A few examples of appraisal values for
EMBRACE

• Judas Ullulaq ?? ??? (1937-1999),
  Judas Ullulaq ?? ??? (1937-1999), Uqsuqtuuq (Gjoa Haven) SPIRITS EMBRACE, CA. 1985 signed in syllabics 11.5 x 8.5 x 6.25 in — 29.2 x 21.6 x 15.9 cm
• ALEXANDER CALDER (AMERICAN,
  ALEXANDER CALDER (AMERICAN, 1898-1976) "AUTUMN" Lithograph in colors. Printed signature and date to lower right 'Calder '69'. This work is from the edition of an unknown size and published by the Collector's Guild, New York.Artist BioAlexander Calder (American, 1898-1976)Alexander Calder was an American sculptor known both for his innovative mobiles (kinetic sculptures powered by motors or air currents) that embrace chance in their aesthetic, his static "Stabiles", and his monumental public sculptures.
• ANDY WARHOL (1928-1987) "LADIES AND
  ANDY WARHOL (1928-1987) "LADIES AND GENTLEMAN, 1975" Silkscreen print in colors on Arches wove paper. Signed, numbered '28/125', and dated '75 in pencil (on verso). Reference: FS II134.Andy Warhol (American, 1928-1987) Andrew Warhol Jr. was born to Austro-Hungarian emigrants on August 6th, 1928 in Pittsburgh, Pennsylvania. In 1945, Warhol enrolled at the Carnegie Institute of Technology, now known as Carnegie Mellon University. There, he studied commercial art, earning a Bachelor of Fine Arts in pictoral design in 1949. Upon graduating, he moved to New York City, where his career began in commercial and advertising art. Following some successful solo and group exhibitions in the late 1950s and early 1960s, Warhol established a studio on East 47th Street in New York, which would become known as The Factory - a gathering place for a wide range of artists, performers, celebrities, playwrights, and wealthy patrons. Using a variety of media, including painting, silkscreening, photography, film, and sculpture, Warhol examined the intersection of celebrity culture, advertising, and artistic expression. Though controversial due to his seemingly open embrace of consumerist culture, Warhol has been celebrated as a leading figure in the pop art movement and as a visionary whose work captures the spirit of mid-20th century American culture. Warhol died in Manhattan on February 22nd, 1987 at the age of 58. He and his work have been the subjects of numerous posthumous exhibitions, books, and films, and his creations have become highly sought-after collectibles.
• ANDY WARHOL (1928-1987) "LADIES AND
  ANDY WARHOL (1928-1987) "LADIES AND GENTLEMAN, 1975" Silkscreen print in colors on Arches wove paper. Signed, numbered '28/125', and dated '75 in pencil (on verso). Reference: FS II132.Andy Warhol (American, 1928-1987) Andrew Warhol Jr. was born to Austro-Hungarian emigrants on August 6th, 1928 in Pittsburgh, Pennsylvania. In 1945, Warhol enrolled at the Carnegie Institute of Technology, now known as Carnegie Mellon University. There, he studied commercial art, earning a Bachelor of Fine Arts in pictoral design in 1949. Upon graduating, he moved to New York City, where his career began in commercial and advertising art. Following some successful solo and group exhibitions in the late 1950s and early 1960s, Warhol established a studio on East 47th Street in New York, which would become known as The Factory - a gathering place for a wide range of artists, performers, celebrities, playwrights, and wealthy patrons. Using a variety of media, including painting, silkscreening, photography, film, and sculpture, Warhol examined the intersection of celebrity culture, advertising, and artistic expression. Though controversial due to his seemingly open embrace of consumerist culture, Warhol has been celebrated as a leading figure in the pop art movement and as a visionary whose work captures the spirit of mid-20th century American culture. Warhol died in Manhattan on February 22nd, 1987 at the age of 58. He and his work have been the subjects of numerous posthumous exhibitions, books, and films, and his creations have become highly sought-after collectibles.
• MID-CENTURY FIGURAL BRONZEA
  MID-CENTURY FIGURAL BRONZEA lost-wax cast bronze of two elongated figures in embrace, circa mid-20th century. Unsigned. Measures 26" x 7" x 7". Condition Some oxidation at and around the base. There is a 1" crack to the side of one lower leg.
• RAPHAEL SAMUAL "EMBRACE" FIGURAL
  RAPHAEL SAMUAL "EMBRACE" FIGURAL PLASTER SCULPTURE Raphael Samual (Trinidadian, b. 1929), "Embrace", plaster statue depicting two amorous figures, together with a lucite base. Statue: 10.25" H x 9" W x 8" D. Keywords: Keywords: Abstract, Caribbean artist, Modern, Modernism, Modernist, Couple
• CONTINENTAL PORTRAIT OF A COUPLE.
  CONTINENTAL PORTRAIT OF A COUPLE. 19TH-CENTURY.Oil on canvas. Portrait of an old couple in embrace. Unsigned. In an elaborate, carved and gilded frame. Sight size 11 3/4" by 14". Overall size 21 1/2" by 24". Overall good condition.
• MEXICAN SCHOOL "THE EMBRACE" OIL ON
  MEXICAN SCHOOL "THE EMBRACE" OIL ON CARDBOARD Mexican School oil on cardboard, likely early 20th century, depicting two central figures sharing an embrace between two back-facing figures, the frame reverse with illegible handwriting, possibly reads "Born Dec 20, 1888 / Princess... / Painted by..." accompanied by a print depicting portrait of female figure. Image: 13.5" H x 14.75" W; frame: 18.25" H x 19" W x 2.25" D. Paint losses and craquelure, minor punctures or denting due to cardboard.
• BRUTALIST EMBRACING FIGURES
  BRUTALIST EMBRACING FIGURES MODERN METAL SCULPTURE Brutalist modern metal sculpture, depicting couple of figures locked in embrace with one seated on the other's knee, mounted to stepped base. Overall: 10" H x 7.5" W x 5.5" D.
• MINTONS P?TE-SUR-P?TE PORCELAIN
  MINTONS P?TE-SUR-P?TE PORCELAIN RELIEF PLAQUE Marc Louis Solon (French, 1835-1913) for Mintons Ltd. pate-sur-pate relief porcelain rectangular plaque, white slip on bronze-green ground with Neoclassical decoration depicting cherubs coaxing lovers to embrace, floral swag surround, incised signature and date lower right: "L. Solon (19)08," parcel-gilt frame with bellflower decoration. Image: 5" H x 10" W; frame: 14" H x 19.25" W x 1.125" D.
• MID-CENTURY MODERN BRONZE FIGURAL
  MID-CENTURY MODERN BRONZE FIGURAL SCULPTURE Mid-century modern bronze sculpture depicting abstracted figures in embrace, mounted to brass base. 10" H x 2.5" W x 2.25" D.
• RAYMOND A. WHYTE "EMBRACE WITH
  RAYMOND A. WHYTE "EMBRACE WITH DEVIL" PENCIL STUDY Raymond A. Whyte (Canadian-American, 1923-2002) graphite study on paper depicting nude woman in embrace with devil figure, bearing signature lower right. Image: 16.5" H x 14" W; frame: 24" H x 21.5" W.
• NAOMI SCHINDLER, PATINATED BRONZE
  NAOMI SCHINDLER, PATINATED BRONZE SCULPTURE, Noemi (Naomi) Schindler (German/Israel/France, 1919-1991), "Embrace", initialed on base, 30"h x 8"squ
• FIORE DE HENRIQUEZ ABSTRACT
  FIORE DE HENRIQUEZ ABSTRACT EXPRESSIONIST BRONZEFiore De Henriquez (1921 - 2004) (Mid to 20th Century.)The square base supports a globular pinnacle balancing an abstract composition of blade-like lobes, wings, on opposite sides of an abstracted opening or passageway. The sculpture in rich brown patina is signed Fiore in the casting, top of the base. Willem de Kooning produced similar bronze castings in this same period.The circumstances of her childhood, the difficulties of being born an intersexed person and the larger than life persona of sculptor Fiore de Henriquez have inspired more than a few books, articles and documentaries about her life and art. The titles include Art & Androgyny: The Life of Sculptor Fiore De Henriquez, Fiore In Love With Clay, Cigars Get Feminine Puff and All Woman and Half a Man to name a few. She eventually conquered and embraced the challenges of having been born with both male and female sexual characteristics, and ultimately considered it an opportunity, seeing herself as a rare and unusual individual.As a young woman in facist Italy, she helped evacuate Jewish refugees to safety and claims she escaped an interrogation through the washroom window after fixing her interrogators pancakes. She left Italy in 1949 and in 1953 became a British citizen. Fiore would return to work and exhibit in Rome and later lived in Tuscany until her passing. Throughout her life, and around the world, she received numerous commissions for public installations while she sculpted the likenesses of thousands of people, including celebrities and dignitaries as well as friends and relatives - some who describe her as having a cigar in one hand and whisky in the other during their sitting.It can be said that her abstract expressionist sculptures speak to the challenges she faced. Some seem to portray concealment while others can be seen as expressions of freedom (like the airy winged composition here). Some as themes of struggling with acceptance and others the release of not doing so. There are interpretations of solitude and loneliness or paired heads and conjoined figures, expressions of duality. In her essay on the artist's life, author Jan Short provides poignant insight including the artist's own words, ''The moment I embrace a piece of clay to make a sculpture, I think of how it's going to grow,'' Fiore said. ''Clay is very soft and pliable, so feminine: la creta. It then becomes plaster, more virile and rigid: gesso, that I can carve with a knife. Later it becomes feminine again as la cera, wax, pliable again, with fire this time. Then il bronzo, again masculine, hard. From feminine to masculine, over and again.'' The more one learns about the life and times of Fiore De Henriquez, the more fascinating her works become.Measures 15.5 x 21 x 9 inches and weighs 72 pounds.Very good condition throughout, no damage, repair or wear.
• FIORE DE HENRIQUEZ (1921-2004)
  FIORE DE HENRIQUEZ (1921-2004) EXPRESSIONIST BRONZEFiore De Henriquez (1921 - 2004)Entangled Figures (Mid 20th Century.)The masculine figure arches its back above a mostly obscured counterpart, their arms and legs entangled, the lower's shoulders lifted from the square bronze base, all in rich brown patina and with intaglio signature of Fiore. Willem de Kooning produced similar bronze castings in this same period.The circumstances of her childhood, the difficulties of being born an intersexed person and the larger than life persona of sculptor Fiore de Henriquez have inspired more than a few books, articles and documentaries about her life and art. The titles include Art & Androgyny: The Life of Sculptor Fiore De Henriquez, Fiore In Love With Clay, Cigars Get Feminine Puff and All Woman and Half a Man to name a few. She eventually conquered and embraced the challenges of having been born with both male and female sexual characteristics, and ultimately considered it an opportunity, seeing herself as a rare and unusual individual.As a young woman in facist Italy, she helped evacuate Jewish refugees to safety and claims she escaped an interrogation through the washroom window after fixing her interrogators pancakes. She left Italy in 1949 and in 1953 became a British citizen. Fiore would return to work and exhibit in Rome and later lived in Tuscany until her passing. Throughout her life, and around the world, she received numerous commissions for public installations while she sculpted the likenesses of thousands of people, including celebrities and dignitaries as well as friends and relatives - some who describe her as having a cigar in one hand and whisky in the other during their sitting.It can be said that her abstract expressionist sculptures speak to the challenges she faced. Some seem to portray concealment while others can be seen as expressions of freedom. Some as themes of struggling with acceptance and others the release of not doing so. There are interpretations of solitude and loneliness or paired heads and conjoined figures, expressions of duality. In her essay on the artist's life, author Jan Short provides poignant insight including the artist's own words, ''The moment I embrace a piece of clay to make a sculpture, I think of how it's going to grow,'' Fiore said. ''Clay is very soft and pliable, so feminine: la creta. It then becomes plaster, more virile and rigid: gesso, that I can carve with a knife. Later it becomes feminine again as la cera, wax, pliable again, with fire this time. Then il bronzo, again masculine, hard. From feminine to masculine, over and again.'' The more one learns about the life and times of Fiore De Henriquez, the more fascinating her works become.Measures 11.5 x 14.5 x 11.75 inches.Very good condition throughout, no damage, repair or heavy wear.
• FIORE DE HENRIQUEZ (1921-2004)
  FIORE DE HENRIQUEZ (1921-2004) EXPRESSIONIST BRONZEFiore De Henriquez (Italian/british 1921 - 2004)Reclined Figure on Plinth (Third quarter of the 20th century.)The composition of an abstracted figure on its back cradling abstracted flowers within its arms and bent legs is signed in the casting back side along the lower edge. Willem de Kooning produced similar bronze castings in this same period.The circumstances of her childhood, the difficulties of being born an intersexed person and the larger than life persona of sculptor Fiore de Henriquez have inspired more than a few books, articles and documentaries about her life and art. The titles include Art & Androgyny: The Life of Sculptor Fiore De Henriquez, FioreIn Love With Clay, Cigars Get Feminine Puff and'All Woman and Half a Man' to name a few.She eventually conquered and embraced the challenges of having been born with both male and female sexual characteristics, and ultimately considered it an opportunity, seeing herself as a rare and unusual individual.As a young woman in facist Italy, she helped evacuate Jewish refugees to safety and claims she escaped an interrogation through the washroom window after fixing her interrogators pancakes. She left Italy in 1949 and in 1953 became a British citizen. Fiore returned to work and exhibit in Rome and later lived in Tuscany until her passing. Throughout her life, and around the world, she received numerous commissions for public installations while she sculpted the likenesses of thousands of people, including celebrities and dignitaries as well as friends and relatives - some who describe her as having a cigar in one hand and whisky in the other during their sitting.It can be said that her abstract expressionist sculptures speak to the challenges she faced. Some seem to portray concealment while others can be seen as expressions of freedom. Some as themes of struggling with acceptance and others the release of not doing so. There are interpretations of solitude and loneliness (like the sculpture being offered here) or paired heads and conjoined figures, expressions of duality. In her essay on the artist's life, author Jan Short provides poignant insight including the artist's own words, ''The moment I embrace a piece of clay to make a sculpture, I think of how it's going to grow,'' Fiore said. ''Clay is very soft and pliable, so feminine: la creta. It then becomes plaster, more virile and rigid: gesso, that I can carve with a knife. Later it becomes feminine again as la cera, wax, pliable again, with fire this time. Then il bronzo, again masculine, hard. From feminine to masculine, over and again.'' The more one learns about the life and times of Fiore De Henriquez, the more fascinating her works become.Measures 10.75 x 12 x 6.75 inches.Very good condition throughout, no damage, repair or wear.
• YURI YUROZ (B.1956) MODERNIST
  YURI YUROZ (B.1956) MODERNIST PAINTING OF A COUPLEFramed oil painting on board, 2007, Man and Woman in an Embrace, signed and dated lower right: Yuroz (Yuri Yuroz, Armenia/ United States, b. 1956), approx sight: 7"h, 5"w, overall: 13"h, 11"w, 2.5lbs
• FRENCH LOUIS XVI STYLE TRUMEAU WALL
  FRENCH LOUIS XVI STYLE TRUMEAU WALL MIRRORFrench Louis XVI style trumeau mirror, 20th c., having a carved ribbon frame showing floral carving in relief centering a print of a couple in an embrace, over a flat mirror plate, some splits to the wood, approx 61.5"h, 19"w, 24lbs
• JOHN DAIDO LOORI (1931-2009):
  JOHN DAIDO LOORI (1931-2009): SEAWEED TREE; FANTASY EMBRACE; AND BEACH FLOWERThree color photographs, with the artist's inkstamps on the mats, with labels from Dharma Communications. All 9 x 13 1/2 in. (sight), 16 1/4 x 20 1/4 in. (frame). Condition All apparently in very good condition. Not examined out of frame.
• COLLECTION OF (5) FRAMED PERSIAN
  COLLECTION OF (5) FRAMED PERSIAN WORKS INC. EROTIC Includes (2) framed erotic Persian manuscript pages of (2) women; a framed erotic Persian manuscript page displaying a couple in an amorous embrace; a framed Persian manuscript page displaying a standing figure with a shield and a lioness at his feet; and (1) framed Persian painting of ladies on (2) boats and an amorous couple. From a Westchester, NY estate. Dimensions: sight of the standing figure measures approx. 7.875" h x 3.675" w. Condition: Good with losses, toning, small tear, creases, and general wear. Have not been examined out-of-frame.
• JOAN SHAPIRO MODERN ABSTRACT
  JOAN SHAPIRO MODERN ABSTRACT ALABASTER SCULPTURE Joan Hyde Shapiro (American, XX-XXI) Modern Abstract veined red alabaster stone sculpture carved into an organic freeform tower-like shape resembling two figures in an embrace, signed to reverse, mounted on a round mirrored base. Overall: 17" H x 7" diameter. Provenance: From the collection of the artist.
• MARNEY PIKE MIXED MEDIA ON
  MARNEY PIKE MIXED MEDIA ON PAPERMARNEY PIKE (Portland, Oregon, 20/21st century) mixed media on paper, figures in an embrace. Signed lower right and dated 1996, 38" x 24" (image), 51.5" x 35.25" (frame).
• NICOLAS AFRICANO / THE MEANING
  NICOLAS AFRICANO / THE MEANING (1974)Nicolas Africano (Illinois, b. 1948) The Meaning , 1974 Acrylic on canvas 46" x 28" Signed and dated to the reverse of the canvas. Across the top of the canvas is written "The Meaning" and each individual image in the painting is labeled, reading from top left to bottom right: "The Waterfall / The Volcano / Rocket Smoke (The Corn Field) / The Tornado / The Reindeer / The Rocket / The Bouquet / The Lake / The White Dog (Broken Heart) / The Black Goose in the Fog / The Ground / The Tree." Around the edges of the canvas is a border of alternating black and white conical paint mounds. Nicolas Africano referred to this work as "the catalogue" at his 1974 Master's show at Illinois State University, because it lists much of the imagery that was present across his work. Bill Morgan comments: "It's all done with the images- they seem to embrace but then befuddle the classic categories of Natural vs. Human-made." Provenance : From the Bill & Ellen Morgan collection. Bill Morgan is a professor emeritus of English at Illinois State University in Normal, Illinois. It was there that he befriended Nicolas Africano, and he quickly became a patron and collector of the Africano's work as well; for a time Morgan rented Africano a room, occasionally accepting artwork in lieu of payment. This far-reaching collection from an early adopter gives a unique opportunity to access rare early works and get an expansive view of the artist during several pivotal moments in his journey. Alternate spelling : Nicholas Africano Condition Good to very good condition. Some of the text is difficult to read.
• FERNAND VERGUCHT UNTITLED (1975
  FERNAND VERGUCHT UNTITLED (1975 GOUACHE, LGBTQ INTEREST)Fernand Jacobs Vergucht (Belgian/ American, 1923-2003) Untitled, 1975 Gouache and ink on paper 14 1/2" x 22" A composition depicting a gay couple in naked embrace, blissfully disregarding an aggressive crowd of jeering religious figures and law enforcement (American and Russian). Signed and dated to the bottom right corner. Presented behind glass in a black frame that measures 27 3/4" x 33 1/2". Condition Very good condition.
• ALEXEI PETROVICH BOGOLYUBOV
  ALEXEI PETROVICH BOGOLYUBOV (1824-1896) RUSSIANLeaving the harbour, oil on canvas, 11 1/4 x 17 1/2 inches, signed. Note: “Leaving the Harbour,” as we have titled it, demonstrates Bogolyubov transitional shift from Romanticism to Realism. Bogolyubov began his artistic career studying under Maxim Vorobiev at the Saint Petersburg Academy of Arts. Vorobiev’s dedication to the romantic style heavily influenced Bogolyubov’s early works. However, once Bogolyubov graduated he spent many years travelling across Europe, working in Italy, Germany, and France. In Paris, he connected with Jean-Baptiste-Camille Corot and Charles-François Daubigny, members of the Barbizon School. Bogolyubov’s work began to embrace the ways of the Barbizon School - painting the world as they saw it - without the emotive melodrama found in the predominant romantic style of the time. In “Leaving the Harbour” the visibility of the brush strokes in the sky and water point to the Barbizon Schools influence, whereas the scene itself still contains elements of Romanticism love for melodrama. The choice to depict sailors traversing choppy waters as they make their way to their ship leads the viewer to contemplate the dangers of the seas. The rough waters and subdued colour palette hint to future tumultuous storms the sailors may have to face on their journey. Despite these suggestions, the use of a softer more realistic lighting, compared to the drastic contrast of light and shadow found in romantic pieces, points to Bogolyubov’s newfound appreciation of realism. Together, these various stylistic influences make “Leaving the Harbour” an exemplary work of Bogolyubov’s transition from Romanticism to Realism. The stylistic shift he made abroad deeply affected his return to Russia. Instead of following the ways of his Russian predecessors, his works lost all traces of Romanticism and were replaced with a staunch realism that led him to work with a group of younger Russian artists, The Wanderers, in the latter part of his career. Provenance, Bertie Bruun (Norwegian), worked at a Finnish embassy during the second world war, assembled a significant art collection during this period from reputable galleries. Brunn, a successful businessman, eventually immigrated to Canada with the collection being passed down in the family, to current owners (Ottawa).
• LOREDANO ROSIN (ITALIAN, 1936 -
  LOREDANO ROSIN (ITALIAN, 1936 - 1992) 18" x 11" x 7" "Lover's Embrace". Glass sculpture with overall charcoal hue. Signed on base "Loredano Rosin". Offered with fitted under-lit base.
• ARISTIDE MAILLOL (FRENCH,
  ARISTIDE MAILLOL (FRENCH, 1861-1944) 7" x 4 ½" sight size "Daphnis et Chloe Embrace" from Daphnis and Chloe, 1937. Woodcut in black on laid paper, unsigned, double matted under glass in a black and gilt wood frame, overall 27" x 24 ½".
• GERMAN PORCELAIN GROUPING OF A
  GERMAN PORCELAIN GROUPING OF A COUPLE 6 ¾"H x 9 ½"W x 7 ?" Porcelain figurine of a woman at a piano being embraced by her lover. Not marked.
• FORD CRULL (AMERICAN, B. 1952)
  FORD CRULL (AMERICAN, B. 1952) 80" x 100" overall Diptych "Fall from Grace II", 1985. Oil on canvas, signed, dated, and titled verso, gallery wrapped. Ford Crull (born June 6, 1954) is an American neo-symbolist abstract artist. Crull was born in Boston, MA, but lived in Seattle until 1976, when he moved to Los Angeles to embark on his professional career. While still an art student at the University of Washington, he won many prizes at local arts festivals and was the youngest ever artist to be invited to show at the Northwest Art Annual. Considered a precocious talent, Crull joined Foster White Gallery,[3] one of Seattle's premier at galleries where he had several exhibitions before graduating university. From 1976 to 1983 Crull's paintings focused on organic, biomorphic shapes on white backgrounds, a gestational period for the artist that expressed in a pure abstract manner with impasto like surfaces. He joined the Stella Polaris Gallery[4] in 1983, where he met art critic and writer Edward Goldman, and host of KCRW's “Art Talk.” Goldman championed Crull's works, which were acquired by corporate art collections, and was also instrumental in Crull's first significant non-gallery[5] show at the USC Fisher Museum of Art (then, the Fisher Gallery) at the University of Southern California. In 1983 Crull relocated to New York City, and became a seminal figure in the East Village art scene. He was discovered by Colin de Land, founder of Vox Populi, and the Armory Art Show. Crull had several shows at the Vox Populi, a time marked also by commercial success, and national recognition for the artist. The Metropolitan Museum of Art acquired Crull's works, the Brooklyn Museum, the National Gallery of Art, and the Dayton Art Institute. In 1989, Crull was part of the very first showing of American artists in the USSR, Painting Beyond the Death of Painting at the Kuznetsky Most Exhibition Hall in Moscow curated by American art critic and historian, Donald Kuspit. This coincided with the time Crull was influenced by the Philosophy of Dualism. Upon his return from Russia, Crull began using steel framing for his paintings, with the edges burned. It was an invention that came to him after seeing the ancient icons in Russia. The new works were titled, “Relic Series”. In a 1994 interview on the artist's work at Howard Scott Gallery in NYC noted art critic Eleanor Heartney stated,"The key to Crull’s vision is his simultaneous embrace of the uncertainties of the contemporary world and his affirmation of the reality of the individual consciousness within it. In his work, the authentic self remains the last bulwark against an anarchic world." From 2006 - 2010, Crull made several visits to Shanghai, China, culminating in the first of his subsequent interdisciplinary live art works. At the opening of the Bund 1919 art bank, a cultural and art enclave developed from five 1919 buildings at Shanghai No. 8 Cotton and Textile Factory, Crull executed a public art project to a live performance of pianist Shi Wen.
• PAINTING, CAROL AUST Carol Aust
  PAINTING, CAROL AUST Carol Aust (American, 20th/21st century), "Embrace," 2008, acrylic on panel, signed and dated verso, overall (unframed): 30"h x 30"w
• Christopher Ries. Embrace. 2008,
  Christopher Ries. Embrace. 2008, cut, ground, and polished optical crystal. 33½ h × 18¾ w × 5? d in. result: $17,500. estimate: $20,000–30,000. Etched signature and date ‘© Christopher Ries 1/1/08’. Provenance: Private Collection
• 5 ROYAL DOULTON CHILDREN AND LADY
  5 ROYAL DOULTON CHILDREN AND LADY FIGURINESCollectible set of porcelain figures by famed company. Embrace HN4258, Helen HN2994, Bedtime HN1978, Vanity HN2475 and Helping Mother HN4228. Doulton backstamps. Charlton Standard Catalogue 3rd Ed., estimate: $800. Issued: 20th c. Dimensions: 6"H, tallest Manufacturer: Royal Doulton Country of Origin: England Condition: Overall good
• 4 ROYAL DOULTON LADY
  4 ROYAL DOULTON LADY FIGURINESMelody, Embrace, Charmed and Christmas Parcels. Melody HN4117, Embrace HN4258, Charmed HN4445 and Christmas Parcels HN3493. Doulton backstamps. Issued: 20th c., 21st c. Dimensions: 6"H, tallest Manufacturer: Royal Doulton Country of Origin: England
• 4 ROYAL DOULTON LADY FIGURINES,
  4 ROYAL DOULTON LADY FIGURINES, SENTIMENTS SERIESCharmed HN4445, Cherish HN4442 and 2 Embrace HN4258. Doulton backstamp. Artist: A. Maslankowski Issued: 21st c. Dimensions: 6.25"H, tallest Manufacturer: Royal Doulton Country of Origin: England
• 4 ROYAL DOULTON FIGURINES, LADIES
  4 ROYAL DOULTON FIGURINES, LADIES IN WHITEStamped Royal Doulton to bottom. Stephanie HN3759 was the 1996 collectors roadshow figure. Cherish HN4442, Embrace HN4258, and Joy HN3875 were RDICC exclusives. Issued: 1990s-2000s Dimensions: 8"H, tallest Manufacturer: Royal Doulton Country of Origin: England
• JOAN MIRO ABSTRACT ART PRINT
  JOAN MIRO ABSTRACT ART PRINT GALERIE MAEGHT ARTE PARISExpressionist, after original created for 1965 Paris exhibition. An art print after an original by Spanish painter, sculptor, and ceramicist Joan Miro (1893?1983), produced for the 1965 CARTONS exhibition at Galerie Maeght, Paris, originally printed by Arte Adrien Maeght, Paris (ARTE PARIS). Bold primary colors with strong black accents embrace the composition, with its central black figure having both humanoid and abstract qualities. The original color lithograph was printed before the addition of lettering, highlighting the Artist's trademark style. An example from the poster edition is featured in the collection of the Museum of Modern Art (MOMA), New York. Presented in a decorative matte with a black metal frame. Art 26.75"H x 22.5"W. Glass crack towards bottom of frame. Artist: Joan Miro Issued: c. 1965 Dimensions: 34.25"H x 30.25"W, framed Manufacturer: Arte Paris Country of Origin: France