A few examples of appraisal values for
BERKELY

• MAE GRUBER "BERKELY WOODS"
  MAE GRUBER "BERKELY WOODS" WATERCOLOR PAINTINGMae Lucille Gruber (American, 1934-2014). Watercolor on paper titled "Berkely Woods," ca. 1959-60, depicting an abstract landscape. Pencil signed, titled, and dated along the upper left. Height: 17 in x width: 13 3/4 in. Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• CHINESE 5-CLAW GOLD DRAGON ROBE
  CHINESE 5-CLAW GOLD DRAGON ROBE FRAGMENTChinese silk embroidered robe fragment on blue silk depicting a five-clawed golden dragon chasing a flaming pearl. The dragon is surrounded by soaring bats and swirling clouds in the five imperial colors. Below the dragon are rolling waves from which a tri-peaked landmass rises. In many dynasties, a dragon with five claws was a symbol of the emperor. In the Qing dynasty, the dragon was colored yellow or gold, depicted flying amongst clouds above a rolling waves. The blue coloration suggests that this may have been a robe for a minor prince or nobleman as this was the Qing dynasty's official color. This is an exceptionally well-done embroidery with lustrous golden silk and details. Literature: Many similar examples can be seen in Linda Wrigglesworth & Gary Dickinson, "Imperial Wardrobe," (Berkely, California: Ten Speed Press, 2000), pg. 76-96. Sight; diameter: 19 1/2 in. Framed; height: 26 in x width: 24 in. Condition: The item is in great condition with no visible tears, rips, or losses. When inspected under UV light, there is no visible sign of restoration under UV light. Very light wear to the frame. Framed under plexiglass; not inspected out of frame.
• TEN BOOKS RELATING TO WILLIAM
  TEN BOOKS RELATING TO WILLIAM HOGARTH AND HIS TIMES To include: Burke, Jospeh and Caldwell, Colin. Hogarth, The Complete Engravings (New York, n.d.); Jarrett, Derek. England in the Age of Hogarth (London, 1974); Paulson, Ronald. The Art of Hogarth (London, 1975); Einberg, Elizabeth and Egerton, Judy. The Age of Hogarth (London, 1988); Egerton, Judy. Hogarth's Marriage A-la-Mode (London, 1997); Bindman, David. Hogarth and His Times (Berkely, 1997); Tharp, Lars. Hogarth's China (London, 1997); Constable, W. G. Richard Wilson (London, n.d.); Ingamells, John. National Portrait Gallery, Mid-Georgian Portraits 1760-1790 (London, 2004); George III & Queen Charlotte: Patronage, Collecting and Court Taste, Jane Roberts, ed. (London, 2004); plus three publications pertaining to England's Longleat Estate and two copies of Christie's 1985 sales catalogue for "The Contents of Craig and Tarlton, Inc. Raleigh, North Carolina."
• GARY KOMARIN, NEW YORK, CONNECTICUT
  GARY KOMARIN, NEW YORK, CONNECTICUT (B. 1951), ABSTRACT HEAD PORTRAIT, 1997, ACRYLIC ON PAPER, 22 1/2"H X 17"WGary Komarin, New York, Connecticut, (b. 1951) abstract head portrait, 1997, acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019 acrylic on paper Dimensions: 22 1/2"H x 17"W
• GARY KOMARIN, NEW YORK, CONNECTICUT
  GARY KOMARIN, NEW YORK, CONNECTICUT (B. 1951, ABSTRACT STILL LIFE, 1997, ACRYLIC ON PAPER, 22 1/2”H X 17”WGary Komarin, New York, Connecticut, (b. 1951 abstract still life, 1997, acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019 acrylic on paper Dimensions: 22 1/2"H x 17"W
• GARY KOMARIN, NEW YORK, CONNECTICUT
  GARY KOMARIN, NEW YORK, CONNECTICUT (B. 1951), ABSTRACT IN YELLOW, 1997, ACRYLIC ON PAPER, 17”H X 22”WGary Komarin, New York, Connecticut, (b. 1951) abstract in yellow, 1997, acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019 acrylic on paper Dimensions: 17"H x 22"W
• COLLECTION OF 18 TOY CARS
  COLLECTION OF 18 TOY CARS INCLUDING: NUMBERS: 9COLLECTION OF 18 TOY CARS INCLUDING: numbers: 9 cabin cruiser and trailer, 13 Dodge wreck truck, 14 Lomas ambulance, 21 milk delivery truck, Berkely Cavalier camper, 31 Lincoln Continental, 42 Studebaker station wagon, 50 kennel truck, 55 police car, 59 fire chief car, all in original boxes plus 34 VW camper van, 37 Karrier Bantom coke truck (no boxes). Superfast No.4 Gruesome Twosome (boxed), No.68 Porsche 910 (no box "R" series), No.75 Thunderbird (no box), No.10 1908 G.P. Mercedes (no box). Matchbook "Collector's Guide) 1966, (2) 1968, 1969 and 1963. plus two "Hot Wheels" cars Porsche 917 and "Deora" (custom Dodge pickup,) no boxes.
• ENGLISH SHEFFIELD SILVERPLATE
  ENGLISH SHEFFIELD SILVERPLATE TWO-HANDLED TRAY. Bearing a central engraved crest possibly of the Early of Berkely 18.5'' x 28.5'' Condition: No Specific Condition Recorded - Sold As Is