A few examples of appraisal values for
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• DEER & DOE HOOKED RUGMade of wools and
  DEER & DOE HOOKED RUGMade of wools and cottons, this large hooked rug has been mounted on a stretcher for hanging purposes. A true work of textile art; the subtle night background creates the imagery of two deer settling in the quiet of the forest for the evenings rest. A unique portrayal of nature through textile art. Original, in excellent condition, no repairs or stains. Western Ontario, circa 1910. Ex Rod Brook's Collection - Toronto, Ontario. Measuring, 44" height x 57" width, includes stretcher. The Carol Telfer Collection.
• ROBERT CARDINAL MAYO BEACH LIGHTHOUSE
  ROBERT CARDINAL MAYO BEACH LIGHTHOUSE PAINTING Massachusetts, New York, Canada,b.1936Titled "Mayo Beach Light," depicts a coastal lighthouse located in Wellfleet, Massachusetts. Cardinal studied at the La Grande Chaumiere Art School in Paris before eventually settling in Cape Cod. Cardinal usually paints at sunrise or sunset for the dynamic lighting and took inspiration from Goya, Maxfield Parrish, and Edward Hopper.
• ALLAN BROOKS (CANADIAN, 1869-1945)Ducks signed
  ALLAN BROOKS (CANADIAN, 1869-1945)Ducks signed "Allan Brooks" lower left watercolor, 13 3/4 by 10 1/2 in. Allan Cyril Brooks was born in 1869 in India, educated as a boy in England, and moved to Canada in 1881 where his father had become a farmer, eventually settling in British Columbia. He started out as a specimen hunter and collector for museums; however, after being encouraged to pursue his art by William Brewster, he became the Canadian contemporary to Louis Agassiz Fuertes. Due to his accurate shot, Brooks served as a sniper in World War I, achieved the rank of Major, and was awarded the Distinguished Service Order for conspicuous gallantry. His ornithological art appears in John C. Phillips’ "The Natural History of Ducks" and Forbush’s "Birds of Massachusetts," among many other publications. Provenance: Dr. Frank M. Chapman Collection Private Collection, Texas
• TWO STERLING SILVER SERVING DISHES,
  TWO STERLING SILVER SERVING DISHES, a 1928 Reed & Barton Sauceboat, lg. 7 3/4 , and a Dominick & Haff Bowl with square pleated rim, monogrammed, lg. 8 5/8 in., approx 12.85 troy oz. Provenance: Hailing from Wales and England, the Jones family were early settlers to Massachusetts circa 1660. Settling in the Berkshires, the family worked closely with Zenas Crane of Crane Paper, established in 1801. The paper firm still exists today and holds the recipe for the currency of the United States. At that time, all paperwork was done by hand; rags were pounded into pulp in mortar and twenty mortars were required to reduce 100 pounds of rags to pulp each day. In 1845, Edward Dorr Griffin Jones branched out and founded E.D. Jones Company in Pittsfield, Massachusetts. Working closely with local machine shops, he developed and patented specialized machinery, notably the "No Wave" pulp machine for the manufacture of papermaking. A pioneer in the industry, E.D. Jones & Sons Company was sold for $5,000,000 to Beloit Iron Works in 1958. The silver being offered here has been handed down from generation to generation of the Jones family.
• WILLY ARACTINGI / UNTITLED OIL (1986)Willy
  WILLY ARACTINGI / UNTITLED OIL (1986)Willy Aractingi (Lebanon, 1930-2003) Untitled , 1986 Oil on canvas 35" x 47" A fantastical arrangement of wildlife from the vibrant vision and hand of Lebanese artist Willy Aractingi. Sometimes classified as a naive artist, the self-taught Aractingi's unique aesthetic is on full display here: graduations of bold color define rhythmic shapes, composing an imagined and primitively executed landscape. His work has been noted by both Christie's and Sotheby's for its similarities to that of Henri Rousseau, a comparison appropriate for their similarities in both style and subject. Willy Aractingi was born in New York, and was raised internationally before settling in Beirut. He painted throughout his life, but received no formal training. In the 1970s that Aractingi committed himself as an artist, when he opened a modern art gallery and began drawing and painting in earnest. He is best known for his depictions of flora, as well as his series Magnum Opus , a wide-ranging collection of oils based on Jean de la Fontaine's Fables , begun in 1989. In 2017, the Sursock Museum in Beirut held a definitive retrospective titled Les Mondes de Willy Aractingi, showcasing 120 highlights from Aractingi's renowned career. Signed and dated to the bottom right corner, and presented in a metal frame that measures 36 1/4" x 48 1/4". Provenance : From the estate of Edwin T. Long, whose daughter Laura married Willy Aractingi's son Ronald. Mr. Long acquired the painting directly from the artist during a visit to Aractingi's Paris studio. Condition The extreme edges of the canvas have been impressed by the frame, not visible when the work is in the frame. Otherwise, the work is in very good condition, with no damage found, including no issues or repairs visible under blacklight inspection.
• NAHUM TSCHACBASOV (RUSSIAN/AMERICAN,
  NAHUM TSCHACBASOV (RUSSIAN/AMERICAN, 1899-1984) STILL L...DESCRIPTION: "Vase of Flowers," 1947, oil on canvas signed lower right and signed and dated on the verso. Nahum Tschacbasov was born into a Jewish family from Baku, Azerbaijan and emigrated to the U.S. with his family to Chicago at an early age, later settling in New York. His social group of friends were fellow artists, including Philip Evergood, Milton Avery, Stuart Davis, David Burliuk, William Gropper, the Soyer brothers, Robert Gwathmey, Marsden Hartley, and Max Weber. Along with artists Mark Rothko and Adolph Gottlieb, Tschacbasov was one of the original founders of the artist's group "The Ten." CIRCA: 20th ORIGIN: DIMENSIONS: L:27" W: 21" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• 4 CHINESE SNUFF BOTTLES + 1 OTHERGroup
  4 CHINESE SNUFF BOTTLES + 1 OTHERGroup of four (4) Chinese snuff bottles including a pair of blue and white porcelain bottles with figural decoration, two (2) reverse painted bottles with figural and landscape decoration plus one (1) clear glass snuff bottle having a monogram within a shield. Ranging in size from 2" H to 3 1/8" H. All 20th century. 5 total items. Provenance: From the collection of Emil Sigmund Fischer (1865 - 1945). Born in Vienna, Fischer was a banker and world traveler, moving to Shanghai, China in 1894. He moved to New York City from 1899 to 1906 and then later returned to China, settling in Tientsin, working as an importer and exporter. During World War II, he was held as a prisoner by the Japanese beginning in 1941 until his death in 1945. He wrote two travel books titled "Guide to Peking and Its Environs" (Tientsin, 1909) and "Travels in China, 1894 - 1940" (Tientsin, 1941). Descended through the family of Emil Fischer. References: NYT, March 2, 1945, "The United States in Asia, A Historical Dictionary" by David Shavit, 1990, pp. 166-167 and Ancestry.com. Condition: All very good condition and all missing original stoppers.
• CHARLES GRANT BEAUREGARD O/C LANDSCAPECharles
  CHARLES GRANT BEAUREGARD O/C LANDSCAPECharles Grant Beauregard (New York, Quebec/Canada, 1856-1919) Oil on Canvas. Depicts a pastoral landscape with a dirt road beside a creek with a bridge in the background against a cloudy blue sky. Signed "C. G. Beauregard" lower left. Titled and signed in graphite on back top stretcher: "Landscape, near Lake George, N.Y. by C.G. Beauregard". Housed in decorative giltwood frame. Sight - 6 1/4" H x 9 1/8" W. Framed - 10 7/8" H x 13 3/4" W. Biography (courtesy Askart: The Artists' Book): A Hudson River School artist in the last quarter of the 19th century, Charles Grant Beauregard was born in Montreal and emigrated to upstate New York as a young man, settling in Troy by 1872 and living most of his adult life in this area. He painted portraits on private commission and also taught at the Emma Willard School. Beauregard is known for formal and informal portraiture, pastoral landscapes and other genre works, as well as the occasional still life. (Higher-resolution photos are available at www.caseantiques.com) Condition: Overall very good condition with minor surface grime. 5/8" loss to gilt edge on back side of frame near center.
• 2 J. RALPH WILCOX FLORIDA LANDSCAPESTwo
  2 J. RALPH WILCOX FLORIDA LANDSCAPESTwo (2) James Ralph Wilcox (New York/Florida, 1866-1915) watercolor and gouache paintings on paper depicting Florida scenes. 1st-2nd items: Two (2) paintings depicting scenes of foliage in the Florida wetlands, possibly the Tomoka River. Both signed "J.R.Wilcox." lower left. Both double matted and housed under glass in matching wooden frames with gilt trim. Sights: 11" H x 15 1/4" W. Frames: 20" H x 23 1/2" W. Both items with The Frame and Gallery Shop, New Orleans and Metairie, LA, labels, en verso of frames. Biography: James Ralph Wilcox has been called "one of the most important landscape painters in the history of the state; his extremely rare oils and his delicate art nouveau-inspired watercolors capture the essence of the Tomoka-Halifax River regions of northeast Florida." (source: Gary R. Libby, "Reflections: Paintings of Florida, 1835-2000"). He was born in New York and details of his early art education are not known. He worked at the Elmira Portrait Company from 1890-1904 before coming to Seabreeze, FL in 1901, later settling in what is now known as Daytona Beach. He is known for his site specific oils and watercolors of Florida, mostly produced in small sizes. He also painted landscapes in Maine, New England, and Canada. The Collection of Dr. Joe Newsom Rawlings, Davisboro, Georgia. Condition: Both items in overall good condition. Not examined outside of frames. Frames with minor areas of loss, largest 1/4".
• EMIL HOLZHAUER W/C, WPA TENEMENT HOUSES,
  EMIL HOLZHAUER W/C, WPA TENEMENT HOUSES, LIKELY SOUTHER...Emil Eugen Holzhauer (German/American, 1887-1986) 1930s watercolor painting depicting a street scene, likely Southern, with closely spaced houses. Signed lower right. Unframed, 15" x 22 1/4". Artist biography (from The Johnson Collection): "Emil Eugen Holzhauer was born in Schwabisch-Gmund, Germany. In 1906, he moved to New York City without a job, money, or any knowledge of the English language. He initially worked in manufacturing plants to support himself and save money for art instruction. After settling into his adopted city, Holzhauer registered for night classes at the New York School of Art in 1909 where he studied with Robert Henri. Henri, a Social Realist, was a passionate and energetic teacher. He stressed the importance of painting from a personal point of view and urged his students to develop a uniquely American art, one based on their own individual experiences and perspectives. Henri remained an inspiration for Holzhauer throughout his career and the two men became close friends. In 1913, Holzhauer attended the famed Armory Show and was inspired by the work of the American and European modernists. He held his first solo exhibition in 1915 and exhibited regularly in New York, both individually and as part of a group, over the next ten years. In the summer of 1932, he began to teach art at a summer camp in upstate New York and found teaching to be a rewarding and gratifying experience. In 1938, he briefly taught at a junior college in New York State, before moving south to Asheville, North Carolina. In 1942, he became an art professor at Wesleyan College in Macon, Georgia. Throughout the 1930s, Holzhauer became identified with the American Scene movement in art, and the scenes that he painted while in the South are among his best-known. The subjects were often homes and neighborhoods of the working class. The images are quiet glances into a private world. He often chose narrow side streets or back alleys and portrayed the dilapidated buildings in a simple non-judgmental way. He neither idealized his subject nor romanticized it, but rather found beauty in simple scenes from daily life. During the late 1940s and into the 1950s, Holzhauer began to move into a more expressive and less realistic style. The color became more intense and less true to nature, and his figures became more stylized. In 1953, Holzhauer retired from his professorship at Wesleyan. He and his wife moved to Florida where he held several exhibitions. He continued to travel and paint until 1972 when his eyesight began to fail. Holzhauer died just before his hundredth birthday in 1986." Condition: Light toning to front, pinholes at each corner; tape residue with acid burn to back, overall good condition.
• 5 NATHAN HOUSE WPA MISSISSIPPI SCENE
  5 NATHAN HOUSE WPA MISSISSIPPI SCENE LITHOGRAPHSFive (5) Nathan House (Mississippi, 1909-1947) lithographs depicting scenes of African American farmers in rural Mississippi in the late 1930s to early 1940s, Titles include "Planting Time," "Choppin Time," "Picking Time," "Ginnin," and "Money Time." Artist signature and titles printed (in ink) in the margins. Matted and framed under glass in black frames with gilt sight edges. Sights - 7 1/2" W x 5 1/2" H. Frames - 14 1/2" W x 12 1/2" H. Biography (source: the Jackson, Mississippi Clairon Ledger, Jan. 27, 1947, and the Delta Democrat-Times, Sept. 24, 1944): Nathan House was born in Boyce, MS and attended the Chicago Art Institute, Kansas City Art Institute, and Grand Central Art School in New York. He served as an art director for ad agencies in New York and was a supervisor for War Training films of the Army Air Corps during World War II. House returned to Mississippi in 1943, settling in Greenville, where he opened an art studio and painted many portraits. He was well-known in the Mississippi arts community and founded the Delta Fine Arts Association and also served as its president. He died at the age of 38 after a long illness. Copies of the newspaper articles supplying this information are available to the winning bidder. Condition: Lithographs - excellent condition. Mats are toned. Some paint wear to frames.
• ARCHIVE OF 19TH C SHIP CAPTAIN MARTIN
  ARCHIVE OF 19TH C SHIP CAPTAIN MARTIN A. BRANDTAmazing archive of 19th c Ship Captain Martin A. Brandt comprising: 1) "History of the State of California", Chapman Publishing, 1904. It bears a written page (p. 879) on Capt. Brandt as well as handwritten on front page, "Capt. M.A. Brandt / 821 D Street / Eureka, Cal." 11.75" x 9.25"; 2) a J.Skellorn barometer, handwritten on back, "Schn. Ida McKay", 8" diameter; 3) Smith's Empire ship clock 7.25" diameter; 4) a framed U.S. Inspector's License for Master of Ocean Steam Vessels issued to Martin A. Brandt on March, 1902; 5) a framed photograph of the "Samoena"; 6) framed Almindelige Styrmandsexamen dated 1875. Martin A. Brandt was born Nov. 24, 1855 in Denmark and started working on ships at age 14. He immigrated to the United States in 2875, settling in San Francisco. In 1880 he was made Master of the schooner, Orion, which sales along the coast from Eureka (where he lived) to San Diego. In 1881 he became master of the Ida McKay, a three masted schooner which traveled from San Diego to Washington. He then mastered the Occidental and after that the passenger steamer, the Humboldt, running from Eureka to San Francisco. Processing and shipping within the continental U.S. $100.00 plus 1.5% replacement cost insurance. Please note we do not accept credit cards. Condition: Barometer and clock show scattered wear to cases. Almindelige Styrmandsexamen has wear to frame, creases from prior folding, toning and scattered foxing. Photograph has minor toning. Inspector's License shows creases from prior folding and toning. Book shows wear and losses to cover and binding, toning to pages. Witherells strives to provide as much information and photographs as possible but encourages in-person inspection by bidders. Condition: statements are only for general guidance and should not be relied upon as complete statements of fact and do not constitute a representation, warranty or assumption of liability by Witherells. All lots are sold "AS IS" under the Terms & Condition: s.
• LINO BIANCHI BARRIVIERA ETCHINGS TRIOLino
  LINO BIANCHI BARRIVIERA ETCHINGS TRIOLino Bianchi Barriviera (Italian, 1906-1985) etchings from the suite of five "Vedute Di Napoli", 1957; each pencil signed LR; each measures approximately 16" x 19-3/4" with matting and has a sight image of approximately 12" x 15-3/4"; all shrink-wrapped on cardboard and in good condition. Lino Bianchi Barriviera, artist, painter and etcher, was born in Montebelluna (Treviso) in 1906 and died in Acilia (Rome) in 1985. After the first years of his youth, he lived in Venice and Florence, moving to Rome in 1935, and at the end of the 70’s settling in Acilia. The fame of Barriviera is mainly linked to his large production, more than 950 plates, for which he mostly used etchings but also experimented with several other techniques. It has to be noted also that he performed masterfully in other forms of arts, first with oil painting, and then wall frescoes and tempera decorations, wood-carving, stained-glass windows, mosaics, ceramics, embossing, stamp engravings, and jewel making.
• THE WANDA'S GODDESS OF MYSTERY.Wandas,
  THE WANDA'S GODDESS OF MYSTERY.Wandas, The. The Wanda's Goddess of Mystery. Paris: Louis Galice, ca. 1910. A comely lady rises from the flames of a smoldering cauldron as imps look on and doves fly in about. Old folds visible, several small losses. Inscribed and signed by Suzy Wandas in the lower left. 46 x 36". Linen backed. B. An early poster advertising the magic act of Belgian magician and manipulator Suzy Wandas, who worked with her family in European music halls. Wandas went on to a successful career as a solo artist, eventually settling in Detroit.
• JULIEN BINFORD FLORAL PASTEL ON PAPERJulien
  JULIEN BINFORD FLORAL PASTEL ON PAPERJulien Binford (American, 1909-1997) labeled verso; measures approximately 20" x 18" with gilded frame and has a sight image of approximately 10-1/4" x 7-7/8"; in good overall condition. Julien Binford was an American painter. He studied at the Art Institute of Chicago and then in France. Settling in Powhatan County, Virginia, he was known for his paintings of the rural population of his neighborhood as well as for his murals. During World War II (1944)they lived in New York and painted views of the port during the war. These paintings (4 full pages in color) were featured in LIFE magazine. In 1946 he was appointed professor of painting at Mary Washington College in Fredericksburg, Virginia, where he worked until his retirement in 1971.
• ATTRIBUTED TO VÍCTOR PATRICIO LANDALUZE
  ATTRIBUTED TO VÍCTOR PATRICIO LANDALUZE (SPANISH/CUBAN ...attributed to VÍCTOR PATRICIO LANDALUZE (Spanish/Cuban 1828-1889) A PAINTING, "Hombre en una Mula (Man on a Mule)," oil on canvas. 36 1/2" x 28 1/2" Note: A costumbrismo style painter, Víctor Patricio de Landaluze, was born in Bilbao, Spain, later settling in Cuba, where he taught at the Academy of San Alejandro in Havana. His political views staunchly supporting colonial economy are noted throughout the breadth of his work. His work, for better or worse, captures the barbarism of plantation life that shaped 19th century Cuba. The present work shows a front facing figure of a Cuban man with straw hat, collared shirt, wearing a leather apron and nicely cobbled shoes. He sits atop a mule, which is flanked by iron strapped wood barrels, likely for selling water. His empty bag perhaps held bread. A orange and yellow hued sky smolders, indicating his workday is done, over the atmospheric skyline of Havana. Likely somewhere near Fortress of San Carlos de la Cabaña looking West, the natural grasses with red flowers, a landscape quiet at days end, with familiar Spanish colonial domes dotting the skyline. The mule is adorned with a blue silk fringe passamenterie. An unusually noble presentation of a Cuban at days end during the late 19th century. Provenance: Property from a South Texas Collector. Condition: The canvas has been professionally restored with old wax liner. Unsigned. Stretcher marks, a few surface scratches, inpainting, minor surface soil, canvas trimmed, and no apparent signature, but overall in stable, good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• VÍCTOR PATRICIO LANDALUZE (SPANISH/CUBAN
  VÍCTOR PATRICIO LANDALUZE (SPANISH/CUBAN 1828-1889) A P...VÍCTOR PATRICIO LANDALUZE (Spanish/Cuban 1828-1889) A PAINTING, "Valley Plantation with Horse Stables," oil on canvas, signed L/L, "LANDALUZE." 30" x 42" Note: A costumbrismo style painter, Víctor Patricio de Landaluze, was born in Bilbao, Spain, later settling in Cuba, where he taught at the Academy of San Alejandro in Havana. His political views staunchly supporting colonial economy are noted throughout the breadth of his work. His work captures a romantic view of plantation life that shaped 19th century Cuba. Provenance: Property from a South Texas Collector. Condition: Some moisture exposure resulting in waving of canvas lower left and some bubbling in lower half of canvas. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• HAYLEY LEVER (AUSTRALIAN/AMERICAN 1876-1958)
  HAYLEY LEVER (AUSTRALIAN/AMERICAN 1876-1958) A PAINTING...HAYLEY LEVER (Australian/American 1876-1958) A PAINTING, "St. Ives, Cornwall," 1909, oil on wood panel, signed L/L "Hayley Lever," verso a later inscription in marker reads, "ST IVES - CORNWALL ENG -1909 / BY / 1876 Hayley Lever 1958 / R - BA - RWA - NA;" 6 1/4'' x 9 1/4'', framed 17 1/4'' x 20 1/4''. Note: Hayley Lever was born in Adelaide, Australia and began his training there. He showed early talent and traveled to England to continue to develop his painting skills. He studied in London before settling in with an artist's colony in St. Ives, Cornwall in 1900. It was here that he developed his love and talent for atmospheric seacoast paintings. This work is from 1909 toward the end of his residence in St. Ives and before he moved to America in 1911. Condition: Framed under glass and not examined out of the frame. The surface appears dirty and a bit yellowed on the varnish, but there are no signs of damage to the paint. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL
  MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL TARKHANOV (RUSSIAN 1888-1962) A Set of Ten Linear Asbtractions mixed media drawings various sizes: smallest 25.7 x 34.6 cm (10 1/8 x 13 5/8 in.), largest 30.3 x 42.6 cm (11 7/8 x 16 3/4 in.) PROVENANCE Collection of Viktor Kholodkov LOT NOTES This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum. CONDITION Unframed, each work is in overall very good condition. Minor signs of wear around the perimeter. One of the works has two major tears on both sides. No other issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
• MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL
  MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL TARKHANOV (RUSSIAN 1888-1962) A Set of Four Organic Abstractions mixed media drawings various sizes: smallest 35.5 x 25 cm (14 x 9 7/8 in.), largest 38 x 54.5 cm (15 x 21 1/2 in.) 1/4 dated on verso PROVENANCE Collection of Viktor Kholodkov LOT NOTES This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum. CONDITION Unframed, each work is in overall very good condition. Minor signs of wear around the perimeter. Two drawings have two tears on the edges. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
• MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL
  MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL TARKHANOV (RUSSIAN 1888-1962) A Set of Four Organic Abstractions mixed media drawings various sizes: smallest 29.5 x 40.7 cm (11 5/8 x 16 in.), largest: 31 x 47 cm (12 1/4 x 18 1/2 in.) 1/4 signed and dated on verso PROVENANCE Collection of Viktor Kholodkov LOT NOTES This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum. CONDITION N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
• MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL
  MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL TARKHANOV (RUSSIAN 1888-1962) A Set of Ten Abstractions mixed media drawings mixed media drawings various sizes: smallest 26 x 37.8 cm (10 1/4 x 14 7/8 in.), largest 42.5. x 60.5 cm (16 3/4 x 23 7/8 in.) 3/10 signed on verso PROVENANCE Collection of Viktor Kholodkov LOT NOTES This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum. CONDITION Unframed, each work is in overall good condition. Minor signs of wear around the perimeter. Of the works has two major tears on both sides. No other issues to report. Two works have major creasing in the center from folding, with some areas of discoloration. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
• MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL
  MIKHAIL TARKHANOV (RUSSIAN 1888-1962)MIKHAIL TARKHANOV (RUSSIAN 1888-1962) A Set of Three Colorful Abstracts mixed media drawings various sizes: smallest 24 x 31 cm (9 1/2 x 12 1/4 in.), largest 44 x 30 cm (17 3/8 x 11 3/4 in.) 2 dated lower left, 1/3 signed and dated lower right PROVENANCE Collection of Viktor Kholodkov LOT NOTES This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum. CONDITION Unframed, each work is in overall very good condition. Minor signs of wear around the perimeter. No other issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
• A COLLECTION OF THREE MONOTYPES BY MIKHAIL
  A COLLECTION OF THREE MONOTYPES BY MIKHAIL TARKHANOV (R...A COLLECTION OF THREE MONOTYPES BY MIKHAIL TARKHANOV (RUSSIAN 1888-1962), 1920s , print each 30 x 41 cm (11 3/4 x 16 1/8 in.) PROVENANCE Collection of Viktor Kholodkov LOT NOTES This lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum. CONDITION Unframed, the prints are in overall good condition. Minor signs of wear around the perimeter. Minor crease to the corner of one. A small tear to the corner of another. No significant issues to report otherwise. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
• CHAO CHUNG-HSIANG PAINTING BIRDS 1973Chao
  CHAO CHUNG-HSIANG PAINTING BIRDS 1973Chao Chung-Hsiang (Zhao Chunxiang) (Chinese, 1910-1991). Ink and color on paper depicting two birds perched atop an abstract swirl. Signed along the lower right, and inscribed "to dear Kathreyn [sic] Cozene: for your birth all best wishes for today, March 24, 1973. Chung-Hsiang Chao, NYC." Chao Chung-Hsiang was born in Henan, China, in 1910. He began his artistic training under Lin Fengmian at the Hangzhou Academy of Fine Art, which provided him with both a strong basis in classical Chinese painting and in the growing movements of modern art. He left China in 1948, initially traveling through Taiwan and then Europe, before settling in New York City. There, he threw himself into the burgeoning Abstract Expressionist movement, creating bright, abstract canvases with oil and acrylic. In the early 1960s, he made a return to painting with the traditional Chinese media of ink and wash on rice paper. While he returned in many ways to traditional artistic practices, he retained many aspects of Abstract Expressionism, such as his vivid colors and gestural brushstrokes. This artwork shows Chung-Hsiang’s mastery of traditional painting techniques blending with a modernist sensibility. His manipulation of the ink and wash are expert and clearly display his classical training; at the same time, the colors are energetic, almost fluorescent, and the strong shape and form of the abstract lines lend a strong sense of the modern to the composition. The birds speak to the emotional state of Chung-Hsiang’s time in New York. Chung-Hsiang left his wife and son behind in China when he went off traveling, and during his time in New York, he took to keeping birds as pets to assuage the loneliness. The birds featured often in his works as a representation of family and longing. While there is a tinge of sadness to the artwork, its original purpose is a reminder that Chung-Hsiang’s life was still far from bleak: this painting was created as a birthday gift for a friend, a member of the family he found for himself in his new home. Sight; Height: 22 1/2 in x width: 22 in. Framed; Height: 29 1/2 in x width: 29 1/2 in. 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.
• ROBERT ELLIS "CUAUTLA NUMBER TWELVE"
  ROBERT ELLIS "CUAUTLA NUMBER TWELVE" PAINTING 1963Robert C. Ellis (American, 1923-1979). Oil on canvas painting titled "Cuautla Number Twelve," depicting an abstract minimalist landscape with a large orange circle surrounded by squares in similar yet distinct shades of blue, 1963. Provenance: Distinguished Corporate Collection, Minnesota. Ellis began studying art at The University of New Mexico, Taos Summer Field School in 1942. After serving in WWII he returned to his study of art at the New School of Social Research in New York in 1949 where he studied with Adja Yunkers and Abraham Rattner. The following year he returned to The University of New Mexico and earned his BFA in 1950. After marrying Rosamaria Ramirez de Alba, a Mexican citizen, he would split his time between the American Southwest and Mexico before finally settling in Taos in 1965. His earlier works moved through the Cubist and Abstract Expressionist movements before reaching a more minimalist influenced style in his later years. His works were exhibited at the Gump's Gallery in San Francisco, The Panhandle Museum in Texas, the Ellen Noel Art Museum of the Permian Basin in Texas, the Harwood Museum of Art in Taos, and throughout the Southwest. He was also exhibited in Mexico at the Museo Nacional de Arte Moderno in Mexico City in 1964. Sight; height: 39 3/4 in x width: 29 3/4 in. Framed; height: 41 1/4 in x width: 31 1/4 in. 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.
• ROBERT ELLIS "NEW YORK ONE" PAINTING
  ROBERT ELLIS "NEW YORK ONE" PAINTING 1965Robert C. Ellis (American, 1923-1979). Oil on linen painting titled "New York One," depicting an abstract composition with a large yellow circle surrounded above and below by rectangular fields of orange-red, 1965. These two fields are bisected and framed by a deep blue. Provenance: Distinguished Corporate Collection, Minnesota. Ellis began studying art at The University of New Mexico, Taos Summer Field School in 1942. After serving in WWII he returned to his study of art at the New School of Social Research in New York in 1949 where he studied with Adja Yunkers and Abraham Rattner. The following year he returned to The University of New Mexico and earned his BFA in 1950. After marrying Rosamaria Ramirez de Alba, a Mexican citizen, he would split his time between the American Southwest and Mexico before finally settling in Taos in 1965. His earlier works moved through the Cubist and Abstract Expressionist movements before reaching a more minimalist influenced style in his later years. His works were exhibited at the Gump's Gallery in San Francisco, The Panhandle Museum in Texas, the Ellen Noel Art Museum of the Permian Basin in Texas, the Harwood Museum of Art in Taos, and throughout the Southwest. He was also exhibited in Mexico at the Museo Nacional de Arte Moderno in Mexico City in 1964. Unframed; height: 60 1/4 in x width: 48 1/2 in. Framed; height: 61 in x width: 49 in. 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.
• ROBERT C. ELLIS "ELEVATION" OIL ON CANVAS
  ROBERT C. ELLIS "ELEVATION" OIL ON CANVAS PAINTINGRobert C. Ellis (American, 1923-1979). Oil on canvas painting titled "Elevation," depicting a minimalist abstract composition of a red circle and rectangles with a singular black circle overlapping them. The shapes are surrounded by a field of blue. Provenance: Distinguished Corporate Collection, Minnesota. Ellis began studying art at The University of New Mexico, Taos Summer Field School in 1942. After serving in WWII he returned to his study of art at the New School of Social Research in New York in 1949 where he studied with Adja Yunkers and Abraham Rattner. The following year he returned to The University of New Mexico and earned his BFA in 1950. After marrying Rosamaria Ramirez de Alba, a Mexican citizen, he would split his time between the American Southwest and Mexico before finally settling in Taos in 1965. His earlier works moved through the Cubist and Abstract Expressionist movements before reaching a more minimalist influenced style in his later years. His works were exhibited at the Gump's Gallery in San Francisco, The Panhandle Museum in Texas, the Ellen Noel Art Museum of the Permian Basin in Texas, the Harwood Museum of Art in Taos, and throughout the Southwest. He was also exhibited in Mexico at the Museo Nacional de Arte Moderno in Mexico City in 1964. Sight; height: 43 3/4 in x width: 23 1/2 in. Framed; height: 45 1/4 in x width: 25 in. 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.
• 1ST ED. "THE LIFE AND ADVENTURES OF
  1ST ED. "THE LIFE AND ADVENTURES OF DANIEL BOONEFeatured in this lot we have a Rare First Edition of "The Life And Adventures of Daniel Boone", by Timothy Flint, 1868, Arlington Edition, publisher Hurst & Co, New York. An early biography of the great Kentucky pioneer. "The Life And Adventures of Daniel Boone, The First Settler Of Kentucky, Interspered with Incidents in the Early Annals Of The Country New Edition" is a popular biography of Boone. This work appeared in some 14th editions, and did much to establish Boone as a frontier legend. Not surprisingly, there is a lot of exaggeration in the work, which is illustrated with several illustrations showing Boone, in a coonskin hat, shooting panthers, fighting bears, and exploring the wild frontier. In reality, Boone (1734-1820) did live a colorful life, even if he didn't shoot panthers off the backs of buffaloes. He was an Indian fighter, an explorer, and even fought in the French and Indian War. While Boone will forever be linked with the early settlement of Kentucky, he did live in West Virginia for ten years, and ended up settling in Missouri. This brown cloth bound stamped embossed illustrated hardcover is in fair to good overall condition, scuffing and tears to cover edges, binding loose with old tape repair observed. Intact pages exhibit extensive age tanning and foxing throughout, page edges brittle due to age, front 32 pages fore edge have indenting and small tear. No other obvious marring noted, Measures 5"W x 7.25"L x 1"D
• 1902 LIFE OF KIT CARSON BY CHARLES BURDETTFeatured
  1902 LIFE OF KIT CARSON BY CHARLES BURDETTFeatured in this lot is this 1902 edition of The Life of Kit Carson: The Great Western Hunter and Guide by Charles Burdett. The book chronicles the life and adventures of Christopher "Kit" Carson as one of the Old West's most famous hunter, guide and scout. Burdett portrays Carson as a classic American folk hero, describing his expeditions westward, his trade ventures, learning to fight from Native American Indians, and his settling in Indian cultures. Other notable topics include Carson's buffalo and bear hunting excursions, accounts of his involvement in John C. Fremont's expeditions, thrilling adventures and hair breadth escapes among the Indians and Mexicans, as well as his daring and invaluable services as a guide and scout. This green cloth bound hardcover is in good overall condition, very slight scuffing observed on cover edges, faded spine colour. Intact pages exhibit age tanning and foxing throughout. No other obvious marring noted. Measures 5.5"W x 8.25"L x 1.25"D
• LATCHEZAR BOYADJIEV - TORSO XII (DANCER)
  LATCHEZAR BOYADJIEV - TORSO XII (DANCER) IN LIGHT AMBER...Signed, , Cast glass, 22h x 13w x 4d. Latchezar Boyadjiev was born and raised in Sofia, Bulgaria, where he attended the Ceramics Department of the Academy of Applied Arts. In 1985 he was admitted to the prestigious Academy of Applied Arts in Prague, Czech Republic (formerly Czechoslovakia), under the guidance of Professor Stanislav Libensky, one of the most prominent glass artists of our time and influential source for most glass artists in the Czech Republic and Slovakia. In 1986, just after graduating from the Academy, Latchezar Boyadjiev defected to the United States via Italy. After settling in California, Boyadjiev worked for more than ten years in the field of optical glass, using cold work techniques such as cutting, grinding, polishing and laminating to create his optical glass sculptures that he became initially known for. Since there were limits to the size of his objects, he decided to change to a different technique to accomplish that goal. His drawing technique changed from pencil to charcoal, the glass technique from optical to cast glass. The Academy’s strict curriculum of daily drawing and design classes for five years had its intended effect on the young student. Today, the artist is saying, when he is working on new designs, he keeps drawing until something finally strikes him. New designs sometimes take him hours, days or weeks to complete. Once a drawing is satisfactory, a clay model is made. The next step is the actual sculpture rendered in clay with perfectly smooth surfaces and details. Next follows a series of positive and negative molds, a time consuming and detail oriented process that will lead to the final plaster positive that will determine the outcome of the sculpture. Initially those plaster positives were delivered to the Czech Republic by the artist in person, With the goal of selecting the best glass casting studios and glass color selections available. It also gave him the opportunity of working with some old friends from days past, to create his new glass sculptures that were cast into yet another mold, and later annealed, partially ground and polished. His new and exciting work was introduced at SOFA 1997 in Chicago and the response was very enthusiastic - dynamic sculptures reflecting depth and dimension, a new approach to contemporary glass art and design. Condition: Excellent
• (2) WILLIAM HOLBROOK BEARD (1824-1900)William
  (2) WILLIAM HOLBROOK BEARD (1824-1900)William Holbrook Beard (New York, Kansas, 1824 - 1900) Two exhibited oil on canvas paintings depicting two of the four seasons (Spring & Summer). Alexander Gallery label verso. Illustrated in the Alexander Gallery exhibition catalog (page 38). The "Winter" scene of the four seasons painted by Beard was sold at Sotheby's New York (5/23/07) for a price realized of $84,000 (see last image for reference). Housed in gilt/exhibition frames. Sight Sizes: 16 x 24 in. Overall Framed Sizes: 25 x 33 x 3 in. William Holbrook Beard was a 19th-century American painter, specialized in animals, landscapes, portraits. Pupil of his older brother, John Henry Beard. William Beard worked as an itinerant portrait painter before joining his brother in New York in 1845 then establishing his own studio in Buffalo, NY in 1850. He traveled in Europe from 1856-58 before settling in New York City in 1860. Beard gained enormous success during the 1860s, when narrative, mythological, and fairytale paintings became treasured escapes from the cruel realities of the Civil War. Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• MATHIAS JOSEPH ALTEN (GERMAN-AMERICAN,
  MATHIAS JOSEPH ALTEN (GERMAN-AMERICAN, 1871-1938)Mathias Joseph Alten German-American, 1871-1938 Valencia , 1912 Oil on board, signed, dated, and titled lower right Oxen and drivers with a boat in the Mediterranean surf, framed. Proclaimed a "Second Generation-Impressionist" by William H. Gerdts, preeminent authority on American regional painting, Alten's range and prolificity - having produced over 3,000 works in a wealth of subject and style - spoke of the nomadic German's drive for traditional success in an artistic world on the brink of evolution. Alten's education in the craft began at the acclaimed Académie Julian and at the Académie Colarossi - his first accolade a gold medal awarded by the school for the best figure drawing. As early as 1905, Alten was fielding invitations from museum exhibits, among these, the National Academy in New York, the Art Institute of Chicago, the Corcoran Gallery in Washington, D.C., the Pennsylvania Academy of the Fine Arts, and the Detroit Institute of Art. According to Gerdts, "By 1898 Alten appears to have felt the need for greater professional training and exposure…to more cosmopolitan experience in artistic craftsmanship and association." Alten spent the first years of the century conquering Europe by ship, train, carriage, and sometimes mule: Paris in 1899, then the Hague School of Dutch artists, then the Netherlandic realms of the Maris brothers, Jozef Israëls, Willem Roelofs, van Gogh, and Piet Mondriaan, before touring Spain in the pursuit of the influence of Joaquín Sorolla. An exhibit of Alten's sun-drenched canvasses from the 1920s was held at the Holt Galleries in New York City. The Literary Digest for October 12, 1929, featured the showing with an article and a reproduction of one of the Spanish marine scenes on its front cover. The esteem of his national recognition in tow, Alten never ceased to frequent noted art colonies such as Étaples, France; Old Lyme, Connecticut; Taos, New Mexico; Laguna Beach, California and Tarpon Springs, Florida, though never settling in colony nor school or style. Fastidiously retained was a freedom of subject and style, from still lifes to animals, portrait commission to southwestern scenes such as Valencia . Alten never succumbed to the encroaching Modernist fervor of his peers, and this conviction paid him handsomely, earning him gallery space alongside the likes of Childe Hassam, Edward Henry Potthast, Charles Russell, H.O. Tanner, Frederic Remington, Oscar E. Berninghaus, George Bellows, J.S. Sargent, E.L. Blumenschein, Thomas Eakins, William Merritt Chase, and William Wendt. Sight: 11.1 x 15 1/4 in. (28.2 x 38.7 cm.), frame: 15 1/2 x 19 3/4 in. (39.4 x 50.2 cm.) Condition: Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
• § SIR TERRY FROST R.A. (BRITISH 1915-2003) GREY,
  § SIR TERRY FROST R.A. (BRITISH 1915-2003) GREY, BLACK AND WHITE, CIRCA 1950 signed and inscribed 'Grey, Black, White' (to reverse), oil on board, with painting of a nude to reverse of canvas60cm x 22cm (23.6in x 8.5in)Exhibited: Royal West of England Academy, Bristol, StIves: Movements in Art and Life, 14 March to 19 September 2020.Literature: Published with title 'Walk Along the Quay, 1948 (first edition)' Tate Gallery (1985), St Ives 1939-64: Twenty Five Years of Painting, Sculpture and Pottery, Tate Gallery Productions, London, p. 30;Published with title 'Walk Along the Quay (black, white and grey), 1948) Lewis, David ed. (2000), The Incomplete Circle: Eric Atkinson, art and education, Scolar Press, London, p.44.Terry Frost arrived in Cornwall in 1946, staying in a caravan at Cabris Bay and then a house on Quay Street, St. Ives, before returning to London and the Camberwell School of Arts and Crafts in 1947. He re-visited Cornwall over the next few summers before settling in St Ives in 1950. Barbara Hepworth gave him a job as her assistant at this point, alongside fellow artists Denis Mitchell and John Wells, offering him a steady income and structured working week. It was around this period that Frost began his series of paintings of the quayside. David Lewis, art historian and Barns-Graham’s husband, commented:These “paintings were definitely beginnings for Frost. Boat shapes, masts, riggings, water, sky, rippling, all became free compositional elements of mass, lie, colour, texture and movement rocking to and fro ... because the boats are never still, never static, and so you’ve got this terrific sort of up and down motion, this leaning over that.” When Ben Nicholson first saw works from this series, he exclaimed ‘you’ve got on to something that can last you for the rest of your life’ and it remains true that these shapes were to recur in Frost’s work throughout his career, even as his choice of colour grew bolder and compositions more abstract.Grey, Black and White feels completely abstract at first glance but with further consideration, the overlapping elements emerge to reveal a quayside scene. Frost remains preoccupied with form and texture, restricting his colour palette to focus on depth and volume. The resulting composition is quintessentially mid-century and St. Ives, as well as a microcosm of Frost’s wider artistic considerations of the period.
• HARRY JACKSON, (AMERICAN, 1924-2011),
  HARRY JACKSON, (AMERICAN, 1924-2011), SACAGAWEA, BRONZE, HEIGHT: 27 IN.HARRY JACKSON, (American, 1924-2011) Sacagawea, bronze inscribed and dated Harry Jackson 1977; WFS Italy foundry marks; inscribed "first working model for a monument" height: 27 in. Provenance: The Collection of a Massachusetts Lady. Other Notes: Raised in Chicago by a single mother, Harry Jackson ran away from home at the age of 14 and headed West. From an early age, he was inspired by the cowboy culture of the West, returning to the trope throughout his artistic career. He was a sketch artist for the Marines during World War II, and, after being wounded in the Battle of Tarawa, convalesced in Los Angeles, where he was exposed to the works of Abstract Expressionists such as Jackson Pollock for the first time. Jackson was immediately drawn to these works, and moved to New York, studying under Rufino Tamayo and Hans Hoffman while befriending Pollock, de Kooning, and others. He exhibited at Tibor de Nagy in the early 1950s and was lauded by Clement Greenberg and others as one to watch within the second generation of abstract expressionists. However, it was not long before Jackson turned away from abstract expressionism, traveling to Italy in 1954, exploring portraiture and history painting, and ultimately leaving the New York scene behind. He developed an interest in the lost wax method of bronze making and polychromed bronze, and today is perhaps best known for these bronze works. Ultimately, he found his way back West, settling in Cody, Wyoming, where he was commissioned to create a number of important bronze sculptures throughout his career, including the 114 inch Sacagawea monument for which lots 146 and 149 are models. Condition:
• HARRY JACKSON, (AMERICAN, 1924-2011),
  HARRY JACKSON, (AMERICAN, 1924-2011), THE FOREMAN, POLYCHROME BRONZE, HEIGHT: 21 IN.HARRY JACKSON, (American, 1924-2011) The Foreman, polychrome bronze inscribed Harry Jackson 1974, signed (c) Harry Jackson 81; numbered FO 20 P height: 21 in. Provenance: The Collection of a Massachusetts Lady. Other Notes: Raised in Chicago by a single mother, Harry Jackson ran away from home at the age of 14 and headed West. From an early age, he was inspired by the cowboy culture of the West, returning to the trope throughout his artistic career. He was a sketch artist for the Marines during World War II, and, after being wounded in the Battle of Tarawa, convalesced in Los Angeles, where he was exposed to the works of Abstract Expressionists such as Jackson Pollock for the first time. Jackson was immediately drawn to these works, and moved to New York, studying under Rufino Tamayo and Hans Hoffman while befriending Pollock, de Kooning, and others. He exhibited at Tibor de Nagy in the early 1950s and was lauded by Clement Greenberg and others as one to watch within the second generation of abstract expressionists. However, it was not long before Jackson turned away from abstract expressionism, traveling to Italy in 1954, exploring portraiture and history painting, and ultimately leaving the New York scene behind. He developed an interest in the lost wax method of bronze making and polychromed bronze, and today is perhaps best known for these bronze works. Ultimately, he found his way back West, settling in Cody, Wyoming, where he was commissioned to create a number of important bronze sculptures throughout his career, including the 114 inch Sacagawea monument for which lots 146 and 149 are models. Condition: