A few examples of appraisal values for
THE CHALLENGE

• FIORE DE HENRIQUEZ ABSTRACT
  FIORE DE HENRIQUEZ ABSTRACT EXPRESSIONIST BRONZEFiore De Henriquez (1921 - 2004) (Mid to 20th Century.)The square base supports a globular pinnacle balancing an abstract composition of blade-like lobes, wings, on opposite sides of an abstracted opening or passageway. The sculpture in rich brown patina is signed Fiore in the casting, top of the base. Willem de Kooning produced similar bronze castings in this same period.The circumstances of her childhood, the difficulties of being born an intersexed person and the larger than life persona of sculptor Fiore de Henriquez have inspired more than a few books, articles and documentaries about her life and art. The titles include Art & Androgyny: The Life of Sculptor Fiore De Henriquez, Fiore In Love With Clay, Cigars Get Feminine Puff and All Woman and Half a Man to name a few. She eventually conquered and embraced the challenges of having been born with both male and female sexual characteristics, and ultimately considered it an opportunity, seeing herself as a rare and unusual individual.As a young woman in facist Italy, she helped evacuate Jewish refugees to safety and claims she escaped an interrogation through the washroom window after fixing her interrogators pancakes. She left Italy in 1949 and in 1953 became a British citizen. Fiore would return to work and exhibit in Rome and later lived in Tuscany until her passing. Throughout her life, and around the world, she received numerous commissions for public installations while she sculpted the likenesses of thousands of people, including celebrities and dignitaries as well as friends and relatives - some who describe her as having a cigar in one hand and whisky in the other during their sitting.It can be said that her abstract expressionist sculptures speak to the challenges she faced. Some seem to portray concealment while others can be seen as expressions of freedom (like the airy winged composition here). Some as themes of struggling with acceptance and others the release of not doing so. There are interpretations of solitude and loneliness or paired heads and conjoined figures, expressions of duality. In her essay on the artist's life, author Jan Short provides poignant insight including the artist's own words, ''The moment I embrace a piece of clay to make a sculpture, I think of how it's going to grow,'' Fiore said. ''Clay is very soft and pliable, so feminine: la creta. It then becomes plaster, more virile and rigid: gesso, that I can carve with a knife. Later it becomes feminine again as la cera, wax, pliable again, with fire this time. Then il bronzo, again masculine, hard. From feminine to masculine, over and again.'' The more one learns about the life and times of Fiore De Henriquez, the more fascinating her works become.Measures 15.5 x 21 x 9 inches and weighs 72 pounds.Very good condition throughout, no damage, repair or wear.
• FIORE DE HENRIQUEZ (1921-2004)
  FIORE DE HENRIQUEZ (1921-2004) EXPRESSIONIST BRONZEFiore De Henriquez (1921 - 2004)Entangled Figures (Mid 20th Century.)The masculine figure arches its back above a mostly obscured counterpart, their arms and legs entangled, the lower's shoulders lifted from the square bronze base, all in rich brown patina and with intaglio signature of Fiore. Willem de Kooning produced similar bronze castings in this same period.The circumstances of her childhood, the difficulties of being born an intersexed person and the larger than life persona of sculptor Fiore de Henriquez have inspired more than a few books, articles and documentaries about her life and art. The titles include Art & Androgyny: The Life of Sculptor Fiore De Henriquez, Fiore In Love With Clay, Cigars Get Feminine Puff and All Woman and Half a Man to name a few. She eventually conquered and embraced the challenges of having been born with both male and female sexual characteristics, and ultimately considered it an opportunity, seeing herself as a rare and unusual individual.As a young woman in facist Italy, she helped evacuate Jewish refugees to safety and claims she escaped an interrogation through the washroom window after fixing her interrogators pancakes. She left Italy in 1949 and in 1953 became a British citizen. Fiore would return to work and exhibit in Rome and later lived in Tuscany until her passing. Throughout her life, and around the world, she received numerous commissions for public installations while she sculpted the likenesses of thousands of people, including celebrities and dignitaries as well as friends and relatives - some who describe her as having a cigar in one hand and whisky in the other during their sitting.It can be said that her abstract expressionist sculptures speak to the challenges she faced. Some seem to portray concealment while others can be seen as expressions of freedom. Some as themes of struggling with acceptance and others the release of not doing so. There are interpretations of solitude and loneliness or paired heads and conjoined figures, expressions of duality. In her essay on the artist's life, author Jan Short provides poignant insight including the artist's own words, ''The moment I embrace a piece of clay to make a sculpture, I think of how it's going to grow,'' Fiore said. ''Clay is very soft and pliable, so feminine: la creta. It then becomes plaster, more virile and rigid: gesso, that I can carve with a knife. Later it becomes feminine again as la cera, wax, pliable again, with fire this time. Then il bronzo, again masculine, hard. From feminine to masculine, over and again.'' The more one learns about the life and times of Fiore De Henriquez, the more fascinating her works become.Measures 11.5 x 14.5 x 11.75 inches.Very good condition throughout, no damage, repair or heavy wear.
• FIORE DE HENRIQUEZ (1921-2004)
  FIORE DE HENRIQUEZ (1921-2004) EXPRESSIONIST BRONZEFiore De Henriquez (Italian/british 1921 - 2004)Reclined Figure on Plinth (Third quarter of the 20th century.)The composition of an abstracted figure on its back cradling abstracted flowers within its arms and bent legs is signed in the casting back side along the lower edge. Willem de Kooning produced similar bronze castings in this same period.The circumstances of her childhood, the difficulties of being born an intersexed person and the larger than life persona of sculptor Fiore de Henriquez have inspired more than a few books, articles and documentaries about her life and art. The titles include Art & Androgyny: The Life of Sculptor Fiore De Henriquez, FioreIn Love With Clay, Cigars Get Feminine Puff and'All Woman and Half a Man' to name a few.She eventually conquered and embraced the challenges of having been born with both male and female sexual characteristics, and ultimately considered it an opportunity, seeing herself as a rare and unusual individual.As a young woman in facist Italy, she helped evacuate Jewish refugees to safety and claims she escaped an interrogation through the washroom window after fixing her interrogators pancakes. She left Italy in 1949 and in 1953 became a British citizen. Fiore returned to work and exhibit in Rome and later lived in Tuscany until her passing. Throughout her life, and around the world, she received numerous commissions for public installations while she sculpted the likenesses of thousands of people, including celebrities and dignitaries as well as friends and relatives - some who describe her as having a cigar in one hand and whisky in the other during their sitting.It can be said that her abstract expressionist sculptures speak to the challenges she faced. Some seem to portray concealment while others can be seen as expressions of freedom. Some as themes of struggling with acceptance and others the release of not doing so. There are interpretations of solitude and loneliness (like the sculpture being offered here) or paired heads and conjoined figures, expressions of duality. In her essay on the artist's life, author Jan Short provides poignant insight including the artist's own words, ''The moment I embrace a piece of clay to make a sculpture, I think of how it's going to grow,'' Fiore said. ''Clay is very soft and pliable, so feminine: la creta. It then becomes plaster, more virile and rigid: gesso, that I can carve with a knife. Later it becomes feminine again as la cera, wax, pliable again, with fire this time. Then il bronzo, again masculine, hard. From feminine to masculine, over and again.'' The more one learns about the life and times of Fiore De Henriquez, the more fascinating her works become.Measures 10.75 x 12 x 6.75 inches.Very good condition throughout, no damage, repair or wear.
• THE CHALLENGE STAMP ALBUM FOR
  THE CHALLENGE STAMP ALBUM FOR BRITISH AND FOREIGN POSTAGE STAMPS, TWO VOLUMESBound in leather; published by G.F. Rapkin, London. 12 3/4 in. high. Condition Wear. One with a cover detached. Some stamps loose, tears to covers, some tears, stains and fading to pages.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• Two Signed Wilfred Grenfell
  Two Signed Wilfred Grenfell Pamphlets WHAT CAN JESUS CHRIST DO WITH ME, 1912 AND THE CHALLENGE OF LABRADOR, 1928 each with author's signature in quill on the cover larger 8.75 x 5.7 in — 22.2 x 14.5 cm
• MARTIN BORENSTEIN, SOFA AND
  MARTIN BORENSTEIN, SOFA AND COFFEE TABLE Martin Borenstein, Sofa and Coffee Table Croyden Furniture Inc., USA, designed in 1952, from the Challenge series, walnut, chrome-plated steel, upholstery, sofa: 27"h x 170"w x 31.5"d Time: June 2023 Place: CLARS AUCTION GALLERY, Oakland, CA, USA Sold for: $2,250.00 Imported successfully Replaced successfully Error: unknown error
• CHILMARK MICHAEL BOYETT PEWTER
  CHILMARK MICHAEL BOYETT PEWTER SCULPTURE, THE CHALLENGE...Limited Edition 119 of 500. Pewter sculpture mounted on wood base. Features Native American warrior. Titled and numbered on base. Artist: Michael A. Boyett Issued: 1988 Dimensions: 8.5"H x 7.5"W Manufacturer: Chilmark Country of Origin: United States
• WAYNE BAIZE (AMERICAN B. 1943) A
  WAYNE BAIZE (AMERICAN B. 1943) A PAINTING, "IN ON A LIN...WAYNE BAIZE (American b. 1943) A PAINTING, "In on a Line," 1990, oil on canvas, signed and copyright dated L/R "WAYNE BAIZE / © 1990;" 15 3/4" x 19 3/4", framed with engraved brass plaque, 26 1/4" x 30 1/4". Note: Wayne Baize grew up in ranch country near Stamford, Texas and continues to live on a working ranch near Ft. Davis. He was elected to the Cowboy Artists of America in 1995 and has served as its president. Baize's art focuses on the real working life of cowboys and ranchers. "Horses and cattle have played a big part in my life and the men who handle them correctly have my admiration... The challenge is not to draw a man on a horse, but to draw a cowboy on a cow horse getting the job done." Condition: There are no visible signs of damage or alteration. 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."
• WESTERN BOOK COLLECTION 1907-1950
  WESTERN BOOK COLLECTION 1907-1950 (4)For your consideration are four Western books from various authors circa 1907-1950. The authors in this collection are The Pioneers of the Tobacco Plains Country, B.M. Bower (2) and John A. Lomax. The first book is, "The Lure of the Dim Trails" by B.M. Bower published by Grosset & Dunlap and copy-righted by G.W. Dillingham Co. in 1907. The book is about Anthony Bard, a young man from the East who gets caught up in the rough-and-tumble American West in the early 20th century. Successful New York businessman Anthony Bard makes the decision to set out on an adventure and look for solace in the wide-open spaces of the West. He is drawn to the wild frontier by its allure of romance and freedom. But when he gets lost in a blizzard in Montana's Big Horn Mountains, his journey takes an unexpected turn. After being saved by some cowboys from the Diamond H Ranch, Bard slowly gets used to their hard life and discovers a hidden talent for riding and roping. The second book in this collection is "Cowboy Songs and Other Frontier Ballads" collected by John A. Lomax, published by The Macmillan Company in 1934 and copy-righted by Sturgis & Walton Company. The book is a collection of frontier songs with lyrics and sheet music. The third book in this collection is "Good Indian" by B.M. Bower, published by Grosset & Dunlap and copy-righted by Little, Brown & Company in 1912. The book is set in the American West and centers around a young Native American man named Good Indian. He resides on a reservation and is a member of the Piute tribe. As he negotiates the conflicts between his Native American heritage and the influence of the white settlers in the area, the novel delves into the complexities of his character. The story revolves around Good Indian's romantic relationship with Glory, a young woman with mixed Native American and white ancestry. Due to their dissimilar backgrounds and societal prejudices, their relationship encounters resistance and difficulties. A significant portion of the story revolves around Good Indian's struggle with his identity as he is torn between his Native American roots and contemporary expectations. The fourth and final book in this collection is "The Story of the Tobacco Plains Country" by The Pioneers of the Tobacco Plains Country, published by Olga Weydemeyer Johnson in 1950. The book is about the unique stories, experiences, and contributions of the people who have lived and shaped the region over time. It provides insights into the challenges, triumphs, and everyday life of the pioneers and inhabitants of the Tobacco Plains area. All books in this collection show good condition with some slight wear to each, but no obvious signs of damage are noted. The books measure 91/4" L x 6 3/8" W x 11/16" D to 7 5/8" L x 5 1/8" W x 1 1/2" D.
• STEVE FERGUSON (B. 1946) ANTONOV
  STEVE FERGUSON (B. 1946) ANTONOV AN-225 "MRIYA"Steve Ferguson (American, B. 1946) "Antonov AN-225 "Mriya"" Signed lower left. Original Watercolor painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Powered Flight Commemorative Cover for "Centennial of Aviation" issued 2003. Oleg Antonov's design bureau became a fertile source for Soviet air transports. The An-225 is built on the solid basis of the huge Antonov An-125, a four engine jet giant that weighs more than 800,000 pounds on take-off. But the Soviet space shuttle program required an even larger aircraft to carry the Buran shuttle orbiter, much as a modified Boeing 747 is used to carry the American space shuttle. Antonov met the challenge with the An-225, which has six huge Lotarev D-18T turbofans boasting 51,590 pounds of thrust each. The aircraft, which spans 290 feet, has a maximum gross take-off weight of more than 1,300,000 pounds. Despite its huge size, the An-225 is capable of a top speed of 540 mph, although it cruises at about 480. Wingspan: 290 feet Length: 275 feet 7 in Maximum Speed: 540 mph Engine: Six Lotarev D-18T turbofans of 51,590 pounds of thrust Image Size: 16.25 x 14 in. Overall Size: 20 x 15 in. Unframed. (B17081) 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.
• 20TH C. RUSSIAN ICON - LIFE OF
  20TH C. RUSSIAN ICON - LIFE OF PROPHET ELIJAHEastern Europe, Russia, ca. 20th century CE. Finely rendered in egg tempera and gesso on wood, a breathtaking icon showing scenes from the life of the Prophet Elijah. Delineated in vibrant hues, the icon shows the prophet 4 times. At the center, he is sitting in a desert cave after predicting a famine as a crow approaches to feed him. In the lower left corner, Elijah is shown when an angel appeared to him, after he won the challenge against the priests of Baal in the king's court and fled to the desert once again. He appears a third time in the lower right corner, in a scene from his departure when he splits the waters of the Jordan River for him and his disciple Elisha (Eliseus) to cross on dry land. Finally, the prophet is depicted during his ascension in the upper right corner, where he rides a chariot and horses of fire to join God - who is seen in the upper left corner - in heaven, while Elisha watches from below, catching Elijah's mantle as it falls to the ground. Size: 9.2" W x 12" H (23.4 cm x 30.5 cm) In Russia, according to scholar Alfredo Tradigo, Elijah replaced Perun, the Slavic deity of thunder, who also rode into heaven on a chariot of fire drawn by otherworldly horses. During the reign of King Ahab and Queen Jezebel, in the decade between 860 and 850 BCE, Elijah told his prophesies. Following his prediction of a famine, Elijah took refuge in a desert cave. There, a crow fed him, by order of the Lord, bread in the morning (visible in the bird's talons) and meat at night. He then returned to the king's court and won a challenge putting 400 priests of Baal to the sword. Following this, he fled to the desert and prayed for death. However, an angel appeared and brought him food. The bread he ate strengthened him (Church Fathers interpreted this as a prefiguration of the Eucharist) and he walked for forty days until reaching Horeb, god's mountain. Here, he miraculously found God, "not in the wind or the earthquake or the fire, but in a 'small voice.'" (Alfredo Tradigo, "Icons and Saints of the Eastern Orthodox Church," J. Paul Getty Museum, Los Angeles, 2006, p. 81.) Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Icons are not worshipped but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven." Icons were some of the first religious artworks brought to Russia from Byzantium. These sacred pictures reached a high point in the Byzantine era, however, the Russians brought their own style to the art of the icon. Icons were initially created for use in churches and processions. In time they became smaller and were used increasingly within households. To this day they remain an important form of visual culture in Russia's orthodox religious community. Provenance: private New Jersey, USA collection 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. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169039 Condition: Vertical break line down center of front and verso with restoration and repainting on front and infill on verso. Possible other areas of repainting. Otherwise, excellent with nice pigment and great craquelure. Side slats on top and bottom to protect wood from warping.
• MOSE ERNEST TOLLIVER, (AMERICAN,
  MOSE ERNEST TOLLIVER, (AMERICAN, 1924-2006), TWO PORTRAITS, MARTHA AND GEORGE WASHINGTON, OIL ON BOARDMOSE ERNEST TOLLIVER (American, 1924-2006) Two Portraits, Martha and George Washington oil on board Martha Washington, signed Mose T lower right 24 x 12 in. George Washington, signed Mose T lower right 24 x 15 5/8 in. oil on board Provenance: George Washington: Purchased from the artist by his friend Mary Allen, 1999. Accompanied by a notarized letter from Ms. Allen attesting to this purchase as well as a photograph of the artist with the work. During the later years of his life, Mose Tolliver's children assisted him in his work, and it is possible that one of his children helped produce this painting. Martha Washington: Ms. Laurice Culp; Southern Visionary Art, Pensacola, FL, inventory number 53; Private Collection. Accompanied by a letter of provenance and authenticity from Anne Bullard, owner of Southern Visionary Art. Culp is said to have traded one or two pianos for Mose's church in exchange for a collection of his paintings. During the Black Lives Matter protests in Boston this June, our gallery door was spray painted with the message "#BLM DO BETTER, ART WORLD!" With the consignment of thirteen works by Black artists to The Fall Auction, we have identified an opportunity to do so. Grogan & Company will contribute 5% of our proceeds from the sale of lots 16 through 28 to Boston's Artists For Humanity. Our donation will provide support to the next generation of BIPOC artists, and is meant to encourage others in the art world to take the challenge to "Do Better." Artists For Humanity (AFH) provides under-resourced teens the keys to self-sufficiency through paid employment in art and design. Visit Artists For Humanity's website to learn more. Condition: Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.