FRANK STELLA, THE WHALE WATCH SCARF,FRANK STELLA, THE WHALE WATCH SCARF, 1994Property of a Private Collector silk crepe de chine scarf with rolled hems in a red box, signed and dated '94 by the artist and numbered on the label, with Tyler Graphics Limited certificate of authen
Robert Motherwell, (American, 1915-1992),Robert Motherwell, (American, 1915-1992), \"Black With No Way Out, 1983\", edition 24/98 from El Negro portfolio, El Negro Motherwell, by Rafael Alberti, signed lower right \"R. Motherwell\" with Tyler Graphics Workshop (TGL) blindstamp, three-color lithograph on TGL hand-made paper, 15-1/8 x 37-7/8 in., gilt silver frame with glass,
ELLSWORTH KELLY,TWO BLACKS AND WHITE,ELLSWORTH KELLY,TWO BLACKS AND WHITE, 1971-73Ellsworth Kelly (American, 1923-2015) Two Blacks and White (A. 86; G. 459), 1971-73 Screenprint in black with embossing on Arjomari paper signed in pencil and numbered 69/75 (there were also 9 artists proofs), with the blindstamp of the publisher, Gemini G.E.L., Los Angeles, printed by Kenneth Tyler, with full margins, framed. sheet 23 1/4 x 47 1/4in (59.1 x 120cm)
Condition:
The sheet is floated in the frame with all edges visible. Palest toning to sheet, a foxmark in lower margin. Frame 27 x 51 in with plexi glazing. Not examined out of frame.
HELEN FRANKENTHALER, (AMERICAN, 1928-2011),HELEN FRANKENTHALER, (AMERICAN, 1928-2011), TRIBAL SIGN, 1987, LITHOGRAPH, SHEET: 24 X 18 1/2 IN., FRAME: 36 X 30 IN.HELEN FRANKENTHALER, (American, 1928-2011) Tribal Sign, 1987, lithograph signed and dated Frankenthaler '87 in pencil, l.r.; numbered 32/47 in pencil, l.l.; with Tyler Graphics blindstamp l.r. sheet: 24 x 18 1/2 in., frame: 36 x 30 in. Provenance: A Chestnut Hill, Massachusetts Lady. Condition: Condition: Framed under museum glass, not examined out of frame. Colors strong. Appears to be hinged at corners (not laid down).
FRANK STELLA, (AMERICAN, B. 1936), ESKIMOFRANK STELLA, (AMERICAN, B. 1936), ESKIMO CURLEW, 1977, LITHOGRAPH AND SCREENPRINT IN COLORS, SHEET: 33 1/2 X 45 1/2 IN., FRAME: 34 3/4 X 46 3/4 IN.FRANK STELLA (American, b. 1936) Eskimo Curlew 1977, lithograph and screenprint in colors numbered, signed, and dated 14/50 F Stella 77 in pencil lower right, with Tyler Graphics blindstamp lower right sheet: 33 1/2 x 45 1/2 in., frame: 34 3/4 x 46 3/4 in. 1977, lithograph and screenprint in colors Dimensions: sheet: 33 1/2 x 45 1/2 in., frame: 34 3/4 x 46 3/4 in. Provenance: Harcus Krakow Gallery, Boston, Massachusetts, 1980; The Estate of a Wellesley, Massachusetts Collector. Condition: Overall good condition. Floated in frame, appears to be mounted to backing at upper corners. Red color in center is slightly less orange than it appears in photos. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
ROBERT MOTHERWELL, (AMERICAN, 1915-1991),ROBERT MOTHERWELL, (AMERICAN, 1915-1991), RITE OF PASSAGE III, 1980, LITHOGRAPH WITH CHINE APPLIQUE, SHEET: 24 3/4 X 34 IN., FRAME: 27 1/2 X 37 IN.ROBERT MOTHERWELL (American, 1915-1991) Rite of Passage III 1980, lithograph with chine applique signed and numbered RM ap VIII/xx in brown ink upper left; with Tyler Graphics, Ltd. blindsamp lower right sheet: 24 3/4 x 34 in., frame: 27 1/2 x 37 in. 1980, lithograph with chine applique Dimensions: sheet: 24 3/4 x 34 in., frame: 27 1/2 x 37 in. Provenance: The artist; to his friends, Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: Floated in frame, affixed to backing at top corners; with minor creasing in paper upper left corner. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
ROBERT MOTHERWELL, (AMERICAN, 1915-1991),ROBERT MOTHERWELL, (AMERICAN, 1915-1991), AMERICA - LA FRANCE VARIATIONS IV, 1984, LITHOGRAPH AND COLLAGE, SHEET: 46 X 31 3/4 IN., FRAME: 49 X 34 1/2 IN.ROBERT MOTHERWELL (American, 1915-1991) America - La France Variations IV 1984, lithograph and collage signed Motherwell ap IX/XVIII in pencil lower right, with Tyler Graphics blindstamp lower right sheet: 46 x 31 3/4 in., frame: 49 x 34 1/2 in. 1984, lithograph and collage Dimensions: sheet: 46 x 31 3/4 in., frame: 49 x 34 1/2 in. Provenance: The artist; to his friends, Drs. Dorothy and Norman Zinberg. Grogan & Company is pleased to offer at auction sixteen works from the collection of the late Drs. Dorothy and Norman Zinberg. Both Zinbergs were accomplished scientists who met as graduate students at Harvard in the 1950s. Dorothy was a beloved Harvard Kennedy School scholar and a pioneering sociologist and biochemist who focused on the relationship between science and public policy. Throughout her storied career, she was a mentor to and advocate for women in the sciences and higher education. Remembered as a generous, humble, and stalwart friend, Dorothy was known for her ability to bring together individuals from all walks of life, hosting legendary salons at her Cambridge home. She and Norman also spent time in Provincetown, Massachusetts, where they were neighbors and good friends of the artist Robert Motherwell. Condition: Overall good condition. Colors strong. Floated in frame, archivally affixed to backing along top edge. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
KENNETH E. TYLER, AMERICAN (B. 1931),KENNETH E. TYLER, AMERICAN (B. 1931), SOLAR BIRD, LITHOGRAPH, 30”H X 22”WKenneth E. Tyler, American, (b. 1931) Solar Bird, lithograph Numbered 12/20 lower left, titled lower middle, signed lower right. From Herron.IUPUI.Edu: Tyler entered the print world in 1962, when he returned to school at 31-years-old and enrolled in the printmaking program at Herron School of Art in Indianapolis. After Herron, Tyler moved on to work at Tamarind Lithography Workshop though the Ford Foundation Fellowship. Then in 1966, Tyler established Gemini G.E.L. (Graphic Editions, Ltd.) with partners Stanley Grinstein and Sidney B. Felsen. As a part of his work at Gemini G.E.L., Tyler pursued a working relationship with the artist Josef Albers, who would become a close friend of Tyler's. Their relationship opened Gemini G.E.L. up to business with other big-name artists. At that time, Tyler also started to push the boundaries of printmaking by expanding print sizes further than they had ever gone before and created new techniques in printmaking. He was interested in adjusting printmaking to work for the artist, rather than adjusting the artist to work for printmaking. "Here is a workshop, there are no rules, no restrictions, do what you want to do."[1] From Gemini G.E.L., Tyler then moved to the east coast and started his own printmaking company, Tyler Graphics, Ltd. Although on a smaller scale than Gemini G.E.L., Tyler Graphics, Ltd. attracted similarly well-known artists and Tyler continued to push the techniques of printmaking. You cannot talk about Kenneth Tyler without talking about the vast array of artists that have leaned upon Tyler's knowledge, ingenuity, and talent. The list of artists which Tyler has collaborated with is lengthy and overwhelmingly impressive. With names like Josef Albers, Robert Rauschenberg, Jasper Johns, Roy Lichtenstein, David Hockney, Robert Motherwell, Helen Frankenthaller, and Frank Stella, it reads more like a list of the top artists of the second half of the 20th century. When we talk about Tyler's work, we are really talking about the work of the artists who have worked with Tyler. As a master printer, Tyler does not produce his own art. Rather, the works that came out of Gemini G.E.L., Ltd. and Tyler Graphics, Ltd. were pieces imagined and designed by the artists who claim them. They were simply produced and brought into reality by Tyler. This is something that makes the work of Kenneth Tyler so interesting. Tyler refers to himself not at as an artist, but as a technician, producer, and publisher, explaining, "My job was to make sure the process was done correctly and push the buttons with the artists permission."[2] He saw himself as the person who carries out the vision of the artist. One of reasons he did not pursue his own art was so that he would not imprint his own vision onto the works he was producing. "As a printmaker and publisher, I can only be as successful as the artists I work with and the art we create together."[3] David Hockney, once noted: "[A]ll Ken's interested in is working with artists. He was wise enough to know he couldn't be one. So, he became a great artisan and found interesting artists who enjoy his skills and wanted to use them ... He rolls up his sleeves and he collaborates with you. He's the chief collaborator, not just the publisher and not just the printer."[4] Perhaps that is the true art of Kenneth Tyler; his collaboration with artists. Sources: Ken Tyler, in Reaching Out: Ken Tyler, master printer (documentary film), Avery/Tirce Production, 1976. Ken Tyler, at Herron School of Art and Design gallery opening, 2018. Ken Tyler, 'Layers of Space and Time: David Hockney's Moving Focus', in Contemporary Master Prints from the Lilja Collection, Liechtenstein and London: the Lilja Art Fund Foundation in association with Azimuth Edition Limited, 1995, p. 125. Judith Goldman, 'Ken Tyler the Artisan as Artist' in Tyler Graphics: The Extended Image, Walker Art Center, 1987, p. 19. lithograph Dimensions: 30"H x 22"W
TERENCE LA NOUE, AMERICAN 1941-, PROSPEROUSTERENCE LA NOUE, AMERICAN 1941-, PROSPEROUS VOYAGE, 1991, ETCHING, AQUATINT, MEZZOTINT WITH COLLAGE, SHEET: 39 1/2 X 78 IN. (100.33 X 198.12 CM.), FRAME: 44 X 84 IN. (111.76 X 213.36 CM.)TERENCE LA NOUE, AMERICAN, 1941- PROSPEROUS VOYAGE, 1991, Etching, aquatint, mezzotint with collage Lower left numbered: 1/25; lower right signed and dated: Terence La Noue 1991 Etching, aquatint, mezzotint with collage Dimensions: Sheet: 39 1/2 x 78 in. (100.33 x 198.12 cm.), Frame: 44 x 84 in. (111.76 x 213.36 cm.) Provenance: Sotheby's New York "CONTEMPORARY PRINTS INCLUDING PRINTS FROM THE COLLECTION OF KENNETH TYLER AND TYLER GRAPHICS" lot 1059; purchased at this sale by Private Collection Washington D.C. Please note this is not part of the estate of Ruth Bader Ginsburg.
ELIZABETH TYLER. "THE THREE BEARS,"ELIZABETH TYLER. "THE THREE BEARS," LITHOGRAPH For the National Child Welfare Association, 1918, lithograph, sight size: 28 x 22 in., framed.
AFTER ELIZABETH TYLER WOLCOTT, SCENESAFTER ELIZABETH TYLER WOLCOTT, SCENES FROM FAIRY TALES, EIGHT COLOR LITHOGRAPHS, 27 X 21 INAfter Elizabeth Tyler Wolcott, Scenes from Fairy Tales, Eight Color Lithographs, 27 x 21 in
ROY LICHTENSTEIN (AMERICAN 1923-1997),ROY LICHTENSTEIN (AMERICAN 1923-1997), NIGHT SCENE (CORLETT 170), ETCHING, AQUATINT AND ENGRAVING IN COLORS ON LANA PAPER, SHEET SIZE: 521 X 540 MM (20-1/2 X 21-1/4 IN)Roy Lichtenstein, (American, 1923-1997) Night Scene (Corlett 170), Etching, aquatint and engraving in colors on Lana paper; apparently in good condition. Framed.* Signed Lichtenstein and dated 80 in graphite l.r. and numbered 7/32 in graphite l.l. and with Tyler Graphics Ltd. blindstamp l.r. Etching, aquatint and engraving in colors on Lana paper; apparently in good condition. Framed.* Dimensions: Sheet size: 521 x 540 mm (20-1/2 x 21-1/4 in) Provenance: Property from a Virginia Collection
MASSACHUSETTS FAMILY REGISTER. MaryMASSACHUSETTS FAMILY REGISTER. Mary T. Morgan Brimfield Hampshire County ca.1827 silk on linen. Record of the Justin Morgan family framed by columns topped by urns and surrounded by a floral garland. In a bird's-eye frame 19 1/2''h. 20''w. Mary was the fourth child of Justin Morgan (1777-1843) and his second wife Sarah Tyler (1791-1856). She records her birth in 1818 and her age as nine as well the birth and death dates of her ten siblings. Her death in 1860 is neatly added to the register. Light staining in center and one side. One inch area of loss threads in ground.