A few examples of appraisal values for
UNIVERSITY OF ILLINOIS

• A Porcelain Shaving Mug Commemorating
  A Porcelain Shaving Mug Commemorating United States Air Service in World War I Early 20th Century depicting a pilot flying a biplane, with the name C.M. Berman and U'S' Air Service 1918-1919 in gilt lettering against a fuschia wrap. underside marked J&C Bavaria. Height 3 3/4 inches. It's likely that this mug was made for Brigadier General Morris Berman. Born in New York in 1891, Morris began his military career in 1912 and rose consistently through the ranks until his death in 1945. In 1918, he was completed courses at the School of Military Aeronautics at both the Georgia School of Technology and the University of Illinois, and studied at the Air Service School for Radio Operators at the University of Texas. In 1919, he joined the office of the Air Service Department and became Assistant Corps Area Air Officer the next year. He served in the U.S. Air Service, Air Corps and Strategic Air Forces in various capacities for the rest of his career. Property from the Collection of James Carpenter, Montague, New Jersey
• RAPHAEL SOYER (1899-1987): GIRL IN BROWN
  RAPHAEL SOYER (1899-1987): GIRL IN BROWN JACKETOil on canvas, c.1938, signed 'Raphael Soyer' upper right, with label from ACA Galleries, NY, University of Illinois Exhibition of Contemporary Painting and the Baltimore Museum of Art. 36 x 26 in., 46 x 36 in. (frame). Exhibited: Farleigh Dickinson University, Masters on View, Spring 1969. The Collection of Dr. Daniel and Myrna Clyman Condition Some craquelure at top. Otherwise in good condition.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.
• LOUIS BOSA (AMERICAN, 1905-1981) NEW
  LOUIS BOSA (AMERICAN, 1905-1981) NEW YORK CITY STREET S...Louis Bosa (American, 1905-1981) New York City Street Scenes, 1930 oil on board one signed and dated 1930 lower right 9 in. h. x 7 in. w., each 12 1/2 in. h. x 10 1/4 in. w., with identical frames New York City, possibly 3rd Avenue Born in Codroipo, a small village only a few miles from Venice, Italy in 1905, the son of a stonemason. Bosa emigrated to the U.S. at age 18 after studies at the Accademia della Belle Arti in Venice and became an American citizen. He then studied under John Sloan, of the Ashcan School, at the Art Students League in New York. A distinguished painter, Louis Bosa's work has been likened to that of artists ranging from Pieter Breughel the Elder to John Sloan and the Ashcan School. Being an acute observer of the human condition, Bosa's paintings, which are primarily oil on canvas, often focus on people and street scenes from his native Italy. Bosa was known to have followed his subjects around, making many sketches and mental notes, and combined his observations in the final work to create visionary, fantastical images. The subjects of his paintings are highly stylized and expressionistic, and border on caricature. "People are so funny at times they are sad," he said: The people in his paintings are accessible and seem to portray human emotion and everyday life, conquering such concepts as mortality, humility and sometimes futility. His work often reveals comedy in the midst of tragedy. Many of his paintings include whimsical images of nuns riding bicycles and similar authority figures engaged in mundane activities. He traveled extensively through Europe and often returned to his native Italy. Bosa painted for the Works Progress Administration and the Whitney Museum. He taught at the Cleveland Institute of Art, the New York Art Students League, the Parsons School of Design, Syracuse University, and the University of Notre Dame at South Bend, Indiana. His paintings and watercolors are on display at many well-known art studios and museums across the United States such as: The Metropolitan Museum of Art - New York The Whitney Museum - New York The Philadelphia Museum - Pennsylvania The Worcester Museum - Massachusetts The Springfield Museum - Massachusetts The Toronto Art Museum - Canada Notre Dame University Museum The Butler Museum - Ohio The Columbus Museum of Arts and Crafts - Ohio The University of Illinois - Illinois The Montclair Museum - New Jersey The James A. Michener Art Museum - Doylestown, Pennsylvania The Clearwater Museum - Florida The Wilmington Museum - Delaware The Athenian Museum - Connecticut The Herron Art Institute - Indiana The Rochester Museum - New York The Delgado Museum - New Orleans The Richmond Art Museum - Virginia The Academy of Arts and Letters The Hosanna Fund The Encyclopedia Britannica Collections International Business Machines The Syracuse Museum - New York
• LEROY NEIMAN "MUHAMMAD ALI - ATHLETE
  LEROY NEIMAN "MUHAMMAD ALI - ATHLETE OF THE CENTURY" SE...DESCRIPTION: Limited edition LeRoy Neiman (American, 1921-2012) serigraph "Muhammad Ali - Athlete of the Century". Serigraph on one hundred percent cotton paper acid free archival quality Arches paper imported from France. The paper bears LeRoy Neiman's signature watermark. Signed and Numbered 48/850. Personally signed by artist LeRoy Neiman (Lower right) and Muhammad Ali ( Lower left). Includes Certificate of Authenticity. LeRoy Neiman American Artist: b. 1921-2012. For the last 50 years, LeRoy Neiman has been the world's most recognized popular artist. He created a vibrant energetic style that set his art apart from all others. His works encompass sports, entertainment, travel, and adventure. His was a life well lived, and he made us a part of his extraordinary journey, seeing and doing things we could only dream of. His vision has captured moments in time that can never be forgotten. The art of Leroy Neiman is unique without any real comparison. He has broken the barriers of many of the most hallowed assumptions of modern art history and contemporary criticism and his art is loved by millions of people throughout America and around the world. Leroy Neiman was born in St. Paul, Minnesota, and studied at the Art Institute of Chicago, Depaul University, and the University of Illinois. Neiman taught at the Art Institute of Chicago's school for ten years. Neiman moved to New York City in 1963 when he had his first one-man show at the Hammer Gallery. For the next 49 years Neiman continued to portray the people and events of the world he knew best, or which intrigued him most. His best-known works are sports scenes, a reflection, he believed, of the fact that sports are universally a dominant force. LeRoy Neiman was the official artist for ABC-TV at the Olympic Games in 1972 and 1976, and at the Winter Olympics of 1980. Neiman's work has been exhibited in galleries and museums throughout the world, including the Smithsonian Institution in Washington, D.C., and the Hermitage in Leningrad. Before his recent passing he endowed Columbia University with a school for fine art printmaking. Leroy Neiman passed away on June 20th 2012 CIRCA: 20th Century. ORIGIN: USA. DIMENSIONS: H: 50" W: 34". CONDITION: Good 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.
• JON M. WOLFE GLASS SCULPTUREJon M. Wolfe
  JON M. WOLFE GLASS SCULPTUREJon M. Wolfe (American, b. 1955) Contemporary glass multi-color sculpture, signed and dated 1995. 14-1/2" H x 10" W x 12-1/2" D. (Biography: courtesy Smithsonian American Art Museum): Jon Wolfe has been working with glass since the early 1980s. He received both his bachelor's and master of fine arts from the University of Illinois and studied at the Pilchuck Glass School in Washington State. He is currently director of the Hot Glass Studio at Kokomo Opalescent Glass in Indiana, the oldest producer of art glass in the country. Wolfe creates both functional and sculptural pieces, stating that his work "draws on the dialogue of basic design elements that provide a canvas for active surface treatment." Provenance: Property of the estate of Arlene Goldstine, Knoxville, TN. Condition: Very good condition.
• JOSE CHARDIET TABLE SCULPTURE "TOTEM"
  JOSE CHARDIET TABLE SCULPTURE "TOTEM" 1990Jose Chardiet table sculpture "Totem" 1990. Blown, cast and painted glass in colors of blue, purple, gold and clear to white. Signed, titled and dated on base of vase. 24 1/2" H x 12" W x 8-1/2" D overall measurements. Purchased at Wexler Gallery, Philadelphia, PA. Biography (courtesy Holsten Galleries, Santa Fe, NM): Cuban-born Jose Chardiet received his MFA from Kent State University, where he was the Artist in Residence in 1985. He has taught at Pilchuck Glass School, Penland School of Crafts, and the Haystack School of Crafts, and served as Professor of Glass and Sculpture at the University of Illinois Urbana-Champaign. He has received fellowships from the Institute of International Education, the Ohio Arts Council, and the Creative Glass Center of America. Joseís work can be seen in private and public collections, including those of the Renwick Gallery of the Smithsonian Art Museum, the American Craft Museum in New York, the Corning Museum of Glass, the Yokohama Museum of Art in Japan, and the Musee des Arts Decoratif in Lausanne, Switzerland. Provenance: Property of the estate of Arlene Goldstine, Knoxville, TN. Condition: Very good condition.
• FERNANDO ZOBEL ABSTRACT OIL ON CANVASFernando
  FERNANDO ZOBEL ABSTRACT OIL ON CANVASFernando Zobel de Ayala y Montojo (Spanish/Filipino, 1924-1984), "Plaza de Pilatos I," oil on canvas abstract painting, with artist signature "Zobel" and Spanish inscription lower right. English translation: "Afternoon light in the face of Pilate (Casa de Pilatos) from the window of my study, seen through the square, Seville, 31 of December 1972". Additionally signed, titled, and dated en verso. Housed in molded, silvered and gilt wood frame. Sight - 31 1/8" H x 38 3/4" W. Framed - 33 1/2" H x 41 1/8" W. Biography: Manila-born, Harvard-educated artist Fernando Zobel de Ayala y Montojo was not only a painter but also an important patron of the arts, collector, teacher, photographer, and writer. As an artist, Zobel is best known for abstractions that reflect the dual influences of Abstract Expressionism (particularly the works of Mark Rothko ), and Japanese and Chinese painting and calligraphy. Zobel was extremely active in the Manila art scene in the late 1950's. He served as the President of the Philippine Art Association, and because of Zobel's urging and vision, in 1967 the Ayala Foundation established the Ayala Museum, which focuses on Philippine art and culture. Zobel won several international art prizes, and his work is in the collections of museums including the Ayala Museum and National Museum of the Phillipines; Biblioteca Nacional, Madrid; the Museo de Arte Abstracto, Spain; The British Museum in London; and the Museum of Fine Arts, Boston. (Case wishes to thank John Seed, Professor of Art at Mt. San Jacinto College, for the use of his biographical information on Zobel for this catalog entry). Provenance: From the estate of Robert L. Zarbock, Escondido, California. After graduating from the University of Illinois School of Music, Zarbock became a producer of symphonic operatic music at RCA Recordís Victor label for many years. Upon retirement, he settled in California, where he served on the San Diego Opera Guild and the California Center for Arts. Proceeds to benefit Zarbockís alma mater, the University of Illinois. (Note: see also two drawings by Zobel in this auction). (Higher-resolution photos are available at www.caseantiques.com) Condition: Overall very good condition. Some slackness in lower right quadrant (needs restretching) and upper left quadrant, scattered very light craquelure, a few scattered minor accretions, scattered minor abrasions to exterior edges of frame.
• LEROY NEIMAN SERIGRAPH, INTERNATIONAL
  LEROY NEIMAN SERIGRAPH, INTERNATIONAL GOLF FOURSOMELeRoy Neiman (American, 1921-2012) serigraph, 1985, titled "International Foursome", depicting Greg Norman, Nick Faldo, Steve Ballesteros, and Gerhard Langer playing golf in Rio with Great Gavia Rock in the background. Signed in pencil "LeRoy Neiman" below image lower right, and numbered in pencil "448/600" below image lower left. Housed and canvas matted under glass in a giltwood frame with gilt sight edge. Image: 37 3/4" H x 31" W. Sight: 40" H x 32 7/8" W. Frame: 53 1/4" H x 45 3/4" W. Biography: LeRoy Neiman was born in St. Paul, Minnesota and attended the Art Institute of Chicago (where he later taught for ten years), De Paul University, and the University of Illinois. He was greatly influenced by the French Impressionism movement and the chronicling of their interpretation of public life. Nieman's body of work celebrated sports competitions and other public gatherings. He served as the official artist at multiple Olympics and Superbowls along with many other major events. Neiman's work has been exhibited in the Smithsonian Institution, the Hermitage in Leningrad, and many others. (source: Askart) Condition: Overall very good condition with minute toning to margins of paper. Not examined outside of frame.
• 2 AMERICAN SCHOOL WESTERN LANDSCAPE
  2 AMERICAN SCHOOL WESTERN LANDSCAPE PAINTINGS, NILE BEH...Two (2) American School Western landscape paintings. 1st item: Nile Jurgen Behncke (Wisconsin, 1894-1954) watercolor landscape painting depicting a mesa whose right side is bathed in sunlight having shaded hills leading to a lake's edge in the mid-ground, sparsely leaved trees on the opposite bank in the foreground, and distant mountains in the background all beneath a cloud-filled blue sky. Signed "Nile Behncke" lower left. Housed and matted under glass in a wooden frame. Sight: 16 5/8" H x 21 3/4" W. Framed: 27 1/4" H x 31 3/4" W. 2nd item: E. Todd Wheeler (Illinois, 1906-1987) oil on canvas monochromatic landscape painting, titled "Grand Canyon", depicting the serpentine chasm flanked by blue mountains under a clear sky. Signed "E. T. W." lower right. Inscription with title, artist name, and date "1933" along with Mag. Associates sticker label, en verso. Housed in a modern giltwood frame. Sight: 15 3/8" H x 18 1/2" H. Framed: 18 5/8" H x 21 3/4" W. Note: E. Todd Wheeler was a prominent Chicago architect specializing in the design of hospitals and medical schools and a graduate of the University of Illinois. Between 1932-1933, due to the lack of work during the Depression, Wheeler served as a companion and painting pupil to his grandfather-in-law, Dwight H. Perkins, a preeminent Chicago architect of the era. The two, along with a few others, traveled to California for three months of landscape painting, including camping in Death Valley for three weeks. Wheeler served as the associate architect for his alma mater from 1942-1944. He was also the acting state architect from 1951-1952. (source: "Interview with E. Todd Wheeler", interviewed by Betty J. Blum for the Chicago Architects Oral History Project, published by the Art Institute of Chicago, 1995.) The Estate of Carl Klein, Brentwood, Tennessee. Condition: 1st item: Overall very good condition. 2nd item: Overall good condition with minute scattered exfoliation at the left and lower edge and lower right corner. Canvas has been affixed to board.
• HARRY ANTHONY DEYOUNG (AMERICAN/TEXAS
  HARRY ANTHONY DEYOUNG (AMERICAN/TEXAS 1893-1956) A PAIN...HARRY ANTHONY DEYOUNG (American/Texas 1893-1956) A PAINTING, "Afternoon in the Hills, Boerne," 1930, oil on pressed board, signed and dated L/R, verso titled, signed and dated. 8" x 10" Note: Verso signed "Harry Anthony DeYoung", dated "Nov. 15, 1930" and location identified "Boerne." Harry Anthony DeYoung was born in Chicago in 1893. He studied at the Art Institute of Chicago and the University of Illinois. A veteran of World War I, he served as a sergeant in the quartermaster corps. He taught at various art schools throughout the United States, making a name for himself by regularly winning art prizes. After suffering a nervous breakdown at age thirty-five, DeYoung moved to Texas hoping for better health for both he and his daughter. The Witte Museum and the St. Anthony Hotel both house murals by the artist. The Alamo hangs a painting of Davy Crockett, among other portraits of historical Texans. He had a stroke shortly before turning fifty in 1942, resulting in the loss of the use of his painting hand. He learned to paint with the opposite hand and continued to create left-handed paintings for the remainder of his life. Harry Anthony DeYoung passed in Waco, Texas in 1956. Condition: In 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."
• HARRY ANTHONY DEYOUNG (AMERICAN/TEXAS
  HARRY ANTHONY DEYOUNG (AMERICAN/TEXAS 1893-1956), "AUTU...HARRY ANTHONY DEYOUNG (American/Texas 1893-1956), "Autumn," oil on burlap canvas, signed L/R, verso titled on hand inscribed paper label, gallery label and artist studio stamp on stretcher. 20" x 24" Note: Harry Anthony DeYoung was born in Chicago in 1893. He studied at the Art Institute of Chicago and the University of Illinois. A veteran of World War I, he served as a sergeant in the quartermaster corps. He taught at various art schools throughout the United States, making a name for himself by winning art prizes regularly. After suffering a nervous breakdown at age thirty-five, DeYoung moved to Texas hoping for better health for both he and his daughter. The Witte Museum and the St. Anthony Hotel both housed murals by the artist. The Alamo hangs a painting of Davy Crockett, among other portraits of historical Texans, also by DeYoung. He had a stroke shortly before turning fifty in 1942, resulting in the loss of the use of his painting hand. He learned to paint with the opposite hand and continued to create left-handed paintings for the remainder of his life. Harry Anthony DeYoung died in Waco, Texas in 1956. Provenance: Harry Anthony De Young Studio, 509 Seventh, San Antonio; Beuhler Fine Art, San Antonio, Texas. Condition: A flea size loss upper left, mild toning, but overall in 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."
• VERNON BROE OIL ON CANVAS BOARD "SUNSET
  VERNON BROE OIL ON CANVAS BOARD "SUNSET SAIL"Vernon Broe (American 1930-2011) Oil on Canvas Board “Sunset Sail”, signed lower right Vern Broe, in molded gilt frame. 11 ¼ in. x 15 ½ in. Overall 17 ½ in. x 21 ½ in. Vern Broe was born in Western Springs, Ill., on July 18, 1930. A noted Northeastern artist of marine and still life paintings, he studied at the American Academy of Art, the University of Illinois, Chicago’s Institute of Design, and the San Francisco Art Institute. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• VERNON BROE OIL ON MASONITE "RACING
  VERNON BROE OIL ON MASONITE "RACING YACHTS"Vernon Broe (American 1930-2011) Oil on Masonite "Racing Yachts" , signed lower left Vern Broe, in gilt frame with linen liner. 19 ½ in. x 29 ½ in. Overall 27 in. x 37 in. Vern Broe was born in Western Springs, Ill., on July 18, 1930. A noted Northeastern artist of marine and still life paintings, he studied at the American Academy of Art, the University of Illinois, Chicago's Institute of Design, and the San Francisco Art Institute. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• VERNON BROE OIL ON MASONITE "CHILDREN
  VERNON BROE OIL ON MASONITE "CHILDREN COLLECTING SEA SH...Vernon Broe (American 1930-2011) Oil on Masonite "Children Collecting Sea Shells at Seaside's Edge" , signed lower left Vern Broe, in gilt frame with linen liner 11 ½ in. x 15 ½ in. Overall 17 in. x 21 in. Vern Broe was born in Western Springs, Ill., on July 18, 1930. A noted Northeastern artist of marine and still life paintings, he studied at the American Academy of Art, the University of Illinois, Chicago's Institute of Design, and the San Francisco Art Institute. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• GREG FIDLER, RED BOW SERIES PAIRSigned,Unknown
  GREG FIDLER, RED BOW SERIES PAIRSigned,Unknown Year, Blown glass, coldworked,11h x 3.5w and 12h x 6w. · He received his Bachelor of Arts degree in Cultural Anthropology from Franklin Pierce College in New Hampshire. · Through the 1990s, he worked in many glass studios from Maine to Seattle while also attending classes at The Pilchuck Glass School, Stanwood, WA. The Haystack Mountain School of Crafts, Deer Isle., ME., and The Penland School of Crafts, Penland, NC. · In 2000, Greg received his Master of Arts degree from the University of Illinois and was awarded the Glass Residency at the Penland School of Crafts for the years 2001-2004. · “The familiar essence of glass is derived from a manufactured utilitarian need. Processes in hand forming glass undermine these attributes and in effect give my work purpose. It is my desire to produce sculpture that communicates progression while paying respect to traditional processes and their survival in the present. My ideas owe more to natural forms and my deference for the material than to consciousness obscurity.” Photo by Jeff Dimarco Condition: Excellent
• DEANNA CLAYTON, LIFE VESSELSigned,Unknown
  DEANNA CLAYTON, LIFE VESSELSigned,Unknown Year, Pate de verre, electroplated copper, 11h x 19w x 19d · Deanna Clayton was introduced to glass right out of high school while earning her Associates in Fine Arts degree in Bucks County, PA. Deanna wanted to continue her education in glass which led her to the prestigious program at Kent State University, led by Henry Halem. · After studying glass for two years at Kent State University, Clayton decided to finish her BFA at the University of Illinois. She then went on to develop her own glass studio in central Illinois. · Clayton now owns and operates a private studio in Door County, WI. She is internationally known for her complex pate de verre castings, as well as her work with copper that is often included into her glassworks. Photo by Jeff Dimarco Condition: Excellent
• KEITH CLAYTON - BON CHANCETitle of Artwork:
  KEITH CLAYTON - BON CHANCETitle of Artwork: Bon Chance (2003) Dimensions: 20h x 8w x 6d Signed: Yes Medium: Cast glass, pate de verre, metal frame Keith Clayton’s work incorporates a unique aesthetic he developed while in graduate school at the University of Illinois. His use of pâte de verre cast glass and electroplated copper seems to defy gravity. Combining these elements has enabled him to create breathtaking pedestal and wall pieces of varied scale for over 25 years.
• SHULKIN "A STONE, A LEAF, AN UNFOUND
  SHULKIN "A STONE, A LEAF, AN UNFOUND DOOR" O/CAnatol Shulkin, American, born Russia, 1899 - 1961, "A Stone, A Leaf, an Unfound Door" (surrealist portrait with figures and ruins), oil on canvas, signed, Midtown Galleries and University of Illinois labels verso. Dimensions: 24x26, framed 34x36 Property descended directly through the family and in storage since the artist's death in 1961. (AHEC6261)(TC) Artist's Biography: Anatol Shulkin, Russian-American, 1899-1961 Shulkin immigrated to the United States from Russian at twelve and studied with George Bellows and Leon Kroll at the Art Students League and the National Academy of Design in the 1920's. He had early solo exhibitions at the Art Centre Gallery, later at the Midtown Galleries in New York, and was a founding member of An American Group, Inc., a leftist leaning organization of artists. In 1932, the New York Times reviewed a solo exhibition of Shulkin’s work, commenting “he deserves front rank honors…put this exhibition, without fail, on your list of current ‘musts’. “ Later, Shulkin was a successful muralist with awards from the U.S. Treasury in 1935, 1937, 1938 and 1940, producing murals for the Works Progress Administration as well as several important private commissions. He also exhibited at the Corcoran Biennial, The National Academy of Art, The Cleveland Museum of Art, The Carnegie Institute, and the Art Institute of Chicago. As a native Russian-speaker, Shulkin had access to the Soviet Delegation at the 1944 Dumbarton Oaks Conference, the result of which is a series of historic life portraits in this sale. Anatol Shuklin's work is in the permanent collections of the Whitney and Metropolitan Museum of Art.
• SIGNED MORRIS KANTOR PAINTING, "LAMP
  SIGNED MORRIS KANTOR PAINTING, "LAMP AND GRAPES" (1931)...Morris Kantor (Russian-American, 1896-1974). "Lamp and Grapes" oil on canvas, 1931. Signed and dated by the artist on the lower left. Morris Kantor's painting entitled "Lamp and Grapes" demonstrates the artist's intriguing blend of realism and surprising visionary effects. The composition features traditional still life elements - a bowl of grapes and a decorative lamp on a tabletop that is dressed with a white cloth, an upholstered chair behind the table, and a portrait of two girls and their cat hanging on the wall. Kantor is depicting the furnishings within a traditional New England house; however, certain things create a sense of instability. For example, the scales of a few elements make no logical sense; notice how the lamp dwarfs the table and the grape leaves are enormous. What's more, the scene includes no human inhabitants besides the girls in the photo on the wall. Kantor is conveying an eery quality of loneliness. The lamp is lit, but no one is seated at the table to enjoy those luscious grapes. Size: 32.2" L x 24" W (81.8 cm x 61 cm) Size of frame: 32.75" L x 24.75" W (83.2 cm x 62.9 cm) Born in Minsk, Russia (now Belarus) Morris Kantor immigrated to the United States in 1906 when he was just a child. There is some debate as to whether he was with family or alone, but we know that he was very young, lived in New York City, and earned enough money working in the Garment District to enroll in art school by age 20. Kantor began attending the Independent School of Art in New York in 1916 and went on to teach at Cooper Union during the 1940s and the Art Students League from 1936 to 1972. Many of his students - including Robert Rauschenberg, Knox Martin, Susan Weil, and Sigmund Abeles - became quite famous in their own right. Kantor maintained a studio in Manhattan, close to Union Square, as well as on Cape Cod in Wellfleet, Massachusetts. During the 1920s, he also worked in Paris. His arts circle included notable modernists such as the sculptor Isamu Noguchi. During the 1930s, Kantor supervised a Federal Arts Project Easel Painting Project in Rockland County, New York. The following decade he spent some summers in Monhegan, Maine, and in the 1960s his work was shown at Bertha Schaefer Gallery in New York City. Kantor's work has also been exhibited at the Smithsonian American Art Museum, the Hirshhorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Denver Art Museum, the Whitney Museum of American Art, and other prestigious institutions. His honors include receiving the Logan Medal of the Art Institute of Chicago and the Temple Medal of the University of Illinois. Kantor's oeuvre was vast and impressive, as he explored numerous styles ranging from realism colored by a hint of Surrealism, as we see in this example, to abstract movements including Cubism and Futurism. Provenance: Private M. C. collection, Irvine, California, USA - acquired from the grandson of Morris Kantor; Ex-Morris Kantor 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. #168238 Condition: Signed and dated by the artist on the lower left. Some expected age wear as shown. Scuffs to the peripheries. Nicks/scuffs to the wooden frame. Frame is wired for suspension but we would recommend fitting with a new wire. There is an old label inscribed with the title and date of the piece on one of the stretcher bars.
• SIGNED MORRIS KANTOR PAINTING - "STAIRCASE"
  SIGNED MORRIS KANTOR PAINTING - "STAIRCASE" (1931)Morris Kantor (Russian-American, 1896-1974). "Staircase" oil on canvas, 1931. Signed and dated by the artist on the lower right. Morris Kantor's "Staircase" demonstrates the artist's exploration of both realistic and visionary effects. The composition features the interior of a traditional New England house with a grand staircase boasting wonderful lathework on the balustrade, walls adorned by stenciling or wallpaper presenting repeated floral motifs and elaborate flourishes, crown molding with dentils, and beautiful trimwork framing the doorway crowned by a broken scrolled pediment. In addition to Kantor's meticulous attention to detail, there is a delicious element of mystery, perhaps a nod to Surrealism, in the composition, as Kantor has included some surprising details. The flowers on the floor before the entryway, for example, are bizarrely large, and the doorway, if it is a doorway, shows no signs of the actual door. Perhaps this is a mirror, and the Georgian house depicted is actually a reflection of what exists outside a doorway opposite it. What's more, the scene is eerily bereft of its human inhabitants, capturing the type of lonely quality that Edward Hopper was conveying in his paintings during this period as well. Size: 28" L x 26" W (71.1 cm x 66 cm) Size of frame: 28.625" L x 26.5" W (72.7 cm x 67.3 cm) Interestingly, this painting is somewhat akin to Kantor's "Haunted House" (1930) at the Art Institute of Chicago (accession number 1931.707) which the curatorial team has described as being "inspired by the colonial houses he encountered during summers in New England" and has also linked to Surrealism. Born in Minsk, Russia (now Belarus) Morris Kantor immigrated to the United States in 1906 when he was just a child. There is some debate as to whether he was with family or alone, but we know that he was very young, lived in New York City, and earned enough money working in the Garment District to enroll in art school by age 20. Kantor began attending the Independent School of Art in New York in 1916 and went on to teach at Cooper Union during the 1940s and the Art Students League from 1936 to 1972. Many of his students - including Robert Rauschenberg, Knox Martin, Susan Weil, and Sigmund Abeles - became quite famous in their own right. Kantor maintained a studio in Manhattan, close to Union Square, as well as on Cape Cod in Wellfleet, Massachusetts. During the 1920s, he also worked in Paris. His arts circle included notable modernists such as the sculptor Isamu Noguchi. During the 1930s, Kantor supervised a Federal Arts Project Easel Painting Project in Rockland County, New York. The following decade he spent some summers in Monhegan, Maine, and in the 1960s his work was shown at Bertha Schaefer Gallery in New York City. Kantor's work has also been exhibited at the Smithsonian American Art Museum, the Hirshhorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Denver Art Museum, the Whitney Museum of American Art, and other prestigious institutions. His honors include receiving the Logan Medal of the Art Institute of Chicago and the Temple Medal of the University of Illinois. Kantor's oeuvre was vast and impressive as he explored numerous styles ranging from realism colored by a hint of Surrealism, as we see in this example, to abstract movements including Cubism and Futurism. Provenance: Private M. C. collection, Irvine, California, USA - acquired from the grandson of Morris Kantor; Ex-Morris Kantor 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. #168237 Condition: The painting is signed and dated by the artist on the lower right. On the verso is a label for the Bertha Schaefer Gallery. There is a minute loss to pigment of the grandfather clock and minor scuffs here and there as shown. Frame shows some age wear with scuffs and nicks to the peripheries, but it is intact.
• SIGNED 1960S MORRIS KANTOR PAINTING
  SIGNED 1960S MORRIS KANTOR PAINTING - "OPEN DOOR"Morris Kantor (Russian-American, 1896-1974). "Open Door" oil on canvas, ca. 1960s. Signed by the artist on the lower left. A striking painting by Morris Kantor that, while abstract, still manages to conjure associations with the natural world. A juxtaposition of undulating forms seem to reference human figures and living flora, and passages of gestural brushwork suggest interior life at the tissue and cellular level. All is delineated in a vibrant palette - shades of lemon yellow, violet, royal blue, peach, mint green, ruby red, azure, and cerulean - and set in a custom frame that is embellished with a gold pigment. A spectacular painting in which Kantor masterfully engaged with Biomorphic Modernism. Size of painting: 50" L x 36" W (127 cm x 91.4 cm) Size of frame: 50.75" L x 36.625" W (128.9 cm x 93 cm) Born in Minsk, Russia (now Belarus) Morris Kantor immigrated to the United States in 1906 when he was just a child. There is some debate as to whether he was with family or alone, but we know that he was very young, lived in New York City, and earned enough money working in the Garment District to enroll in art school by age 20. Kantor began attending the Independent School of Art in New York in 1916 and went on to teach at Cooper Union during the 1940s and the Art Students League from 1936 to 1972. Many of his students - including Robert Rauschenberg, Knox Martin, Susan Weil, and Sigmund Abeles - became quite famous in their own right. Kantor maintained a studio in Manhattan, close to Union Square, as well as on Cape Cod in Wellfleet, Massachusetts. During the 1920s, he also worked in Paris. His arts circle included notable modernists such as the sculptor Isamu Noguchi. During the 1930s, Kantor supervised a Federal Arts Project Easel Painting Project in Rockland County, New York. The following decade he spent some summers in Monhegan, Maine, and in the 1960s his work was shown at Bertha Schaefer Gallery in New York City. Kantor's work has also been exhibited at the Smithsonian American Art Museum, the Hirshhorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Denver Art Museum, the Whitney Museum of American Art, and other prestigious institutions. His honors include receiving the Logan Medal of the Art Institute of Chicago and the Temple Medal of the University of Illinois. Kantor's oeuvre was vast and impressive, as he explored numerous styles ranging from realism colored by a hint of Surrealism to abstract movements including Cubism and Futurism. Provenance: Private M. C. collection, Irvine, California, USA; Ex-Morris Kantor 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. #168235 Condition: Painting is signed by the artist on the lower left. The title "Open Door" is handwritten on a stretcher bar as well as on a white label on the verso. The painting has some expected age wear with minor scuffs here and there and could probably be restretched, but the imagery and coloring are still strong.
• EXHIBITED MORRIS KANTOR PAINTING - RENDITION,
  EXHIBITED MORRIS KANTOR PAINTING - RENDITION, 1965Morris Kantor (Russian-American, 1896-1974). "Rendition" oil on canvas, 1965. Signed and dated at lower right. A monumental painting by Morris Kantor that demonstrates the artist's avant-garde aesthetic and was included in the American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968). "Rendition" features a central arrangement of organic forms and gestural passages delineated in pastel colors via loose brushwork and rich impasto; a hard-edge step-like motif to the left rendered in bold red and blue hues; and a biomorphic section on the right delineated in various shades of green ranging from sage to jewel tone jade with a slender red curvilinear border down its left side. Kantor was particularly interesting, because he created both representational still lifes and landscapes and non-representational abstractions like this example. Size: 52" L x 61.75" W (132.1 cm x 156.8 cm) Size of frame: 52.875" L x 62.875" W (134.3 cm x 159.7 cm) Born in Minsk, Russia (now Belarus) Morris Kantor immigrated to the United States in 1906 when he was just a child. There is some debate as to whether he was with family or alone, but we know that he was very young, lived in New York City, and earned enough money working in the Garment District to enroll in art school by age 20. Kantor began attending the Independent School of Art in New York in 1916 and went on to teach at Cooper Union during the 1940s and the Art Students League from 1936 to 1972. Many of his students - including Robert Rauschenberg, Knox Martin, Susan Weil, and Sigmund Abeles - became quite famous in their own right. Kantor maintained a studio in Manhattan, close to Union Square, as well as on Cape Cod in Wellfleet, Massachusetts. During the 1920s, he also worked in Paris. His arts circle included notable modernists such as the sculptor Isamu Noguchi. During the 1930s, Kantor supervised a Federal Arts Project Easel Painting Project in Rockland County, New York. The following decade he spent some summers in Monhegan, Maine, and in the 1960s his work was shown at Bertha Schaefer Gallery in New York City. Kantor's work has also been exhibited at the Smithsonian American Art Museum, the Hirshhorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Denver Art Museum, the Whitney Museum of American Art, and other prestigious institutions. His honors include receiving the Logan Medal of the Art Institute of Chicago and the Temple Medal of the University of Illinois. Kantor's oeuvre was vast and impressive, as he explored numerous styles ranging from realism colored by a hint of Surrealism to abstract movements including Cubism and Futurism. This painting was exhibited at the Bertha Schaefer Gallery; note the Bertha Schaefer Gallery label attached to one of the stretcher bars. According to the Archives of American Art, "Bertha Schaefer (1895-1971) was an interior designer and director of the Bertha Schaefer Gallery in New York, New York. Schaefer was born in Yazoo City, Mississippi to Emil and Julia (Marx) Schaefer. She received her B.A. on June 1, 1914 from Mississippi State College for Women, and received a diploma for interior decorating from the Parsons School of Design in New York City. In 1924, after living in Paris for 5 months, she opened Bertha Schaefer Interiors in New York. In 1944, she opened the Bertha Schaefer Gallery of Contemporary Art, which featured American and European paintings and sculpture." In addition, Bertha Schaefer lent this painting to the American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968). Provenance: Private M. C. collection, Irvine, California, USA; Ex-Morris Kantor 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. #168227 Condition: Signed and dated by the artist at the lower right. Painting has a few minor stains that are difficult to see. Exhibition labels for American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968) as well as Bertha Schaefer Gallery on verso. Wired for suspension and ready to display. Frame shows age wear with separation at mitered corners, some areas with splintering/loss/staining, and some of the hardware attaching the backing board to the painting has separated from the frame.
• EXHIBITED KANTOR PAINTING - "IMAGE ON
  EXHIBITED KANTOR PAINTING - "IMAGE ON RED GROUND" 1969This is an oversized item that may require special shipping. Please inquire for a quote before bidding. Morris Kantor (Russian-American, 1896-1974). "Image on Red Ground" oil on canvas, 1969. Signed "M. Kantor" at lower left and on verso. A dramatic painting by Morris Kantor, "Image on Red Ground" features a central arrangement of biomorphic forms delineated in bold yellow, spring green, peach, lavender, deep grey and violet - all against a vermilion red-orange ground. Kantor was a fascinating artist, because he created both representational still lifes and landscapes as well as abstraction compositions like this example. A wonderful example of Kantor's oeuvre set in a custom black frame. Size: 53" L x 42" W (134.6 cm x 106.7 cm) Size of frame: 54.625" L x 43.625" W (138.7 cm x 110.8 cm) Born in Minsk, Russia (now Belarus) Morris Kantor immigrated to the United States in 1906 when he was just a child. There is some debate as to whether he was with family or alone, but we know that he was very young, lived in New York City, and earned enough money working in the Garment District to enroll in art school by age 20. Kantor began attending the Independent School of Art in New York in 1916 and went on to teach at Cooper Union during the 1940s and the Art Students League from 1936 to 1972. Many of his students - including Robert Rauschenberg, Knox Martin, Susan Weil, and Sigmund Abeles - became quite famous in their own right. Kantor maintained a studio in Manhattan, close to Union Square, as well as on Cape Cod in Wellfleet, Massachusetts. During the 1920s, he also worked in Paris. His arts circle included notable modernists such as the sculptor Isamu Noguchi. During the 1930s, Kantor supervised a Federal Arts Project Easel Painting Project in Rockland County, New York. The following decade he spent some summers in Monhegan, Maine, and in the 1960s his work was shown at Bertha Schaefer Gallery in New York City. Kantor's work has also been exhibited at the Smithsonian American Art Museum, the Hirshhorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Denver Art Museum, the Whitney Museum of American Art, and other prestigious institutions. His honors include receiving the Logan Medal of the Art Institute of Chicago and the Temple Medal of the University of Illinois. Kantor's oeuvre was vast and impressive, as he explored numerous styles ranging from realism colored by a hint of Surrealism to abstract movements including Cubism and Futurism. This painting was exhibited at the Bertha Schaefer; note the gallery label attached to one of the stretcher bars. According to the Archives of American Art, "Bertha Schaefer (1895-1971) was an interior designer and director of the Bertha Schaefer Gallery in New York, New York. Schaefer was born in Yazoo City, Mississippi to Emil and Julia (Marx) Schaefer. She received her B.A. on June 1, 1914 from Mississippi State College for Women, and received a diploma for interior decorating from the Parsons School of Design in New York City. In 1924, after living in Paris for 5 months, she opened Bertha Schaefer Interiors in New York. In 1944, she opened the Bertha Schaefer Gallery of Contemporary Art, which featured American and European paintings and sculpture." Provenance: Private M. C. collection, Irvine, California, USA; Ex-Morris Kantor 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. #168233 Condition: Painting is in overall very nice condition save a few minute scuffs as shown. It is signed "M. Kantor" on the verso. There is also a Bertha Schaefer Gallery label attached to the central stretcher bar on the verso. Finally, the frame shows slight age wear and is missing its gold covering on one side as shown.
• EXHIBITED MORRIS KANTOR PAINTING - RENDITION,
  EXHIBITED MORRIS KANTOR PAINTING - RENDITION, 1965Morris Kantor (Russian-American, 1896-1974). "Rendition" oil on canvas, 1965. Signed and dated at lower right. A monumental painting by Morris Kantor that demonstrates the artist's avant-garde aesthetic and was included in the American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968). "Rendition" features a central arrangement of organic forms and gestural passages delineated in pastel colors via loose brushwork and rich impasto; a hard-edge step-like motif to the left rendered in bold red and blue hues; and a biomorphic section on the right delineated in various shades of green ranging from sage to jewel tone jade with a slender red curvilinear border down its left side. Kantor was particularly interesting, because he created both representational still lifes and landscapes and non-representational abstractions like this example. Size: 52" L x 61.75" W (132.1 cm x 156.8 cm) Size of frame: 52.875" L x 62.875" W (134.3 cm x 159.7 cm) Born in Minsk, Russia (now Belarus) Morris Kantor immigrated to the United States in 1906 when he was just a child. There is some debate as to whether he was with family or alone, but we know that he was very young, lived in New York City, and earned enough money working in the Garment District to enroll in art school by age 20. Kantor began attending the Independent School of Art in New York in 1916 and went on to teach at Cooper Union during the 1940s and the Art Students League from 1936 to 1972. Many of his students - including Robert Rauschenberg, Knox Martin, Susan Weil, and Sigmund Abeles - became quite famous in their own right. Kantor maintained a studio in Manhattan, close to Union Square, as well as on Cape Cod in Wellfleet, Massachusetts. During the 1920s, he also worked in Paris. His arts circle included notable modernists such as the sculptor Isamu Noguchi. During the 1930s, Kantor supervised a Federal Arts Project Easel Painting Project in Rockland County, New York. The following decade he spent some summers in Monhegan, Maine, and in the 1960s his work was shown at Bertha Schaefer Gallery in New York City. Kantor's work has also been exhibited at the Smithsonian American Art Museum, the Hirshhorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Denver Art Museum, the Whitney Museum of American Art, and other prestigious institutions. His honors include receiving the Logan Medal of the Art Institute of Chicago and the Temple Medal of the University of Illinois. Kantor's oeuvre was vast and impressive, as he explored numerous styles ranging from realism colored by a hint of Surrealism to abstract movements including Cubism and Futurism. This painting was exhibited at the Bertha Schaefer Gallery; note the Bertha Schaefer Gallery label attached to one of the stretcher bars. According to the Archives of American Art, "Bertha Schaefer (1895-1971) was an interior designer and director of the Bertha Schaefer Gallery in New York, New York. Schaefer was born in Yazoo City, Mississippi to Emil and Julia (Marx) Schaefer. She received her B.A. on June 1, 1914 from Mississippi State College for Women, and received a diploma for interior decorating from the Parsons School of Design in New York City. In 1924, after living in Paris for 5 months, she opened Bertha Schaefer Interiors in New York. In 1944, she opened the Bertha Schaefer Gallery of Contemporary Art, which featured American and European paintings and sculpture." In addition, Bertha Schaefer lent this painting to the American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968). Provenance: Private M. C. collection, Irvine, California, USA; Ex-Morris Kantor 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. #168227 Condition: Signed and dated by the artist at the lower right. Painting has a few minor stains that are difficult to see. Exhibition labels for American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968) as well as Bertha Schaefer Gallery on verso. Wired for suspension and ready to display. Frame shows age wear with separation at mitered corners, some areas with splintering/loss/staining, and some of the hardware attaching the backing board to the painting has separated from the frame.
• TWO BAN CHIANG POTTERY JARS, RED ON
  TWO BAN CHIANG POTTERY JARS, RED ON BUFF & BLACKWAREAncient Southeast Asia, Thailand, Ban Chiang culture, ca. 1st millennium BCE. An impressive pair of pottery vessels from ancient Ban Chiang culture: a globular jar adorned with red-on-buff decoration and a blackware footed vase enveloped in intricately incised designs. More petite of the 2, the globular jar features a tongue motif along the flared rim, as well as beautiful scrolling patterns on the exterior of the bulbous body. Alternatively, the blackware vessel exhibits a broad, protruding hip, a sloped shoulder, and a dramatically flared mouth, all sitting upon a ring-form foot. Abstract incised designs of zigzag motifs and linear patterns adorn the exterior of the body and interior of the rim. Black incised pottery like this example is commonly found in burial sites accompanied by food offerings, perhaps suggesting rituals that may have been related to ancestor worship. Size of largest (blackware): 6.5" W x 7.625" H (16.5 cm x 19.4 cm) A similar blackware vessel can be found at the Krannert Art Museum at the University of Illinois Urbana-Champaign under accession number 1979-9-1. Provenance: private Arlington, Texas, USA collection, acquired mid to late-1960s 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. #178101 Condition: Globular vessel has some stable hairline fissures to surface, and both have age-expected wear as shown. Otherwise, both are intact and excellent with impressive remaining detail.
• VIRGINIA A. MYERS (AMERICAN, 1927-2015)Virginia
  VIRGINIA A. MYERS (AMERICAN, 1927-2015)Virginia A. Myers American, 1927-2015 Alone and Burr Oak Engravings, signed and titled in graphite The first a surrealist scene of animals and figures below faces appearing in clouds betwixt birds in flight, the second a contrastingly serene landscape, both matted behind glass and framed. Myers' 50-year UI career began in 1962 when she became an instructor in Iowa’s printmaking department—the only woman teaching studio courses at the time. She had earned a B.A. degree in drawing and painting in 1949 from the Corcoran School of Art in Washington, D.C. ,completing graduate and postgraduate studies at California College of the Arts and Crafts and the University of Illinois, before emigrating to Iowa City in 1955 to collaborate with distinguished printmaker Mauricio Lasansky. Simultaneously, she spent a year in Paris on a Fulbright Scholarship, studying at Atelier 17 with printmaker Stanley William Hayter. With her creation of the Iowa Foil Printer in the 1980s, Myers became one of the nation's preeminent artists in foil imaging. The printer allowed her to combine foil stamping with traditional printmaking methods—a technique that once had been available only through commercial foil stampers. She then patented the equipment with Dan Wenman, a local machinist, and Jim Phillips, an electrical engineer. This innovation aided her teaching career immensely - her class in the technique in 1990 was the first of its kind ever taught in a school of fine arts. She published two books about this process, presented more than 100 solo shows throughout the world, and participated in numerous group exhibits. Myers' work is featured in the collections of the San Francisco Art Museum, the Nelson-Atkins Museum in Kansas City, the Toledo Museum of Art, the National Collection of Women’s Art, the Muscatine Art Gallery, and the Des Moines Art Center. In addition, she served as a member of the board of directors for the Elizabeth Foundation for the Arts in New York City. Frames: 32 3/4 x 30 in. (83.2 x 76.2 cm.), & 32 1/2 x 34 1/4 in. (82.6 x 87 cm.) Ex Iowa Wesleyan University collection 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.
• [A PRIVATE SCOTTISH COLLECTION, EDINBURGH]
  [A PRIVATE SCOTTISH COLLECTION, EDINBURGH] COLLECTION OF ART REFERENCE BOOKS ON CHINESE ART: MUSEUM COLLECTIONS AND EXHIBITIONS ?????????????????????Including but not limited to:Art Chinois: Musée Cernuschi acquisitions 1993-2004. Paris: Paris-Musées, 2005.Asiatic art in the Seattle Art Museum: a selection and catalogue. Seattle: Seattle Art Museum, 1973.Bruckner, Christopher. Chinese Imperial Patronage: Treasures from Temples and Palaces. London: Asian Art Gallery, 1998.Catalogue of the International Exhibition of Chinese Art: 1935-6. London: Royal Academy of Arts, 1935.Chinese Art from the Cloud Wampler and Other Collections in the Everson Museum. New York: Frederick A. Praeger, 1968.Chinese Art in the Royal Ontario Museum. Toronto: Royal Ontario Museum, 1972.Christie, Anthony. Chinese Mythology. Feltham: The Hamlyn Publishing Group Limited, 1968.City of Edinburgh Arts Centre. Gateway to the Silk Road: Relics from the Han to the Tang dynasties from Xi'an, China. Edinburgh: City of Edinburgh Museums and Galleries, 1996.Clunas, Craig and Harrison-Hall, Jessica et al. Ming: 50 Years That Changed China. London: British Museum Press, 2014.Clunas, Craig. Superfluous Things: Material Culture and Social Status in Early Modern China. Chicago: University of Illinois Press, 1991.Cook, Brian. Chinese Art. London: B. T. Batsford Ltd, 1935.Crawford, John M. The Crawford Bequest: Chinese Objects in the Collection of the Museum of Art, Rhode Island School of Design. Rhode Island: Brown University, 1993.Edmunds, Will H. Pointers and Clues to the Subjects of Chinese and Japanese Art. London: Sampson Low, Marston & Co., Ltd.Fang, Jing Pei. Symbols and Rebuses in Chinese Art: Figures, Bugs, Beasts, and Flowers. Berkeley: Ten Speed Press, 2004.Feng shui: gli oggetti dell'equilibrio. Milan: La Galliavola, 1998.Fong, Wen C. and Watt, C. Y. Possessing the past: treasures from the National Palace Museum, Taipei. New York: Metropolitan Museum of Art, 1996.Gombrich, Richard and Bechert, Heinz. The World of Buddhism. London: Thames and Hudson Ltd, 1991.Hay, Jonathan. Sensuous Surfaces: The Decorative Object in Early Modern China. London: Reaktion Books, 2010.Lawton, Thomas. Asian Art in the Arthur M. Sackler Gallery: The Inaugural Gift. Washington: Arthur M. Sackler Gallery, 1987.Ledderose, Lothar. Ten Thousand Things – Module and Mass Production in Chinese Art (The A. W. Mellon Lectures in the Fine Arts). Princeton: Princeton University Press, 2000.Lee, Sherman E. A History of Far Eastern Art. New York: Harry N. Abrams, 1982.Lee, Sherman E. et al. Eight Dynasties of Chinese Painting: Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art. Cleveland: Cleveland Museum of Art, 1980.Lin, James C. S. (Ed.). The Search for Immortality: Tomb Treasures of Han China. New Haven: Yale University Press, 2012.Ma, Baojie (Ed.). The Liaoning Museum. Hong Kong: London Editions, 2008.Michaelson, Carol. Gilded Dragons: Buried Treasures from China's Golden Ages. London: British Museum Press, 1999.Musée Cernuschi. Promenade Dans Les Collections Chinoises. Paris: Musée Cernuschi, 1983.Musée du Petit Palais. La Cité Interdite: Vie publique et privée des empereurs de Chine 1644-1911. Paris: Paris-Musées, 1996.National Museums of Scotland. Ming: The Golden Empire. Edinburgh: NMS Enterprises Limited, 2014.Rawson, Jessica and Rawski, Sakakida. China - the Three Emperors 1662 – 1795. London: Royal Academy of Arts, 2005.Rawson, Jessica (Ed.). Mysteries of Ancient China: New Discoveries from the Early Dynasties. London: British Museum Press, 1996.Rawson, Jessica (Ed.). The British Museum Book of Chinese Art. London: British Museum Press, 1992.Rawson, Jessica. Chinese Ornament: The Lotus and the Dragon. London: British Museum Publications Ltd., 1984.Rawson, Jessica. Ancient China: Art and Archaeology. London: British Museum Publications, 1980.Selected Masterpieces of Asian Art: Museum of Fine Arts Boston. Boston: Museum of Fine Arts Boston, 1992.Scott, Hugh. The Golden Age of Chinese Art: The Lovely T'ang Dynasty. Rutland: Charles E. Tuttle Company, Inc., 1966.Schloss, Ezekiel. Foreigners in Ancient Chinese Art; From Private and Museum Collections. New York: China House Gallery, 1969.Smith, Lawrence and Hulton, Paul. Flowers in Art from East and West. London: British Museum Publications Ltd., 1979.Splendeurs des Han: Essor de l'empire celeste. Paris: Flammarion, 2014.The Charles B. Hoyt Collection: Memorial Exhibition February 13 - March 30, 1952. Boston: Museum of Fine Arts.The Mount Trust Collection of Chinese Art. London: Victoria and Albert Museum, 1970.The Schiller Collection: illustrated catalogue. City Art Gallery Bristol, 1948.Thorp, Robert L. and Blower, Virgina. Spirit and Ritual: The Morse Collection of Ancient Chinese Art. New York: Metropolitan Museum of Art, 1982.Treistman, Judith. Pre-History of China: An Archaeological Exploration. Exeter: David & Charles, 1972.Watson, William. The Genius of China: An Exhibition of Archaeological Finds of the People's Republic of China. London: Times Newspapers Ltd, 1973.Watt, James C. Y. and Patry Leidy, Denise. Defining Yongle: Imperial Art in Early Fifteenth-Century China. New York: Metropolitan Museum of Art, 2005.Watt, James C. Y. (Ed.). Exhibition of Paintings, Calligraphy and Porcelain of the Ming Period, 1368-1644. Min Chiu Society. Hong Kong: City Hall Museum and Art Gallery, 1966.Watt, James C. Y. The Arts of Ancient China. New York: Metropolitan Museum of Art, 1990.White, Julia M. and Otsuka, Ronald Y. Pathways to the Afterlife: Early Chinese Art from the Sze Hong Collection. Honolulu: University of Hawaii Press, 1993.Whitfield, Susan. The Silk Road: Trade, Travel, War and Faith. London: The British Library Publishing Division, 2004.Yang, Xiaoneng (Ed.). The Golden Age of Chinese Archaeology – Celebrated Discoveries From the Peoples Republic of China. New Haven: Yale University Press, 1999.Zhang, Wenjun (Ed.). Henan Museum. Hong Kong: London Editions, 2009.??????. Taipei: The Globe International Corporation, 1977.Zwalf, W. Buddhism: Art and Faith. London: British Museum Publications Ltd, 1985(qty)Provenance: Private Scottish collection, EdinburghNote: Please note this lot will be offered with no reserve. ???????
• DALE WILLIAM NICHOLS (AMERICAN, 1904-1995),
  DALE WILLIAM NICHOLS (AMERICAN, 1904-1995), "RACING HOME" Oil on canvas. Signed 'Dale Nichols' (lower left). Dale William Nichols (American, 1904-1995) Born 13 July 1904 in David City, Nebraska, Dale William Nichols’ career began at the Chicago Academy of Fine Arts. Having spent the better part of the 1920s and 30s in Chicago, Nichols became a Carnegie Professor in Art at the University of Illinois before taking a position in 1943 as the art editor of the Encyclopedia Britannica. He spent the remainder of his life traveling extensively in the United States and Guatemala. Best known as a rural landscape painter, his works included illustrations, paintings, lithographs, and wood carvings. Nichols died at the age of 91 in Sedona, Arizona on 19 October 1995. He is remembered among the American landscape artists of the 20th century. Three of his paintings are in the collection of the Smithsonian American Art Museum, and the Museum of Nebraska Art features a dozen of his works, including oil paintings, lithographs, and sketches.
• GERALD BOYCE, INDIANA / ILLINOIS (1925
  GERALD BOYCE, INDIANA / ILLINOIS (1925 - 1999), UNTITLED, HECTOR BERLIOZ, 1991, WATERCOLOR AND GOUACHE / PAPER, 12"H X 8"W (IMAGE), 20 1/2"H X 15 1/2"W (FRAME)Gerald Boyce, Indiana / Illinois, (1925 - 1999) untitled, Hector Berlioz, 1991, Watercolor and gouache / Paper signed and dated lower right From AskArt: Education: BS, University of Wisconsin (1949) MFA, University of Iowa, (1950) He further studied at the University of Illinois, Indiana University, Oxford University in England, and independent study/research at the British Museum, London. Boyce began working for the University of Indianapolis in 1950 as an adjunct faculty member in the Art Department. He was full professor in the Art Department upon his retirement from the University. He taught at Fresno State during the summer of 1951, and was an adjunct faculty member at DePauw and Indiana Universities. He led several student trips to Europe. Boyce served in the United States Air Force during the last two years of WWII. He has a Memorial Scholarship at the University of Indianapolis. Source: website of the University of Indianapolis Watercolor and gouache / Paper Dimensions: 12"H x 8"W (image), 20 1/2"H x 15 1/2"W (frame)
• GERALD BOYCE, INDIANA / ILLINOIS (1925
  GERALD BOYCE, INDIANA / ILLINOIS (1925 - 1999), UNTITLED ROBED MAN ON HIPPO, WATERCOLOR AND GOUACHE / PAPER, 11 1/2"H X 20"W (SIGHT), 20 1/4"H X 28 1/4"W (FRAME)Gerald Boyce, Indiana / Illinois, (1925 - 1999) untitled robed man on hippo, Watercolor and gouache / Paper From AskArt: From AskArt: Education: BS, University of Wisconsin (1949) MFA, University of Iowa, (1950) He further studied at the University of Illinois, Indiana University, Oxford University in England, and independent study/research at the British Museum, London. Boyce began working for the University of Indianapolis in 1950 as an adjunct faculty member in the Art Department. He was full professor in the Art Department upon his retirement from the University. He taught at Fresno State during the summer of 1951, and was an adjunct faculty member at DePauw and Indiana Universities. He led several student trips to Europe. Boyce served in the United States Air Force during the last two years of WWII. He has a Memorial Scholarship at the University of Indianapolis. Source: website of the University of Indianapolis Watercolor and gouache / Paper Dimensions: 11 1/2"H x 20"W (sight), 20 1/4"H x 28 1/4"W (frame)
• FANNIE HILLSMITH, AMERICAN (1911-2007),
  FANNIE HILLSMITH, AMERICAN (1911-2007), INTERIOR AT HONFLEUR, 1960, TEMPERA AND COLLAGE ON PANEL, 25"H X 20"W (SIGHT), 26 1/4"H X 21 1/4"W (FRAME)Fannie Hillsmith, American, (1911-2007) Interior at Honfleur, 1960, tempera and collage on panel signed and dated lower right. Labels verso: Peridot Gallery, NY, and University of Illinois 1961 Biennial Exhibition of Contemporary American Painting and Sculpture. Biography from The Johnson Collection A Bostonian by birth and artistic heritage, Fannie Louise Hillsmith distinguished herself as a painter of Cubist-inspired still lifes and interiors. Like her European counterparts, she used tabletop and furniture arrangements to explore spatial dynamics. In a statement for the landmark 1944 book, Abstract and Surrealist Art in America, Hillsmith described her aesthetic ambition: "I endeavor to find a personal way to express in painting the basic qualities of nature. I try to combine the structural with the intimate and to secure simplicity by using few colors and shapes, to acquire variation by using these in diverse ways throughout the canvas." Hillsmith's early art training took place at the conservative Boston Museum School, following in the footsteps of her grandfather Frank Hill Smith, one of its founders. Because of the similarity in their names, the two artists' work is often confused. Committed to a career in art, Hillsmith relocated to New York, where she took classes at the Art Students League under John Sloan, Alexander Brook, William Zorach, Yasuo Kuniyoshi, and Vaclav Vytlacil, who emerged as her true mentor. Between 1946 and 1950, Hillsmith worked at Stanley Hayter's Atelier 17 printmaking studio alongside such figures as Joan Miró, Yves Tanguy, Alexander Calder, and Marc Chagall. At times, her work displayed a surrealist bent and the influence of Paul Klee and, later, Henri Matisse. An active member of the city's vibrant art scene, Hillsmith showed her work at the Norlyst Gallery owned by Jimmy Ernest and at Peggy Guggenheim's Art of This Century Gallery, known for its promotion of Jackson Pollock, Robert Motherwell, and Willem de Kooning. The noted critics Clement Greenberg and Elaine de Kooning mentioned her work in their reviews. Josef Albers invited Hillsmith to teach in the 1945 summer session at Black Mountain College, where her students were largely teachers attempting to brush up on their own skills. She was enthralled by the international diversity of the faculty, many of whom spoke French and German at dinner, a fact made poignant by the nightly news report from Europe in the waning days of World War II. Albers' Saturday seminars in which he critiqued student work were an inspiration for her own teaching. Hillsmith supported herself by caring for a mentally ill relative and by making toys and jewelry, which were sold at the Museum of Modern Art. She was awarded the 1958 Alumni Traveling Scholarship from the Boston Museum School, which funded a trip abroad to Paris, Vienna, Spain, and England. She taught at Cornell University for the fall semester of 1963. Hillsmith's work is represented in the collections of the Museum of Fine Arts, Boston, the Modern Museum of Art, and the Smithsonian American Art Museum, among other prestigious institutions. The Johnson Collection, Spartanburg, South Carolina thejohnsoncollection.org tempera and collage on panel Dimensions: 25"H x 20"W (sight), 26 1/4"H x 21 1/4"W (frame)
• MARY JANE MIN, ILLINOIS (1948-2023),
  MARY JANE MIN, ILLINOIS (1948-2023), ABSTRACT, 1977, MIXED MEDIA SCULPTURE, 8 1/2"H X 20 1/2"W X 19"DMary Jane Min, Illinois, (1948-2023) abstract, 1977, mixed media sculpture Signed and dated lower left. Mary was an artist, entrepreneur and advertising executive. She was a founding member of ARC Gallery, Executive Director of Randolph Street Gallery and owner of Hieroglyphics Neon + Light in Chicago. While working in advertising at the Journal & Topics, Mary valued building relationships with her clients. She was a graduate of University of Illinois Chicago, and School of the Art Institute Chicago. mixed media sculpture Dimensions: 8 1/2"H x 20 1/2"W x 19"D
• REX CLAWSON, NEW YORK (1929-2007), CATHEDRAL,
  REX CLAWSON, NEW YORK (1929-2007), CATHEDRAL, 1959, OIL ON CANVAS, 23 3/4"H X 29 3/4"W, 32 1/4"H X 26"W(FRAME)Rex Clawson, New York, (1929-2007) Cathedral, 1959, oil on canvas Signed and dated verso. Significant tear in lower left quadrant as shown in photos. Biography from the Archives of askART: The following biography has been provided by Rex Clawson, The Artist Rex Martin was born in 1929 in Dallas Texas. As a child his favorite artist was Jon Witcomb, an illustrator for the womens' magazines his mother subscribed to. In his teens he read Lust for Life and discovered Van Gogh, Gauguin and the Impressionists. All of his early paintings reflect these artists. In the late 1940's, Clawson won the "Texas Fellowship to the Colorado Springs Fine Arts Center." There he became acquainted with modern art. Picasso and Braque were his greatest influences, along with Walt Kuhn, whose paintings were displayed at the art center. From there he traveled to Mexico to study and paint for a year at Morallia, and the art and culture of Mexico were a great influence on him. Rufino Tamayo was his favorite artist. He returned to Texas and in 1951 won first prize at the annual exhibition at the Dallas Museum of Fine Arts. In 1952 he was exhibited at the Knoedler Gallery NYC, in a show of Texas Artists. Thus encouraged, he moved to New York where he began to show regularly at the galleries. He had his first one man show at the Edwin Hewitt Gallery in 1955. In 1956 Vogue magazine reproduced a Clawson painting of a cat. Lincoln Kristen saw it and commissioned the artist to paint a cat for him. In 1963 the Royal Athena Gallery exhibited a Clawson painting entitled Nude in a Rocking Chair. Immediately the press announced it as a nude of President Kennedy and it got worldwide publicity. Finally, two U.S. Treasury agents entered the Gallery and acquired the painting, along with all photographs and negatives of it. The painting was never seen or heard of again. This was the start of Clawson's period of political satire. He had two one-man shows at the Royal Athena Gallery, 1963-1964 in which he satirized through art all the politics of the day. These shows received praise from the New York Times, Time Magazine, Art News, among others. Clawson had two one-man shows at New York's A.C.A. Gallery in 1968-1972. These shows took a light hearted look at social conditions and the decline of Religion in America. Since then Clawson has worked mostly on commissions from private collectors. Due to failing health he found it too difficult to produce enough paintings at one time to have another one-man show. Finally, in 2000 he entered the Cabrini Center for Nursing and Rehabilitation in the East Village where the Nuns put him to work illustrating the Gospels for the Chapel. He has completed the three-year cycle of Sunday Gospels as well as saints' feast days. He now creates secular paintings from his bed side. Cabrini has created a Cyber Art Gallery through www.touchtown.org in which he now displays his works for a network of nursing and retirement homes. In 1977 the Hirshhorn Museum informed Clawson that it had acquired three of his paintings. In 1983 the Corcoran Gallery of Art informed him that they owned a Clawson drawing. Clawson's work is represented in the Butler Museum (Youngstown, Ohio) Krannert Museum (University of Illinois), University of Georgia Museum and the Smithsonian Art Museum. One man shows- Hewitt Gallery-1955, Royal Athena Gallery 1963-1964, A.C.A. Gallery 1968-1972. A note from the artist's niece, Audra Renfer: My uncle passed away from cancer on October 18, 2007. He will be missed by many. oil on canvas Dimensions: 23 3/4"H x 29 3/4"W, 32 1/4"H x 26"W(frame)
• REX CLAWSON, NEW YORK (1929-2007), PORTRAIT
  REX CLAWSON, NEW YORK (1929-2007), PORTRAIT OF VINCENT IRON-BEARD, BIRTHDAY, 1957, OIL ON PAPER, 27 1/2"H X 21 1/2"W, 29"H X 23"W (CUSTOM ARTIST MADE SLEEVE)Rex Clawson, New York, (1929-2007) Portrait of Vincent Iron-Beard, Birthday, 1957, oil on paper Signed lower right, titled and dated lower right. Biography from the Archives of askART: The following biography has been provided by Rex Clawson, The Artist Rex Martin was born in 1929 in Dallas Texas. As a child his favorite artist was Jon Witcomb, an illustrator for the womens' magazines his mother subscribed to. In his teens he read Lust for Life and discovered Van Gogh, Gauguin and the Impressionists. All of his early paintings reflect these artists. In the late 1940's, Clawson won the "Texas Fellowship to the Colorado Springs Fine Arts Center." There he became acquainted with modern art. Picasso and Braque were his greatest influences, along with Walt Kuhn, whose paintings were displayed at the art center. From there he traveled to Mexico to study and paint for a year at Morallia, and the art and culture of Mexico were a great influence on him. Rufino Tamayo was his favorite artist. He returned to Texas and in 1951 won first prize at the annual exhibition at the Dallas Museum of Fine Arts. In 1952 he was exhibited at the Knoedler Gallery NYC, in a show of Texas Artists. Thus encouraged, he moved to New York where he began to show regularly at the galleries. He had his first one man show at the Edwin Hewitt Gallery in 1955. In 1956 Vogue magazine reproduced a Clawson painting of a cat. Lincoln Kristen saw it and commissioned the artist to paint a cat for him. In 1963 the Royal Athena Gallery exhibited a Clawson painting entitled Nude in a Rocking Chair. Immediately the press announced it as a nude of President Kennedy and it got worldwide publicity. Finally, two U.S. Treasury agents entered the Gallery and acquired the painting, along with all photographs and negatives of it. The painting was never seen or heard of again. This was the start of Clawson's period of political satire. He had two one-man shows at the Royal Athena Gallery, 1963-1964 in which he satirized through art all the politics of the day. These shows received praise from the New York Times, Time Magazine, Art News, among others. Clawson had two one-man shows at New York's A.C.A. Gallery in 1968-1972. These shows took a light hearted look at social conditions and the decline of Religion in America. Since then Clawson has worked mostly on commissions from private collectors. Due to failing health he found it too difficult to produce enough paintings at one time to have another one-man show. Finally, in 2000 he entered the Cabrini Center for Nursing and Rehabilitation in the East Village where the Nuns put him to work illustrating the Gospels for the Chapel. He has completed the three-year cycle of Sunday Gospels as well as saints' feast days. He now creates secular paintings from his bed side. Cabrini has created a Cyber Art Gallery through www.touchtown.org in which he now displays his works for a network of nursing and retirement homes. In 1977 the Hirshhorn Museum informed Clawson that it had acquired three of his paintings. In 1983 the Corcoran Gallery of Art informed him that they owned a Clawson drawing. Clawson's work is represented in the Butler Museum (Youngstown, Ohio) Krannert Museum (University of Illinois), University of Georgia Museum and the Smithsonian Art Museum. One man shows- Hewitt Gallery-1955, Royal Athena Gallery 1963-1964, A.C.A. Gallery 1968-1972. A note from the artist's niece, Audra Renfer: My uncle passed away from cancer on October 18, 2007. He will be missed by many. oil on paper Dimensions: 27 1/2"H x 21 1/2"W, 29"H x 23"W (custom artist made sleeve)
• GERALD BOYCE, INDIANA / ILLINOIS (1925
  GERALD BOYCE, INDIANA / ILLINOIS (1925 - 1999), UNTITLED PRIEST FIGURE, AUGUST 1976, WATERCOLOR AND GOUACHE / PAPER, 13 1/2"H X 8 3/8"W (SIGHT), 22 1/2"H X 17 1/2"W (FRAME)Gerald Boyce, Indiana / Illinois, (1925 - 1999) untitled priest figure, August 1976, Watercolor and gouache / Paper Signed and dated lower right. From AskArt: Education: BS, University of Wisconsin (1949) MFA, University of Iowa, (1950) He further studied at the University of Illinois, Indiana University, Oxford University in England, and independent study/research at the British Museum, London. Boyce began working for the University of Indianapolis in 1950 as an adjunct faculty member in the Art Department. He was full professor in the Art Department upon his retirement from the University. He taught at Fresno State during the summer of 1951, and was an adjunct faculty member at DePauw and Indiana Universities. He led several student trips to Europe. Boyce served in the United States Air Force during the last two years of WWII. He has a Memorial Scholarship at the University of Indianapolis. Source: website of the University of Indianapolis Watercolor and gouache / Paper Dimensions: 13 1/2"H x 8 3/8"W (sight), 22 1/2"H x 17 1/2"W (frame)
• GERALD BOYCE, INDIANA, ILLINOIS (1925
  GERALD BOYCE, INDIANA, ILLINOIS (1925 - 1999), INTERIOR WITH FRENCH DOLL, 1980, CASEIN ON PAPER, 9 1/4"H X 9 1/2"W (SIGHT), 17"H X 17"W (FRAME)Gerald Boyce, Indiana, Illinois, (1925 - 1999) Interior with French Doll, 1980, casein on paper Signed lower right. Biography from the Archives of askART: The following information was submitted by Marianne Hamilton: Education: BS, University of Wisconsin (1949) MFA, University of Iowa, (1950) He further studied at the University of Illinois, Indiana University, Oxford University in England, and independent study/research at the British Museum, London. Boyce began working for the University of Indianapolis in 1950 as an adjunct faculty member in the Art Department. He was full professor in the Art Department upon his retirement from the University. He taught at Fresno State during the summer of 1951, and was an adjunct faculty member at DePauw and Indiana Universities. He led several student trips to Europe. Boyce served in the United States Air Force during the last two years of WWII. He has a Memorial Scholarship at the University of Indianapolis. Source: website of the University of Indianapolis casein on paper Dimensions: 9 1/4"H x 9 1/2"W (sight), 17"H x 17"W (frame)