![COLLECTION OF 7 LLADRO FIGURINES: To](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxNDc5MTQ=&size=med2&)
COLLECTION OF 7 LLADRO FIGURINES: To include 1) 4876, Little Boy Thinking, 8 1/4'' high. 2) 6891, A Brushstroke of Dreams, Santas Magic Workshop collection, 8'' high. 3) 4672, Saint Joseph, 6 1/4''., with box. 4) 4671, Mary, 6 1/8'' high. 5) 4650, Girl With Calla Lillies, 9 1/4'' high. 6) 6894 Santa's sack of Dreams, Santas Magic Workshop collection, 7 1/4'' high. 7) 6972, Caring Father, note missing finger, 7 1/2'' high.
![Group of Vintage Pop-Up, Moveable, and](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyMzUzNTQ3&size=med2&)
Group of Vintage Pop-Up, Moveable, and Interactive Christmas Storybooks. : [Christmas] Group of Vintage Pop-Up, Moveable, and Interactive Christmas Storybooks. American, 1940s—50s. Together, approximately 30 vols. , majority in original pictorial boxes, and generally in near of full states of completeness, with some duplicates or variant editions of the same title, and including: Santa’s Cuckoo Clock (1954); Larry’s Little Lamb (n. d. ; two edns. ); Velvet Eyes: Santa’s Little Helper (2); Stevie’s Christmas Concert; Kerry Kitten’s Christmas Adventures; Santa Claus in Toyland; The Wonderful Window; Santa Visits Mother Goose; Santa’s Tuney Toy; Santa’s Busy Day; Pranky’s Christmas; Santa Claus in Storyland; Floppy in Santa Land; Davey and the First Christmas (3); Jingle Dingle Christmas Stocking Book; Santa’s Merry Carnival; Christmas Time; Santa’s Workshop (2); and others.
![A Walt Disney celluloid from The Silly](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxMjIyMTc3&size=med2&)
A Walt Disney celluloid from The Silly Symphony Santa's Workshop 1932 gouache on a multi-cel set-up depicting Santa's elves busy making toys fulfilling children's requests for Christmas applied to its matching watercolor production background of the workshop. The Silly Symphony was a series of cartoon shorts produced by the Walt Disney Studios from 1929-1939 while they were still located on Hyperion Avenue. With these series one did not see a repetition of characters as in Mickey Mouse series except for The Three Little Pigs who had three sequels. 8 1/2 x 11in
![MECHANICAL BAVARIAN SANTAS ELF AT WORKBENCHCharming](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxNTE0NDAx&size=med2&)
MECHANICAL BAVARIAN SANTA'S ELF AT WORKBENCHCharming 1940's mechanical bearded elf hammering pieces of wood at workbench in yellow shirt blue pants with red hat in working condition; surely he is working in Santa's Workshop 32'' h. 24'' x 18'' base very good condition. Private collection Metamora MI.
![Lladro porcelain Christmas ornaments
including:](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxNjc1MDkz&size=med2&)
Lladro porcelain Christmas ornaments
including: toy car, elephant, teddy bear, doll, toy soldier, and harlequin, from "The Santa's Workshop Series," all with original boxes, 3 to 5 in. H.
Condition: No apparent faults
![Tru-Vue Film Strips and Viewer: Tru-Vue](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNTYzMDgw&size=med2&)
Tru-Vue Film Strips and Viewer: Tru-Vue Stereoscope and three film strips. Demonstration Strip, No. 223 Santa’s Workshop tour of Chicago American Flyer Factory, 233 Sandy’s Rail Road. 223 and 233 in original boxes. Demo strip is loose. Viewer in original box.
![Tin Frame with Devotional Print, ca.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NTk3&size=med2&)
Tin Frame with Devotional Print, ca. 1879: Attributed to Santa Fe Federal Workshop Tin Frame with Devotional Print ca. 1879 9 3/4 x 7 3/4 in. (image) 17 1/4 x 15 1/2 in. Santa Fe Federal Workshop with Rio Arriba Influence. Tin frame with butt joint panels and scored fan corners. Stamped rows of floral elements along the panels, scored lunette with central medallion, side wings. Devotional print “The Good Shepherd” mounted under glass. Provenance: The Joseph Pytka Collection
![Two Marshall Laird Spanish Colonial](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNjMzNzEx&size=med2&)
Two Marshall Laird Spanish Colonial Revival walnut armchairs, Circa 1920s; Montecito, CA Each with Marshall Laird metal tag to underside Each with carved floral backs, commissioned for the 1927 Santa Barbara Biltmore Hotel, Montecito, CA, 2 pieces Each: 43.75" H x 21.25" W x 23" D Provenance: Deaccessioned from the Santa Barbara Biltmore, Montecito, CA Notes: On page 84 in the Santa Barbara Biltmore souvenir magazine there is a note refrencing specialty furniture pieces created from the workshops of Marshall Laird. Each: 43.75" H x 21.25" W x 23" D Provenance: Deaccessioned from the Santa Barbara Biltmore, Montecito, CA
![Group of Tin Frames with Devotional](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NjA2&size=med2&)
Group of Tin Frames with Devotional Prints: (1) Attributed to Taos Serrate Tinsmith. Tin Frame with Four Devotional Cards. ca. 1870. Tin frame with butt joinery. Rows of stamped chevrons interspersed with decorative rosettes. Four small devotional cards mounted over wallpaper background. Dimensions: 9 3/4 x 7 in. (image). Framed Dimensions: 14 x 11 1/2 in. (2) Attributed to Santa Fe Federal Workshop. Tin Frame with Devotional Print. ca. 1870. Tin frame with mitered corners with raised column panels, simple horizontal linear stamps. Devotional card with Saint Elizabeth mounted over velvet backing with no glass. Dimensions: 5 x 3 1/2 in. (image). Framed Dimensions: 11 x 8 3/4 in. (3) Attributed to Rio Arriba Workshop. Tin Frame with Devotional Text. ca. 1870-1895. Tin frame with slight domed panels with connected elements with graceful vine pattern, rounded comers lap joined to frame. Devotional text paper mounted over floral wallpaper. "Alabanzas a Jesus Maria y Jose". Dimensions: 7 3/4 x 5 3/4 in. (image). Framed Dimensions: 11 1/2 x 9 3/4 in. Provenance: The Joseph Pytka Collection
![R. C. Gorman, (1932-2005, Taos, NM)](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNzI0Nzcy&size=med2&)
R. C. Gorman, (1932-2005, Taos, NM) "Santa Fe Woman (St. I)," 1978 Color lithograph on paper under glass; Western Graphics Workshop, Albuquerque, prntr./pub. Edition 116/125, signed and dated in pencil lower left: R. C. Gorman, with the artist's, printer's and publisher's blindstamps lower sheet edge Image/Sheet: 27.75" H x 22.25" W Literature: Adams, Newlin and Steen, p. 160 Color lithograph on paper under glass; Western Graphics Workshop, Albuquerque, prntr./pub. Dimensions: Image/Sheet: 27.75" H x 22.25" W
![Ten Exhibition Posters for Political](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNzgzOTU5&size=med2&)
Ten Exhibition Posters for Political Art and Workshops
Paul Gadegaard (Danish, 1920–1996)Living and Learning / in Scandinavia, A Year in / Denmark,Norway or Sweden, 1957Off-set lithographic posterOverall: 24 x 16 1/2 inches (61 x 41.9 cm).
Paul Gadegaard (Danish, 1920–1996)Living and Learning / in Scandinavia / A Year in / Denmark,Norway or Sweden, 1957Off-set lithographic posterOverall: 19 1/2 x 16 inches (49.5 x 40.6 cm).
Paul Gadegaard (Danish, 1920–1996)Living and Learning / in Scandinavia / The Scandinavian /Seminar, 1956Off-set lithographic posterOverall: 19 1/2 x 16 inches (49.5 x 40.6 cm).
George Holt, AmericanArt Workshop, Bennington College, 1960Off-set lithographic posterOverall: 20 x 14 inches (50.8 x 35.6 cm).
Otto Piene (German, 1928–2014)Piene / The Proliferation of the Sun / Walker Art CenterMinneapolis / Opening Light-Motion-Space / April 8, 1967, 1967Off-set lithographic posterOverall: 36 x 24 inches (91.4 x 61 cm).
AmericanNeo York / 11 Nov-16 Dec 1984 / 3 locations at the Universityof California, Santa Barbara Street Party and Art Preview, 1984Off-set lithographic poster (mailer)Overall: 33 x 22 inches (83.8 x 55.9 cm).
Mount Holyoke College Art Museum, South Hadley, MAThe Shadow of the Bomb / A joint exhibition / April 1 - June 10, 1984 / Mount Holyoke College Art Museum / South Hadley, Massachusetts / University Gallery / Fine Arts Center /University of Massachusetts at Amherst, 1984Off-set lithographic poster (mailer)Overall: 22 x 17 inches (55.9 x 43.2 cm).
Joel-Peter Witkin (American, b. 1939)Joel-Peter / Witkin / Fraenkel Gallery, San Francisco, October17 - November 24, 1984, 1984Off-set lithographic poster (mailer)Overall: 18 x 15 inches (45.7 x 38.1 cm).
Fine Arts Center, University of Massachusetts, AmherstAn Exhibition in Conjunction with the Symposium / Racism / Sexism / Same Game--Different Name? / February 6 - March 20, 1981 / University Gallery, Fine Arts Center, University ofMassachusetts at Amherst, 1981Off-set lithographic poster (mailer)Overall: 21 1/4 x 16 1/2 inches (54 x 41.9 cm).
Museum of the Borough of BrooklynPolitics in Art: / The Art of Politics / Our Rights and OurLiberties / Oct. 23 to Dec. 4, 1984 / Museum of the Borough of Brooklyn, 1984Off-set lithographic posterOverall: 30 x 24 inches (76.2 x 61 cm).
Property of a Midwestern Art Museum
![? AN UNRECORDED ITALIAN [URBINO] ISTORIATO](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTM3MTQ3&size=med2&)
? AN UNRECORDED ITALIAN [URBINO] ISTORIATO MAIOLICA DISH, ATTRIBUTED TO NICOLA DA URBINO, CIRCA 1520-23
SAMSON AND DELILAH Depicting the treacherous Delilah, with scissors and holding to one side the locks of hair she has cut from the kneeling Samson, inscribed on the bench and the wall behind ‘DALIDA’ and ‘SANSON’, the single large shoe in the foreground referring to Samson’s now lost physical strength and size, or it could be the jaw of an ass, a symbol of his previous victories.27.2cm diameter, 5.3cm highProvenance: From the collection of James Ewing (1775-1853) Strathleven House, Dunbartonshire, by descent and by inheritance to the present owners. An inventory of 1926 lists the dish along with another [also offered for sale here] as being framed in “Quaint Gilt Circular Frames” and valued at £300.Ewing, a Glasgow merchant with antiquarian interests and contributions to the historical and literary Maitland Club, was closely involved with civic affairs as director of Glasgow’s Chamber of Commerce. In 1832 he served as Lord Provost of Glasgow and as a Glasgow MP. Marrying late and in his 60s, he accompanied his young wife on a tour of Europe and Italy in 1844-5. Correspondence in connection to this trip was later privately published as a memoir by the Reverend MacIntosh Mackay in 1866. Within these letters there are few references to Ewing acquiring or buying art, although it was at this time that he bought several significant pieces, one being the Portrait of Jacopo Dolfin by Titian, now in the Los Angeles County Museum of Art.[1] He does however mention, in a letter from Florence on the 27th November 1844, purchasing “China pieces of the fourteenth century” when he was in Genoa a few weeks previously.[2] This gives us some evidence that he acquired maiolica at this time and it seems likely that this is how he came to acquire this dish and the other in this sale.[1]Humfrey et al., p122 Cat34 and p416[2]Rev Macintosh Mackay, LL.D. p152 Note: Nicola di Gabriele Sbraghe, potter and workshop owner (active 1520-1537-8), is acknowledged as the master of the ‘istoriato’ style of maiolica decoration in early 16th century Italy. Consensus describes him as the “Raphael of maiolica painting”.[1] His graceful fluid draftsmanship, lyrical figure drawing, understanding of recessional space, and use of contemporary classically inspired Renaissance architectural views are all characteristic of his style and are well illustrated here. Overall, his knowledge of the work of his contemporary Raphael, who died in 1520, and his circle in Rome, is evidenced by a print by Giovanni Antonio da Brescia, who also worked in Rome at this time [see figure 1]. The print, from 1510-20, is a circular engraved composition in reverse of this subject.[2] Both potter and printmaker appear to have knowledge of an unknown original narrative image of this subject matter, now lost. As is sometimes the case with Nicola, some of the figures in this piece hint of an even more direct knowledge of Raphael’s early work.[3]This dish and other early work by Nicola are related very closely to a monogrammed and dated dish of 1521 with the figure of a seated sovereign, now in the Hermitage Museum, St Petersburg,[4] to a dish illustrating the Calumny of Apelles in the Ashmolean Museum Oxford (dated by Wilson to 1522-3),[5] and to a plate of Venus, Mars, Apollo, and Vulcan now in the Kunstgewerbemuseum Berlin.[6] Above all, however, it relates to an acclaimed service or credenza encapsulating Nicola’s early poetical style made for an unknown client consisting of seventeen surviving pieces donated to the city of Venice by the patrician Teodoro Correr after his death in 1830.[7] This is the largest surviving set of 16th Century ‘istoriato’ maiolica in the world in a single collection. The service, even quite recently, has been described as “one the loveliest achievements of all maiolica-painting”.[8] There may be reasons on grounds of subject matter and style to speculate that this plate may originally have been part of this service.In the 19th century the Correr maiolica service was thought by scholars to have been painted by the Urbino painter Timoteo Viti (1469-1523) and was seen as the jewel in the crown of the Correr collection. The painting style of Nicola’s early work that we have here seems to stylistically reference his work in the broadest sense. Viti, trained in the dynamic humanist artistic background of Bologna under Francesco Francia, is known to have worked with Raphael in the Chigi Chapel in Santa Maria della Pace in Rome circa 1511. As a friend of Raphael, Viti is reputed to have obtained or inherited the most important group of Raphael’s studio drawings and to have brought them back to Urbino after Raphael’s death. He himself died in 1523. Nicola’s knowledge of Raphael’s style of work may in part be due to links with Viti whose workshop in Urbino he may have frequented or where he may have even trained.[9] Giovanni Antonio da Brescia copied and produced his own versions of the work of the Bolognese printmaker Marcantonio Raimondi (1480-before 1538). Raimondi had also trained under Francesco Francia and did more than anything to disseminate Raphael’s ideas in Italy and abroad from about 1510.It is unprecedented for maiolica from this early period of Nicola’s maiolica production to come on the market.[1] A description first coined by Wilson, 1987, p44. For a full catalogue raisonné of Nicola’s output see Mallet 2007, p199-250[2] Bartsch, vol XIII, p70,n.2 (BM reg. 1925,1215.104). We are grateful to the late Michael Bury for suggestions that led to the identification of this source.[3] For example the central figure of the armed philistine echoes in gesture and expression similar to figures round the tomb in Raphael’s early painting of The Resurrection of 1501-2, now in the Museo de Arte de Sao Paulo, Chapman, Henry and Plazzotta, 2004,Cat 21, p110[4] Wilson in Écouen, 2011, p158-9[5] Wilson, 2017, Cat 54, p158-9[6] See Hausmann, 1972, Cat 170, p230[7] All pieces from the Correr service are illustrated in Écouen, 2011 p 164-167[8] Wilson, 2017, p133.[9] Wilson in Écouen 2011, p160Literature:Bartsch, Adam. Le peintre graveur, Degen, Vienna, 1808-21Chapman, Hugo, Henry, Tom and Plazzotta, Carol. Raphael from Urbino to Rome, exh. cat., National Gallery, London, 2004Écouen 2011. Majolique. La faïence italienne au temps des humanistes, 1480-1530. Exb cat., Musée national de la Renaissance, Écouen, 2011Hausmann, Tjark. Majolika spanische und italienische Keramik vom 14. is zum 18.Jahrhundert (Katalogue des Kunstgewerbemuseum Berlin V1) Berlin, 1972Humfrey, Peter, Clifford, Timothy, Weston-Lewis, Aiden, and Bury, Michael. The Age of Titian – Venetian Renaissance Art from Scottish Collections, National Galleries of Scotland, 2004Mallet, J.V.G. ‘Nicola da Urbino and Francesco Xanto Avelli’, Faenza, 93, no 4-6 2007, p199-250Rev Macintosh Mackay, LL.D. Memoir of James Ewing Esq. of Strathleven, formerly Lord Provost of Glasgow and M.P for that city, LL.D of the University of Glasgow with a series of letters written while on a tour in Italy, Switzerland, &C., &C. Glasgow, 1866.Wilson, Timothy (with the collaboration of Patricia Collins and an essay by Hugo Blake). Ceramic Art of the Italian Renaissance, exh. cat., British Museum, 1987, p44Wilson, Timothy. Italian Maiolica and Europe, Oxford, 2017With thanks to Celia Curnow for the extensive research and footnote on this lot.
![3 Sterling Silver Christmas Ornamentsby](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxMzU4MTM0&size=med2&)
3 Sterling Silver Christmas Ornamentsby Scultpture Workshop Designs including ''Forever Santa'' ''100 Years Statue of Liberty'' & ''Return of the Christmas Comet'' all 3 1/4'' plus a santa figurine by Magrino 2 1/4''.
![1989 Lucia Maya Etching w/ Aquatint](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDg0NjAx&size=med2&)
1989 Lucia Maya Etching w/ Aquatint "Recuerdos de Sal": Lucia Maya (Mexican, b. 1953), "Recuerdos de Sal", etching with aquatint, drawn on 2 copper plates by the artist, printed on Arches Cover White 250 gm - 100% cotton paper, 1989. Numbered 4 of 75 in pencil on the lower left. Signed & dated 1989 in pencil on the lower right. Printed by Artegrafias Limitadas, a renowned print workshop in Mexico City that operated from 1982 to 2006. A breathtaking rendering of a female draped in silky, chocolate brown fabric that seems to resolve in organic kelp-like forms suspended below her chest - perhaps Maya's version of an Earth or Sea Mother. She tips her head to her right, and her beautiful face is marked by ruby red lips, an aquiline nose, and a half-closed hazel eye. Wavy brunette locks cascade over her shoulders. The palette is rich - chocolate browns, azure blues, and slate greys. Technique for plate 1: aquatint (blue ink + red ink - faces). Technique for plate 2: soft ground etching, hard ground etching, aquatint (sepia ink). Size: 30. 5" L x 23. 5" W (77. 5 cm x 59. 7 cm); 45. 375" L x 31. 875" W (115. 3 cm x 81 cm) framed. . Born on Santa Catalina Island in California, Maya moved with her family to San Pedro Tlaquepaque, Jalisco, Mexico before the age of 5. She studied art at the Universiyy of Guadalajara as well as the Academia de Bellas Artes San Fernando in Madrid, Spain. She is a painter, sculptor, and lithographer and her work has been exhibited at the Degollado Theatre in Mexico; Turner Carroll Gallery in Santa Fe, New Mexico; Ronna and Eric Hoffman Gallery of Contemporary Art in Portland, Oregon, and the Puerto Rican Museum of Contemporary Art. Most recently, Maya's work was on display at the Museum of Latin American Art in the "Ink: Stories on Skin" exhibit (August 25th to February 3rd, 2019). . "In Mexico there are several very interesting exponents of this return to an obstinate severity and discipline, and among them I am glad to find Lucia Maya, in whose drawings one encounters the backdrop of a carefully and delicately cultivated technique. Her themes: the accessories of fantastic corsetry, the broken dolls, the torn fruit, beaten and bleeding, like those of Frida Kahlo, who inspired her, executed in this medium of colored pencils so dear to Dürer, are an exalted tribute to Kahlo. Maya’s works, so original and inimitable, contain great poetry, the first condition of authentic art. " (text from Salvador Elizondo). . "Lucia’s paintings are full of symbolism and inner meanings. Her confident brush paints a world w solitude, tension and impassioned freedom are woven together through images of secluded figures, pounding hearts and twisting flowering vines. Her art expresses the spirituality of endurance rather than focusing on objects of a physical nature. " (Susanna Kirchberg from El antiQuario). . This print has been authenticated by Alex Ehrenberg Azcarate, the founder and director of Artegrafias Limitadas, the print shop that worked with Lucia Maya to create this limited edition print. Lucia Maya drew the copper plate by hand, and the piece was etched and hand-printed by Artegrafias Limitadas. According to Mr. Azcarate, the red line on the dress was hand drawn by the artist with pencil on the finished print AND using a dark sepia ink gives the impression that it is black ink where there is hard ground etching – the sepia tone comes out where there is aquatint. . The retail value of this print ranges from $2000 to $3000. . . Provenance: private Southern California, USA collection, acquired in the 1970s to mid-1980s. . All items legal to buy/sell under U. S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. . . A Certificate of Authenticity will accompany all winning bids. . We ship worldwide and handle all shipping in-house for your convenience. . #143276 Condition Professionally framed. Print has not been examined outside of the frame, but appears to be excellent. Numbered 4 of 75 in pencil on the lower left. Signed by the artist and dated to 1989 in pencil on the lower right.
![NATIVE AMERICAN EXCEPTIONAL CRUCITA](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTgwMjQy&size=med2&)
NATIVE AMERICAN EXCEPTIONAL CRUCITA CALABAZA, (1921-1999) SAN ILDEFONSO BLUE CORN POTTERY JAR, CA 70S-80S. 5 1/4"H X 6"DIAM.Native American Exceptional Crucita Calabaza, (1921-1999) San Ildefonso Blue Corn pottery jar, Ca 70s-80s., Exceptional fine line polychrome decorated feather pot, signed under base, "Blue Corn San Ildefonso Pueblo" "Blue Corn (c. 1920 – May 3, 1999), also known as Crucita Calabaza, was a Native American potter from San Ildefonso Pueblo, New Mexico, in the United States. She became famous for reviving San Ildefonso poly chrome wares and had a very long and productive career. Her grandmother first introduced her to pottery making at the age of three. Maria Martinez's sister gave her the name "Blue Corn" during the naming ceremony, which is the Native American tradition of naming a child. Blue Corn attended school at the pueblo in her early years. She then went to Santa Fe Indian School, which was 24 miles (39 km) from home. While attending school in Santa Fe, her mother and father died, and she was sent to live with relatives in southern California. Here she worked as a maid for a short time in Beverly Hills. At the age of 20, she married Santiago "Sandy" Calabaza, a silversmith from Santo Domingo Pueblo. Together they settled at San Ildefonso, where she bore and raised 10 children. During World War II, Blue Corn worked as a house cleaner in Los Alamos for the physicist, J. Robert Oppenheimer. After her first son, Joseph, was born, she returned to pottery making. Santiago quit his job to help her carve, paint and design her pots, and by the late 1960's she had established herself as a leader in poly chrome styles. After her husband died in 1972, her son Joseph began helping her with her pots. During the 1960's and 70's, she conducted many workshops on pottery making in both the U.S. and Canada. Although Blue Corn also made redware and blackware, she is especially noted for her finely polished slips and exhaustive experimentation with clays and colors, producing cream poly chrome on jars and plates. She is particularly well known for her feather and cloud designs. Blue Corn is known for the re-introduction of poly chrome fine whiteware and has received critical acclaim from several publications including the Wall Street Journal. Her pottery can be found in the Smithsonian Institution and other leading museums throughout America and Europe as well as in private collections. She won more than 60 awards including the 8th Annual New Mexico Governors Award in 1981. This is New Mexico's greatest recognition of artistic achievement. She died May 3, 1999 leaving ten children, 18 grandchildren and 12 great-grandchildren. Publications: • Allan Hayes and John Blom, 1996, Southwestern Pottery: Anasazi to Zuni • Peterson, Susan, 1997, Pottery by American Indian Women: The Legacy of Generations • Schaaf, Gregory, 2000, Pueblo Indian Pottery: 750 Artist Biographies" (Source: Wikipedia) Dimensions: 5 1/4"H x 6"Diam.
![CRUCITA CALABAZA NATIVE AMERICAN SAN](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTgwMjQz&size=med2&)
CRUCITA CALABAZA NATIVE AMERICAN SAN ILDEFONSO PUEBLO, BLUE CORN, POLYCHROME POTTERY BOWL 4 3/4"H X 10"DIAM.Crucita Calabaza Native American San Ildefonso Pueblo, Blue Corn, polychrome pottery bowl, signed under base. Native American Blue Corn "Crucita Calabaza" (1920-1999). San Ildefonso polychrome pottery bowl signed underfoot Height 4 3/4", diameter 10 1/2 ". Condition Report: Overall excellent condition. This is an extraordinary Museum quality piece. Blue Corn (c. 1920 - May 3, 1999), also known as Crucita Calabaza, was a Native American potter from San Ildefonso Pueblo, New Mexico, in the United States. She became famous for reviving San Ildefonso polychrome wares and had a very long and productive career. Her grandmother first introduced her to pottery making at the age of three. Maria Martinez's sister gave her the name Blue Corn during the naming ceremony, which is the Native American tradition of naming a child. Blue Corn attended school at the pueblo in her early years. She then went to Santa Fe Indian School, which was 24 miles (39 km) from home. While attending school in Santa Fe, her mother and father died, and she was sent to live with relatives in southern California. Here she worked as a maid for a short time in Beverly Hills. At the age of 20, she married Santiago Sandy Calabaza, a silversmith from Santo Domingo Pueblo. Together they settled at San Ildefonso, where she bore and raised 10 children. During World War II, Blue Corn worked as a house cleaner in Los Alamos for the physicist, J. Robert Oppenheimer. After her first son, Joseph, was born, she returned to pottery making. Santiago quit his job to help her carve, paint and design her pots, and by the late 1960's she had established herself as a leader in poly chrome styles. After her husband died in 1972, her son Joseph began helping her with her pots. During the 1960's and 70's, she conducted many workshops on pottery making in both the U.S. and Canada. Although Blue Corn also made redware and blackware, she is especially noted for her finely polished slips and exhaustive experimentation's with clay's and colors, producing cream poly chrome on jars and plates. She is particularly well known for her feather and cloud designs. Blue Corn is known for the re-introduction of poly chrome fine whiteware and has received critical acclaim from several publications including the Wall Street Journal. Her pottery can be found in the Smithsonian Institution and other leading museums throughout America and Europe as well as in private collections. She won more than 60 awards including the 8th Annual New Mexico Governors Award in 1981. This is New Mexico's greatest recognition of artistic achievement. She died May 3, 1999 leaving ten children, 18 grandchildren and 12 great-grandchildren. References: Allan Hayes and John Blom, 1996, Southwestern Pottery: Anasazi to Zuni Peterson, Susan, 1997, Pottery by American Indian Women: The Legacy of Generations Schaaf, Gregory, 2000, Pueblo Indian Pottery: 750 Artist Biographies External links Blue Corn at Holmes Museum of Anthropology (Source: Wikipedia) Dimensions: 4 3/4"H x 10"Diam.
![LINDA GIRVIN, (AMERICAN, 20TH/21ST CENTURY),](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg2Mjg2&size=med2&)
LINDA GIRVIN, (AMERICAN, 20TH/21ST CENTURY), FALL REQUIEM, 2001, LENTICULAR LENS PHOTOGRAPHY, 35 1/4" X 29 1/2"W, AS FRAMED.Linda Girvin (American, 20th/21st Century) Fall Requiem, 2001 lenticular lens photography Provenance: Property of the Estate of Craig W Johnson, purchased from the Jean Albano Gallery, Chicago. Instructor, Photography Edinboro University, Edinboro, PA MFA, Photography Tyler School of Art, Philadelphia, PA Direct Purchase Award Colorado Council on the Arts Workshop Instructor Anderson Ranch Art Center, Aspen, CO Consultant, Photography Program Anderson Ranch Art Center, Aspen, CO Instructor, Photography University of California, Santa Barbara, Santa Barbara, CA 35 1/4" x 29 1/2"W, as framed. lenticular lens photography Dimensions: 35 1/4" x 29 1/2"W, as framed.
![SCHEDEL, Hartmann (1440-1514) .Liber](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw3NjE5MTU=&size=med2&)
SCHEDEL, Hartmann (1440-1514) .Liber chronicarum . Nuremberg: Anton Koberger for Sebald Schreyer and Sebastian Kammermeister, 12 July 1493. Imperial folio (17 1/2 x 12 inches; 448 x 315 mm). Collation: [1-26 38; 46 5-74 8-116 122 134 14-166 172 18-196 20-254 26-296 302 316 324 33-356 362 374 38-616]. 326 leaves (of 328, without the two final blanks 61/5-6, quire 55 bound at end). Leaves 4/1-54/6 foliated I-CCLXVI, ff. 55/1-5, the Sarmation supplement, unfoliated, f. 55/6 blank, ff. 56/1-61/3 foliated CCLXVII-CCXCIX, 61/5-6 blank, ff. CCLVIIII-CCLXI blank except for printed headlines, intended for readers' manuscript supplements. 64 lines and headline, Table and parts of the text in double column. Types 16:110b (text) and 9:156 (headlines and headings). Xylographic title. 1,809 woodcut illustrations of various sizes printed from 645 blocks (Sydney Cockerell's count: cf. Some German Woodcuts of the Fifteenth Century, 1897, pp. 35-36), by Michael Wolgemut, Wilhelm Pleydenwurff, and their workshop, possibly including the young Albrecht Dürer, including 29 double-page town views, 8 full-page illustrations, a world map (Shirley 19) and a map of Europe by Hieronymus Münzer after Nicolas Khrypffs. Rubrication: 27 Northern Italian illuminated initials heightened with gold and with foliate extensions, large illuminated initial and partial border to first page of text. 18th-century Italian marbled sheep over wooden boards, morocco spine label, lightly marbled edges folding morocco-backed case. Condition : Neatly repaired tears in 4 leaves, a few minor marginal repairs; occasional slight discoloration, slight wear to extremities. Provenance : Venice, Benedictines of San Giorgio Maggiore, part of the reformed congregation of the monastery of Santa Giustina in Padua, inscription at end; H. Bradley Martin, bookplate (sale, Sotheby's, New York, 14 June, 1990. Lot 3356 $80,000); Favia del Core, bookplate (sale, Lugano, Craveri, 19 June 1995, lot 275). first edition of the nuremberg chronicle , the most lavishly illustrated book of the fifteenth century. Written by the Nuremberg doctor and humanist Hartmann Schedel, the Chronicle is a year-by-year universal history of the world, from creation to 1493, compiled from contemporary and older sources. Special attention is paid to significant or portentous events, e.g., Wycliff's heresy, the invention of printing (at Mainz), and the exploration of the Atlantic and of Africa, including an account of the alleged discovery of America in 1483 by Martin Behaim and Jacobus Canus (Behaim in fact sailed to Africa). The book was five years in preparation and took and twenty months to print. The exceptionally complex layouts of both the Latin edition and the German translation, published five months later, were planned by Koberger simultaneously; both editions use the same woodcuts, with only a slightly different placement in the text, and both are thought to have been printed in a run of about 1,500-2,000 copies. Among the most prized illustrations are the views of contemporary cities: while some of the woodcut town views, especially those of foreign cities, were produced with interchangeable blocks, a number of the German town-views in particular incorporate authentic details and are of documentary value. The artists Michael Wohlgemut, Albrecht Dürer's teacher, and his stepson Wilhelm Pleydenwurff are both mentioned in the colophon, making this one of the only fifteenth-century books to be illustrated by named artists. Albrecht Dürer, who was Koberger's godson, was apprenticed to Wohlgemut in the late 1480s, precisely the period during which Wohlgemut's shop was busy cutting blocks for this volume. A few of the cuts, notably the famous Last Judgment cut on f. CCLXV, bearing a close resemblance to Dürer's Apocalypse series, are now tentatively attributed to him. This fine copy, from the Benedictine library at San Giorgio Maggiore in Venice, was illuminated in Northern Italy and testifies to the wide distribution of copies of the Latin Nuremberg Chronicle in Italy. A copy of Pliny, Historia naturalis , Parma 1476, at Harvard bears a similar inscription from San Giorgio Maggiore, also noting its relationship to San Giustina in Padua (see Walsh 3350). Goff S-307; HC 14508*; BMC II, 437; CIBN S-161; Schramm XVIII, 6-7, 9; Schreiber 5203.
![Catherine Lee (American, born 1950)
Unica](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw5MDM3OTE=&size=med2&)
Catherine Lee (American, born 1950)
Unica 29 (GTW 10-#4-87), 1987
Color monotype printed on handmade paper, signed in pencil, titled, and dated, printed by Garner Tullis Workshop, Santa Barbara, with full margins, in good condition aside from foxing, sheet toned, framed.
10 3/4 x 8 5/8in
sheet 22 1/4 x 30 1/4in
![Italo Scanga (Italian, born 1932)
Untitled](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw5MTAxMTM=&size=med2&)
Italo Scanga (Italian, born 1932)
Untitled (03-#5-86), 1986
Color monotype printed on thick handmade paper, signed in pencil, printed at Garner Tullis Workshop, Santa Barbara, with full margins, in apparently very good condition, framed (not examined out of frame).
27 1/4 x 20 7/8in
sheet 30 x 22 1/2in
![Sam Francis (American, 1923-1994)
Untitled,](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSw5NTE3MzI=&size=med2&)
Sam Francis (American, 1923-1994)
Untitled, 1981
Monotype in colors on wove paper, signed in pencil, dated, and annotated 'IV', printed at the Garner Tullis Workshop, Santa Barbara, the full sheet, in apparently very good condition aside from a 6 1/2in horizontal crease at the lower sheet edge, framed (not examined out of frame).
sheet 42 x 55in
![An Italian terracotta relief depicting](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxMjE3NTMx&size=med2&)
An Italian terracotta relief depicting the Virgin and Child with Saint Teresa . possibly workshop of Giuseppe Mazza (Bologna 1653-1741). early 18th century The Virgin seated on a bank of clouds the Christ Child on her knee Saint Teresa kneeling before them with a pair of putti flying above holding a scroll surmounted by a shell crest centered by a female mask inscribed to the top 4 Di Setembre Anno 1681 mounted in a gilt wood frame with a canopy above and a further shell crest below with a label for Santa Barbara Museum of Art Exhibition no 43 temporary exhibit.overall height 36in (91.5cm); width 23 1/4in (59.1cm); height of panel 19 1/2in (49.5cm)
![David Jansheski (American b. 1954) Riddle](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwxMjU0MTU2&size=med2&)
David Jansheski (American b. 1954) "Riddle of the Fish II". Woodcut with chine colle signed and dated 1991 in the lower right margin titled in the lower left margin Print Club of Cleveland blind stamp in the lower left corner and blind stamp of the Graphics Workshop Santa Fe apprx. 31" x 23-1/2" image size apprx. 40-3/4" x 30" paper size.
![Tin Frame with Devotional Print, ca.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NTcx&size=med2&)
Tin Frame with Devotional Print, ca. 1870: Attributed to Santa Fe Federal Workshop Tin Frame with Devotional Print ca. 1870 4 3/4 x 3 3/4 in. (sight) 10 x 6 1/2 in. Frame constructed with shaped columns on all framing panels with square corner bosses with dot design. Lunette consists of horizontal scored pleats with dots. Devotional print, “NS de la Merced” mounted under glass. Provenance: The Joseph Pytka Collection
![Tin Frame with Devotional Print, ca.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NTc4&size=med2&)
Tin Frame with Devotional Print, ca. 1870: Attributed to Santa Fe Federal Workshop Tin Frame with Devotional Print ca. 1870 5 1/2 x 4 in. (image) 15 x 9 in. Tin frame with pronounced shaped column panels with rows of floral stamped motifs, parallel edge stamps, corner rosettes, large fan lunette flanked by fleur di-lis. Candleholders mounted at bottom. Small print “San Filipe” mounted over silver foil on cream paper. Provenance: The Joseph Pytka Collection
![Tin Frame with Devotional Print, ca.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NTg2&size=med2&)
Tin Frame with Devotional Print, ca. 1870-1895: Attributed to Santa Fe Federal Workshop Tin Frame with Devotional Print ca. 1870-1895 4 3/4 x 3 1/2 in. (image) 10 1/2 x 9 1/4 in. Tin frame with plain frame panels with small scallop edge and tin tubing on edge. Lunette with decorative stamps, simple half circle side wing elements, large roundels with domed centers and crimped edges. Devotional print, “El Sr. de Hospital” mounted under glass. Provenance: The Joseph Pytka Collection
![Two Tin Frames with Devotional Prints:](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NTky&size=med2&)
Two Tin Frames with Devotional Prints: (1) Attributed to Taos Serrate Tinsmith. Tin Frame with Devotional Print. ca. 1870-1905. Large rectangle opening with devotional print mounted over wallpaper. Large shaped wings with stamped floral and stacked serrate motif. Serrated lunette flanked with tin loops. Dimensions: 5 3/4 x 4 1/4 in. (image). Framed Dimensions: 8 3/4 x 10 in. (2) Attributed to Santa Fe Federal Workshop. Tin Frame with Devotional Print. ca. 1865. Tin framing panels with butt joints and row of small stamped design. Double lobe lunette and two pairs of side wings. Color print “Jesus with Sacred Heart. ” Dimensions: 5 x 3 1/2 in. (image). Framed Dimensions: 13 3/4 x 11 in. Provenance: The Joseph Pytka Collection
![Tin Frame with Devotional Print, ca.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NTk1&size=med2&)
Tin Frame with Devotional Print, ca. 1870: Attributed to Santa Fe Federal Workshop Tin Frame with Devotional Print ca. 1870 9 3/4 x 7 3/4 in. (image) 17 3/4 x 15 1/4 in. Simple tin frame with lap joinery, lunette, round corners and wings. Tin panels contain diagonal stamped pattern. Color print “St. Boniface” mounted under glass. Provenance: The Joseph Pytka Collection
![Tin Frame with Devotional Print , ca.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NTk2&size=med2&)
Tin Frame with Devotional Print , ca. 1885: Attributed to Santa Fe Federal Workshop Tin Frame with Devotional Print ca. 1885 9 3/4 x 7 3/4 in. (image) 17 1/2 x 15 in. Tin frame panels with diagonal stamped stripes, bulbous lunette, small rounded corners and side wings. Color print “Virgin with Infant Jesus and Lamb” mounted under glass. Provenance: The Joseph Pytka Collection
![Tin Frame with Devotional Print, ca.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NTk4&size=med2&)
Tin Frame with Devotional Print, ca. 1860-1870: Attributed to Santa Fe Federal Workshop Tin Frame with Devotional Print ca. 1860-1870 9 3/4 x 8 in. (image) 17 x 14 1/4 in. Tin frame with domed hollow-form columns with diagonal ridged pattern, square comers with stamped florals and precisely stamped lunette and side wings with deep "rays" and serrated edges. A colorful devotional print "El Alma de la Virgen" mounted over wallpaper. Provenance: The Joseph Pytka Collection
![Tin Frame and Candle Sconce, ca. 1870:](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NzMx&size=med2&)
Tin Frame and Candle Sconce, ca. 1870: Attributed to Santa Fe Federal Workshop Tin Frame and Candle Sconce ca. 1870 4 x 2 3/4 in. (mirror) 12 x 6 3/4 x 4 in. Small frame with squared column tin panels with simple stamps, square corner pieces with stamped rosette and large impressive lunette with deep cut scallops and central rosette. Candle holder positioned in front of mirror. Provenance: The Joseph Pytka Collection
![Pair of Tin Candle Sconce with Devotional](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4NzMz&size=med2&)
Pair of Tin Candle Sconce with Devotional Prints: Attributed to Santa Fe Federal Workshop Tin Candle Sconce with Devotional Prints ca. 1870 4 3/4 x 3 1/2 in. (image, each) 24 x 14 1/2 x 5 in. (each) Similar devotional prints in matching gold painted frames mounted in tin frame columns with square corners containing rosettes. Large tin triangular pediments extend at top and bottom with disc terminals, stamped side wings. Inner columns painted red, all other tin elements painted green. Small candle holder below print. Prints framed in golden commercial frames and inset into tin sconce: Joseph and Son Jesus & Mary and Son Jesus. Provenance: The Joseph Pytka Collection
![Tin Frame with Devotional Print, ca.](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4ODM3&size=med2&)
Tin Frame with Devotional Print, ca. 1870: Attributed to Santa Fe Federal Workshop Tin Frame with Devotional Print ca. 1870 13 1/4 x 9 3/4 in. (image) 24 x 17 1/2 in. Large lunette with scored design and sharp scalloped edge, interesting cut-out wings and single roundels on sides. Residue of red and green pigment. Color print “St. Juan Bautista with Lamb” mounted under glass. Provenance: The Joseph Pytka Collection
![Two Tin Frames with Devotional Prints:](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNDM4ODQz&size=med2&)
Two Tin Frames with Devotional Prints: (1) Attributed to Isleta Tinsmith. Tin Frame with Devotional Print. ca. 1885-1920. Large, ornately stamped lunette, wings and extended comers. Tailored rows of small floral elements line the tin panels. Devotional print "Medalla Milagrosa" mounted behind glass. Dimensions: 10 1/2 x 8 in. (image). Framed Dimensions: 20 1/4 x 17 1/4 in. (2) Attributed to Santa Fe Federal Workshop. Tin Frame with Devotional Print. ca. 1870. Serrated edge lunette with simple stamped design over a large rosette, leaf-like side wings, rows of circular stamped design along the column tine panels. Color print “Mary holds Baby Jesus Among Angels” mounted under glass. Dimensions: 9 1/4 x 7 1/2 in. (image). Framed Dimensions: 18 1/2 x 16 1/4 in. Provenance: The Joseph Pytka Collection
![John Garrett, Untitled (Beaded Square](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNTU3ODMz&size=med2&)
John Garrett, Untitled (Beaded Square Basket), 1990: John Garrett. (b. 1950). Untitled (Beaded Square Basket), 1990. mixed media. John Garrett (b. 1950) is an experimental fiber artist based in Albuquerque, New Mexico. He has taught at a number of schools around Los Angeles, including UCLA and Scripps College, before moving to New Mexico in 1990. He continues to teach workshops focused on sculptural basketry around the country. 6 x 17 1/2 x 17 1/2 in. (15. 24 x 44. 45 x 44. 45 cm. ) . The Barbara and Ed Okun Collection Condition The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
![John Garrett, Untitled, 1989: John](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyNTU3ODM0&size=med2&)
John Garrett, Untitled, 1989: John Garrett. (b. 1950). Untitled, 1989. painted metal, electrical wire. John Garrett (b. 1950) is an experimental fiber artist based in Albuquerque, New Mexico. He has taught at a number of schools around Los Angeles, including UCLA and Scripps College, before moving to New Mexico in 1990. He continues to teach workshops focused on sculptural basketry around the country. 10 x 32 x 12 in. (25. 40 x 81. 28 x 30. 48 cm. ) . The Barbara and Ed Okun Collection Condition The condition reports for the lots offered by Santa Fe Art Auction (SFAA) are provided as a courtesy and convenience for potential buyers. The reports are not intended to nor do they substitute for physical examination by a buyer or the buyer's advisors. The condition reports are prepared by SFAA staff members who are not art conservators or restorers, nor do they possess the qualifications needed for comprehensive evaluation. Each condition report is an opinion of the staff member and should not be treated as a statement of fact. The absence of a condition report does not imply anything as to the condition of a particular lot. Buyers are reminded that the limited warranties are set forth in the Terms and Conditions of Sale and do not extend to condition. Each lot is sold as-is.
![Gustav Stickley DOUBLE-DOOR BOOKCASE,](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTQ4OTA4&size=med2&)
Gustav Stickley DOUBLE-DOOR BOOKCASE, MODEL 719 USA, 1912-16oak, glass, hammered copper56 h × 60 w × 13 d in (142 × 152 × 33 cm) Cabinet features two doors concealing three fixed shelves on each side. Partial paper manufacturer's label to reverse ‘Craftsman Workshops’. Branded manufacturer's mark to reverse ‘Stickley’ with joiner's compass. Provenance: Bellas Artes Gallery, Santa Fe | Private Collection, Dallas
![KARL WIRSUM (AMERICAN, 1939-2021) “FOUR](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTY5NDA1&size=med2&)
KARL WIRSUM (AMERICAN, 1939-2021) “FOUR FOR YOU AND ONE FOR YOUR FRIEND” MASK ASSORTMENT(6) items, 1980, each having printed signature, title, edition and date to the reverse, #2/250, #36/250, #11/250, #71/250, #72/250, #20/250, silkscreen on vinyl coated muslin, printed by The Fabric Workshop, Philadelphia, PA; together with (2) “Santa Hat” offset lithograph party hats, 1980, designed and produced in conjunction with the exhibition “Hare Toddy Kong Tamari” at the Museum of Contemporary Art, Chicago; reference Adrian and Born #414 and 445
![LENORE TAWNEY, (AMERICAN, 1907-2007),](/content/serve_image.php?id=dWNvb2tpZT1jMDY3NTQwZWIyNSwyOTg2Mjk3&size=med2&)
LENORE TAWNEY, (AMERICAN, 1907-2007), UNTITLED, (FOR SALLY FAIRWEATHER), 1983, COLLAGE ON RICE PAPER, 5 1/2"H X 4 3/4"W (IMAGE) 6 1/2" H X 8 3/8" W (FRAME)Lenore Tawney (American, 1907-2007) Untitled, (For Sally Fairweather), 1983 collage on rice paper signed and dated lower right. Provenance: From a private collection, Indianapolis, IN. Biography from the archives of AskArt: Fiber artist Lenore Tawney, born in Lorain, Ohio, became an influential figure in the development of woven sculpture as an art medium. Her introduction to the tenets of the German Bauhaus* school and the artistic avant-garde came in 1946 with her attendance at Lazlo Moholy-Nagy's Chicago Institute of Design, and study with Moholy-Nagy, cubist sculptor Alexander Archipenko and abstract-expressionist painter Emerson Woelffer. In 1949, she studied weaving with Marli Ehrmann. Destroying her clay sculpture, she moved tentatively to fiber, receiving a huge career "break" when the first pieces she made, black and white table mats, were selected by the Museum of Modern Art, in New York City, for a "Good Design" exhibition. Tawney lived in North Africa, Spain and France for a year and a half, before returning to America in 1954 to study tapestry weaving at the Penland School of Crafts, in North Carolina, with Martta Taipale, a Finnish weaver. But, like Archipenko before her, Taipale wanted Tawney to weave Taipale's designs instead of her own. Refusing to do this, as she had rejected "turning out Archipenkos," Tawney left Taipale after six weeks of study. Tawney fell seriously ill shortly thereafter, nearly dying, in what the artist describes as like a rebirth. This experience, the weaving and the illness, would mark the turning point in Tawney's career toward her major focus on fiber art. Tawney left Chicago in 1957 for New York City, where her studio was in the same building with artists Agnes Martin, Robert Indiana, Ellsworth Kelly and Jack Youngerman, her landlord. Her one-person exhibition at the Staten Island Museum, in New York City, in 1961, was an innovation in terms of revealing the possibilities of weaving as a non-utilitarian artwork. Tawney was one of the first fiber artists to take her weavings from the wall and hang them in space. In 1978, she began her "Cloud Series," with hundreds of separate white "cloud" threads of linen of different lengths hanging from a blue canvas "sky." In that same year, Tawney had exhibitions at the Hadler Gallery, New York City, and the Brookfield Craft Center, in Connecticut. Lenore Tawney is also known for small assemblages* and collages, often in Joseph Cornell-like boxes, using eggs, feathers, bones and other materials, and influenced by Jungian and Eastern philosophies. The artist traveled, in 1969, to the Far East to Japan and Thailand, with an extended stay in India; visited India again in 1976-1977; and traveled to Taiwan and India in1982. Tawney was an Artist-in-residence, University of Notre Dame, South Bend, Indiana, in 1978; Artist-in-residence, Fabric Workshop, Philadelphia, 1982; a guest lecturer on Visual Arts and Fiber at the Banff Center for the Arts, Alberta, Canada, 1983; and a Distinguished Lecturer, University of Arizona, Tucson, 1987. She was elected a Fellow of the inaugural group of the American Craftsmen's Council in 1975; received a National Endowment for the Arts Craftsman's Fellowship Grant in 1979; an Honor Award for Outstanding Achievement in the Visual Arts, Women's Caucus for Art, 1983; and the American Craft Council's Gold Medal, 1987. Maryette Charlton has made a film about Tawney and her work. Writings about Lenore Tawney include Margo Hoff's "Lenore Tawney: The Warp is Her Canvas," in the November-December 1957 Craft Horizons; an article in the Spring 1962 issue of Handweaver and Craftsman, "Lenore Tawney: Her Designs Show Imaginative Departure from Traditional Tapestry Techniques;" Richard Howard's "Tawney," in the February 1975 Craft Horizons; Gerrit Henry's "Cloudworks and Collage," in Art in America, June 1986; and a 1990 exhibition catalogue published by Rizzoli, Lenore Tawney: A Retrospective, edited by Kathleen Nugent Magnan. She was commissioned by the United States government to create a large-scale thread sculpture for a federal building in Santa Rosa, California. Her work is in the collections of Western Connecticut State University, Danbury; Metropolitan Museum of Art, New York City; and Art Institute of Chicago, Illinois. 5 1/2"H x 4 3/4"W (image) 6 1/2" H x 8 3/8" W (frame) collage on rice paper Dimensions: 5 1/2"H x 4 3/4"W (image) 6 1/2" H x 8 3/8" W (frame)