocked supports; white marble top above a frieze drawer paired spiral-turned legs conforming trestle base spiral stretcher scroll feet height 62 1/2 in. width 31 in. depth 20 1/2 in. Note: A nearly identical dressing table bearing the Meeks label is conserved by the Museum of the City of New York (acc. 28.29.169).