A few examples of appraisal values for
JOSEF ALBERS

• JOSEF ALBERS "EMERAUDE" SOFT
  JOSEF ALBERS "EMERAUDE" SOFT EDGE-HARD EDGE, 1965 Josef Albers (German-American, 1888-1976) "Emeraude" from the 'Soft Edge-Hard Edge' portfolio, 1965, color screenprint, signed and dated in pencil lower right, edition 32 / 50, house under glass in a Kulicke frame. Image: 16.75" H x 16.625" W; frame: 17.25" H x 17" W.
• JOSEF ALBERS GALERIE MELKI
  JOSEF ALBERS GALERIE MELKI EXHIBITION POSTER, 1973 Josef Albers Galerie Melki (Paris) gallery exhibition poster, with image of "Homage to the Square," 1973. Image: 33" H x 21.5" W; frame: 33.5" H x 22.25" W.
• JOSEF ALBERS, COLOR SCREENPRINT,
  JOSEF ALBERS, COLOR SCREENPRINT, 1966 Josef Albers (American/German, 1888-1976),"Variant VII" (from Ten Variants), pencil initialed, titled, dated and numbered 169/200 lower margins, framed under glass, 10"h x 14"w (image), 18"squ (frame)
• JOSEF ALBERS, COLOR SCREENPRINT,
  JOSEF ALBERS, COLOR SCREENPRINT, 1966 Josef Albers (American/German, 1888-1976),"Variant V" (from Ten Variants), pencil initialed, titled, dated and numbered 169/200 lower margins, framed under glass, 10"h x 14"w (image), 18"squ (frame)
• JOSEF ALBERS, COLOR SCREENPRINT,
  JOSEF ALBERS, COLOR SCREENPRINT, 1966 Josef Albers (American/German, 1888-1976),"Variant X" (from Ten Variants), pencil initialed, titled, dated and numbered 169/200 lower margins, framed under glass, 10"h x 14"w (image), 18"squ (frame)
• FRANZ STUCK (1863-1928) EXHIBITED
  FRANZ STUCK (1863-1928) EXHIBITED OIL ON PANELIMPORTANT :: NEW INFORMATION: Click Here for a third party condition report by an expert on panel paintings.Franz Von Stuck (1863-1928)Lauschende Faune (Listening Fauns), BelauschtThe important oil on panel signed Franz Stuck lower right front is displayed in its original frame of the artist's design produced by Hans Irlbacher of Munich. Hans Irlbacher's original label remains verso, as does part of an exhibition label from The Metropolitan Museum of Art.Franz Stuck was an influential artist of the 19th century and co-founder of the Munich Secession movement. As art instructor his students included Paul Klee, Hans Purrmann, Wassily Kandinsky, Alf Bayrle and Josef Albers, most of whom were involved in the Munich Secession as well. This important early work from the artist's oeuvre was only recently re-discovered in a Kansas City, Missouri home after a 100-year absence from exhibition or publication. Until now, the painting was known only by black and white images in early 20th century art journals and exhibition catalogs.TITLE OF THE WORK:The Art Loss Register lists the title of this work as Lauschende Faune (Listening Fauns).The German art journal Die Kunst, 1904, pictures this work on page 38 and lists the title as Belauscht (Overheard or Eavesdropping).The International Studio - An Illustrated Magazine of Fine and Applied Art, August 1909, illustrates this painting and lists the title as Listening Fauns.The exhibition catalog for the Dallas Art Association's First Annual Exhibition: Contemporary International Art,' November 18-27, 1919 also lists the title as Listening Fauns.EXHIBITION:Metropolitan Museum of Art 1909 (remains of the Metropolitan Museum of Art exhibition label remain verso)Chicago Institute of Art 1909.Copley Society Boston 1909.Dallas Art Association's First Annual Exhibition: Contemporary International Art, 1919.PROVENANCE:Art Loss Registry lists the succession as beginning with Galerie Heinemann, Franz Stuck's primary dealer, 09 August 1899 acquired for RM 9000 (inventory number 4612) and sold to Hugo Reisinger on 14 August 1899 for RM 9000. Then Hugo Reisinger until at least 1908.The International Studio · An Illustrated Magazine of Fine and Applied Art for August of 1909 includes an image of this painting as part of a nine-page piece titled THE COLLECTION OF HUGO REISINGER I GERMAN AND AMERICAN PICTURES. BY CHRISTIAN BRITON, confirming the owner as Hugo Reisinger in 1909.The painting was exhibited at The Metropolitan Museum of Art in January, 1909 and again identified in the exhibition catalog as being the property of Hugo Reisinger.As an aside, Hugo Reisinger was a banker, businessman and serious art collector. He married the 18-year-old daughter of St. Louis, Missouri brewer Adolphus Busch in 1890.In 1919, the exhibition catalog for the Dallas Art Association's First Annual Exhibition: Contemporary International Art,' November 18-27, 1919 marks a change by listing the owner of this painting as Edward A. Faust, a prominent St. Louis, Missouri restaurateur and close friend of Adolphus Bush.As an aside, Edward A. Faust was close friend to Adolphus Bush who brewed a lager named for him. Their families were later connected by marriage. In 1878 Faust went to the Paris Exposition where he purchased his own electric power plant for $15,000 and installed it in his restaurant, establishing the first electric illumination in St. Louis.For the next 100 years the whereabouts of this painting are not precisely known. It was never again exhibited or published and went unrecognized by survivors of the couple who owned it most recently, Colonel and Mrs. S.D. Slaughter of Kansas City, Missouri.When this lost work by Franz Stuck was re-discovered inside the Slaughter's Kansas City, Missouri mansion in 2021, another painting was found there as well. This other painting, a large equestrian scene by a British artist, was accompanied by documentation confirming that it had been purchased by the Colonel and his wife in St. Louis, Missouri in 1964. No receipts for the work by Stuck were found. The city of St. Louis, Missouri is 348 miles from Kansas City.Through descent, this work by Franz Stuck is being offered by two brothers who confirm its existence in the home of their grandparents, Colonel and Mrs. S.D. Slaughter, beginning sometime in the 1960s.ALTERNATE SPELLING:The artist's alternate spelling of Franz Von Stuck marks his receiving the Order of Merit of the Bavarian Crown in 1906 after which he was known as Franz Ritter von Stuck.Overall framed size measures 45 x 47.25 inches.Very good condition, apparently untouched but for an old over-varnish that has darkened and in some areas, shows some drips and thickness.There are no areas or bits of touch-up or inpainting indicated under UV light examination.There is a 2.5 inch diameter area of deterioration of the medium that shows as a cluster of fine, irregular, vertical lines of white medium exposed in a cluster just to the left of the figure, and scattered to a far lesser degree just below the figure and to the left quadrant. There are no other issues of loss, no major scratches, chips, dents, gouges, flakes, cupping, rubs or other issues.The frame displays scattered chips overall as shown and heavy wear to the painted laurel running vertically along each long side.
• JOSEF ALBERS (GERMAN, 1888-1976)
  JOSEF ALBERS (GERMAN, 1888-1976) Intaglio print. "Intaglio Duo B". 1958. Signed and dated lower right. No. 15 from an edition of 30. From a New York, NY collection. Dimensions: 22" high x 30" wide Condition: Staining. Toning. Framed behind glass, not examined out of frame.
• JOSEF ALBERS (GERMAN, 1888-1976).
  JOSEF ALBERS (GERMAN, 1888-1976). Screenprint. Wide Light. From a New York, NY collection. Dimensions: 17.25" high x 17.25" wide Condition: Toning. Minor buckling. Framed behind plexiglass, not examined out of frame
• JOSEF ALBERS (GERMAN, 1888-1976).
  JOSEF ALBERS (GERMAN, 1888-1976). Full page from the Formulation: Articulation portfolio, 1972. Screenprint on Mohawk Superfine Bristol. Double page. Unsigned. Printed copyright and text verso. Title page from the portfolio accompanies this lot. From a private collection. From a private collection. Dimensions: 15" h x 40" w. Condition: Scattered stains. Unframed.
• MISCELLANEOUS GROUP OF ART
  MISCELLANEOUS GROUP OF ART BOOKSIncluding: Human Concern / Personal Torment by Robert Doty, Whitney Museum of American Art, 1969; Love and Joy About Letters by Ben Shaw, Grossman Publishers, 1963; Victorian Photographs of Famous Men and Fair Women by Julia Margaret Cameron, The Hogarth Press, 1973; La Collezione edited by Peggy Guggenheim, for the Guggenheim Collection; Era of Exploration: The Rise of Landscape Photography in the American West 1860–1885 by Weston J. Naef, Buffalo Fine Arts Academy, Albright-Knox Art Gallery, and The Metropolitan Museum of Art, 1975; Motif 8 edited by Ruari McLean, Shenval Press Ltd London, Winter 1961; Je suis le cahier: The Sketchbooks of Picasso by Arnold Glimcher, Atlantic Monthly Press, 1996, first edition in original plastic wrapping; Claes Oldenburg: Drawings and Prints with an introduction by Gene Baro, Chelsea House Publishers, 1969; Raoul Duffey 1877–1953 , a catalogue from Hirschl and Adler Galleries, Inc. and Honolulu Academy of Arts, 1996; Josef Albers: Despite Straight Lines by François Bucher and Josef Albers, Yale University Press, 1961; Picasso: An American Tribute edited by John Richardson, Public Education Association, 1962; Mapplethorpe, 1993 Diary photographs by Robert Mapplethorpe, Neues Publishing Co., 1992; Robert Mapplethorpe with photographs by Robert Mapplethorpe, translated by Eric Wilfert, Stedelijk Museum, 1988, signed and dated 1988, in German; Menschenbilder from the Komitee Därstädler Gerprach, 1968, in German; Sweet Pea: A Black Girl Growing Up in the Rural South by Jill Kermentz, Harcourt, Brace and World Inc., 1969, first edition; and A View of One's Own: Three Women Photographers in Rome photographs by Esther Boise Van Denman, Georgina Masson, and Jeanette Montgomery Barron, American Academy in Rome, 2016 (16). Condition All with wear consistent with age and use. Individual condition reports not available for this lot. Notwithstanding 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.
• JOSEF ALBERS "STRUCTURAL
  JOSEF ALBERS "STRUCTURAL CONSTELLATION" (SCULPTURE CA. 1970)Josef Albers (German/ American, 1888-1976) Structural Constellation , circa 1970 Etched glass, aluminum encasement, light 14 3/4" x 15 1/4" x 4" A rare and exceptional light sculpture by the prominent Bauhaus artist and educator, created as part of his ongoing Structural Constellation series begun in 1950. Albers' Structural Constellations are linear compositions engraved with mathematical precision, studies of the perception of space. Though the vast majority of works in the series were two-dimensional in nature (drawings on paper or engraved forms on opaque Vinylite boards), Albers' use of glass for this sculpture literally adds a dimension of interest-- observable from opposite sides-- to say nothing of the added layer of fascination offered by the light element. Glass as a medium also represents a scarce late-career return for Albers to the artistic discipline that launched his career: not only was a glass piece his first commission, it was his also his glass expertise that initially earned him an instructor role at the Bauhaus. This sculpture was featured on the Antiques Roadshow, original air date 3/31/2014, filmed in Kansas City, MO, appraised by Betty Krulik, Betty Krulik Fine Arts, Ltd. (New York). Artist-signed with an "A" monogram to the bottom corner. Includes a vintage custom-made case. Provenance : A private Kansas City area collection, thence by descent, acquired as a gift from the Carborundum Company circa 1976, thence from the artist. Condition Good condition, noting mild wear to the aluminum and a couple of minor stray scratches to the glass. The light element is fully operational. As the glass slides are presently situated, one side of the sculpture shows the optical phenomenon of Newton's rings (a reflective pattern sometimes observable with two flat panes of glass in close proximity).
• JOSEF ALBERS (AFTER) "HOMAGE TO THE
  JOSEF ALBERS (AFTER) "HOMAGE TO THE SQUARE" (SERIGRAPH)Josef Albers (after) (German/ American, 1888-1976) Joy: Homage to the Square , after a 1962 painting Serigraph on paper 8 3/4" x 8 3/4" (image) Not signed. The glazed frame measures 18 3/4" x 18 3/4". From the personal collection of artists Nick and Luella Vaccaro. Condition Very good condition.
• JOSEF ALBERS (AFTER) "HOMAGE TO THE
  JOSEF ALBERS (AFTER) "HOMAGE TO THE SQUARE" (SERIGRAPH)Josef Albers (after) (German/ American, 1888-1976) Interaction of Color: Homage to the Square , after a 1965 painting Serigraph on paper 8 3/4" x 8 3/4" (image) Not signed. The glazed frame measures 18 3/4" x 18 3/4". From the personal collection of artists Nick and Luella Vaccaro. Condition Very good condition.
• JOSEF ALBERS "SILENT" (1965
  JOSEF ALBERS "SILENT" (1965 PENCIL-SIGNED SERIGRAPH)Josef Albers (German/ American, 1888-1976) Silent , 1965 Serigraph on paper 11" x 11" Pencil-signed, dated, titled, and numbered (#39/ 120) to the bottom margin, with an Alan Brown Gallery (Hartsdale, NY) tag affixed to the reverse. From Die Oberflache , a 1965 folio of screenprints employing the artist's quintessential "Homage to a Square" motif. The plexiglass-glazed frame measures 13" x 13" x 1 1/4". Condition Good condition, noting some mat burn at the extreme sight edge in the margin just inside the frame.
• JOSEF ALBERS "CHRYSOPRASE" (1965
  JOSEF ALBERS "CHRYSOPRASE" (1965 PENCIL-SIGNED SERIGRAPH)Josef Albers (German/ American, 1888-1976) Chrysoprase , 1965 Serigraph on paper 11" x 11" Pencil-signed, dated, titled, and numbered (#40/ 120) to the bottom margin, with an Alan Brown Gallery (Hartsdale, NY) tag affixed to the reverse. From Die Oberflache , a 1965 folio of screenprints employing the artist's quintessential "Homage to a Square" motif. The plexiglass-glazed frame measures 13" x 13" x 1 1/4". Condition Good condition, noting some mat burn at the extreme sight edge in the margin just inside the frame.
• PRINT, JOSEF ALBERS Josef Albers
  PRINT, JOSEF ALBERS Josef Albers (American/German, 1888-1976), " I-S Va 4," 1969, screenprint, pencil signed and dated lower right, titled lower left, printed by Sirocco Screenprints, New Haven, published by Ives-Sillman, Inc., New Haven and with their blindstamp lower right corner, image: 15"h x 30"w, overall (with frame): 28.5"h x 36.25"w
• JOSEF ALBERS, Pillars 11¼ h × 10¼ w
  JOSEF ALBERS, Pillars 11¼ h × 10¼ w in (29 × 26 cm)
• Josef Albers. Formulation:
  Josef Albers. Formulation: Articulation (Portfolio 1, Folder 10). 1972, screenprint on paper. 8¼ h × 17 w in. result: $563. estimate: $800–1,000. This work is one plate from the portfolio of 127 screenprints printed in an edition of 1000 published by Harry N. Abrams, Inc., New York and Ives-Sillman, Inc., New Haven. Sold with frontispiece. Provenance: Allan Stone Gallery, New York
• Josef Albers 1888–1976. Folio II
  Josef Albers 1888–1976. Folio II Folder 3; Folio II Folder 22 (two works). 1972, screenprints in colors on Mohawk Superfine Bristol. 15 h × 40 w in. estimate: $1,200–1,800. Printed to verso ‘Portfolio II Folder 3’ and ‘Portfolio II Folder 22'. These works are from the edition of 1000 printed by Ives-Sillman, Inc., New Haven and published by Harry N. Abrams, Inc., New York.
• Josef Albers 1888–1976. Folio II
  Josef Albers 1888–1976. Folio II Folder I; Folio II Folder 6 (two works). 1972, screenprint in colors on Mohawk Superfine Bristol. 15 h × 40 w in. result: $750. estimate: $1,200–1,800. Printed to verso of each work ‘Portfolio II Folder 1’ and ‘Portfolio II Folder 6’. These works are from the edition of 1000 printed by Ives-Sillman, Inc., New Haven and published by Harry N. Abrams, Inc., New York.
• Josef Albers 1888–1976. Folio II
  Josef Albers 1888–1976. Folio II Folder 7; Folio II Folder 26 (two works). 1972, screenprints in colors on Mohawk Superfine Bristol. 15 h × 40 w in. result: $750. estimate: $1,200–1,800. Printed to verso of each work ‘Portfolio II Folder 26’ and ‘Portfolio II Folder 7’. These works are from the edition of 1000 printed by Ives-Sillman, Inc., New Haven and published by Harry N. Abrams, Inc., New York.
• Josef Albers 1888–1976. Folio II
  Josef Albers 1888–1976. Folio II Folder 9 (two identical works). 1972, screenprints in colors on Mohawk Superfine Bristol. 15 h × 40 w in. estimate: $1,200–1,800. Printed to verso of each work ‘Portfolio II Folder 9’. These works are from the edition of 1000 printed by Ives-Sillman, Inc., New Haven and published by Harry N. Abrams, Inc., New York.
• Josef Albers 1888–1976. Intaglio
  Josef Albers 1888–1976. Intaglio Duo B. 1958, inkless intaglio on Arches paper. 22 h × 30 w in. estimate: $2,000–3,000. Signed, titled, dated and numbered to lower margin 'Intaglio Duo B 11/30 Albers 58'. This work is number 11 from the edition of 30 printed by Albers with the assistance of students at the Yale School of Art. Provenance: Wright, Art + Design, 19 April 2018, Lot 142 | Private Collection, New York
• Josef Albers 1888–1976. Folio II
  Josef Albers 1888–1976. Folio II Folder 12; Folio II Folder 18 (two works). 1972, screenprint in colors on Mokawk Superfine Bristol. 15 h × 40 w in. estimate: $1,200–1,800. Printed to verso of each work ‘Portfolio II Folder 12’ and ‘Portfolio II Folder 18’. These works are from the edition of 1000 printed by Ives-Sillman, Inc., New Haven and published by Harry N. Abrams, Inc., New York.
• Josef Albers 1888–1976. Four
  Josef Albers 1888–1976. Four works from Sidney Janis exhibition catalog. 1968, screenprint in colors. 7¼ h × 7¼ w in. result: $1,875. estimate: $800–1,200. These works are screenprints created after the paintings shown in the exhibition, New Paintings by Josef Albers, held 10 April - 4 May 1968 at Sidney Janis Gallery, New York and published in the show's catalog. Sold with original exhibition catalog covers.
• Josef Albers 1888–1976. Six works
  Josef Albers 1888–1976. Six works from Sidney Janis exhibition catalog. 1970, screenprint in colors. 7¼ h × 7½ w in. result: $4,000. estimate: $800–1,200. These works are screenprints created after the paintings shown in the exhibition, Paintings by Josef Albers, held 5 - 31 October 1970 at Sidney Janis Gallery, New York and published in the show's catalog. Sold with original exhibition catalog covers.
• JOSEF ALBERS, INTERACTION OF COLOR,
  JOSEF ALBERS, INTERACTION OF COLOR, 1963Josef Albers (Connecticut/North Carolina/Germany, 1888-1976) INTERACTION OF COLOR, Edition of 2000, illustrations by Josef Albers, et al., published by Yale University Press, New Haven and London, 1963. Includes: seventy-four (74) color screenprints, some with flaps, cut-out overlays, or other paper elements, all loose as issued in softcover folders with title and Roman and Arabic numeral identification; one (1) softcover folio volume of commentary text, 48 pages bound in dark grey cardstock wrappers; one (1) hardcover folio volume of text, 80 pages bound in dark brown cloth with white lettering to spine, Memphis Academy of Arts Library ex libris plate to back pastedown; all housed in a dark brown cloth slipcase with white lettering to spine. Overall with slipcase: 14 1/2" H x 11" W x 5 1/2" D. Formerly property of the now-defunct Memphis College of Art. Condition: General wear commensurate with manner of use as a former library copy. Leaves VIII-1, XV1-3, XVIII-2, XVIII-4, XVIII-11, XIX-1 are not present. Other leaves may also be missing. XX1-1 with burn mark resulting in 2" x 1" area of loss with radiating tears. Tissue paper guards are not present. Screenprints with pinprick holes to corners, creases, pencil inscriptions, some staining and handling wear, toning. Softcover text volume with white archival tape repair to spine, covers with scuffs, staining, creases, corners bumped. Hardbound text volume with shelf wear, staining, areas of loss to cloth to spine and bumped corners. Pages are becoming separated from spine. Pages to both text volumes with scuffs, pencil marks, handling wear, and toning. Slipcase with general wear, including separations, fraying sunning, staining, to cloth.
• ALFREDO VOLPI "FACHADA" 1970
  ALFREDO VOLPI "FACHADA" 1970 TEMPERA ON PAPERAlfredo Volpi (Italy/Brazil, 1896 - 1988) tempera on paper depicting four different building facades in bright colors. Signed lower right "A Volpi", & verso lower right "A.Volpi '70", unframed, & measuring 21-1/2" in height with width of 17-1/2". Comes complete with certificate of authenticity (see photographs). In overall good condition with toning to back of paper due probably to previous acidic backing & pinholes to corners from previous mount. Provenance: from a prominent Texas collector. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. He was one of the most important artists of the so-called Grupo Santa Helena, formed in the 1930s with Francisco Rebolo, Clovis Graciano, Mario Zanini, Rossir Osir e Bonadei, Fulvio Pennachi, & others. He was a prominent painter of the artistic & cultural Brazilian Modernist Movement, even though he was self-taught. Volpi started painting façades of houses in a highly stylized and colorful manner (these paintings were later named the "historical façades" by art critics) and this recurrent theme became pervasive all through the 1950s, after a brief "concretist" period (even though the artist himself never acknowledged being part of the concretist movement as such). The 1960s witnessed the development of his trademark "bandeirinhas" (small flags) for which Volpi became famous and which originated from Brazilian folklore (small flags are a regular fixture of the popular festa junina, held every year during the month of June): the artist would use the small-flag pattern to show an increasing sense of color combination and balanced composition which would eventually place him among the major Brazilian artists of his time. The painter gained national renown with his participation at the second São Paulo Art Biennial, winning the Grand Prix for Brazilian painting, an award he shared with Di Cavalcanti. Di Cavalcanti publicly dismissed Volpi's art as being that of a "flag painter". Soon he became known as one of the most important 20th century painters in Brazil. More recent exhibitions (MAM São Paulo 2006, Curitiba 2007) have shown how Volpi, far from being the isolated self-made artist he was once thought to be, actually absorbed various influences during his career, especially that of Josef Albers. His use of the ancient tempera technique also shows a knowledge of the Italian Renaissance painters. He died April 28, 1988 at age 92 in Brazil.
• ALFREDO VOLPI "FACHADA DAS CASAS"
  ALFREDO VOLPI "FACHADA DAS CASAS" MIXED MEDIAAlfredo Volpi (Italy/Brazil, 1896 - 1988) mixed media entitled "Fachada Das Casas", depicting nine (9) different windows/facades (one of his more familiar & famous themes) in bright colors with a deep & vibrant blue background, executed in 1970. Framed in a white frame with plexiglass front & measuring 25-1/4" in height with width of 19-5/8", & having a sight image height of 23-1/2" with width of 17-5/8". Signed verso "A. Volpi 70". Comes complete with Certificate of Authenticity & letter of provenance (see photographs). In overall good condition, all measurements are approximate. Further Provenance: comes from the estate of a prominent Texas collector, who purchased it directly from the artist, a personal family friend. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. He was one of the most important artists of the so-called Grupo Santa Helena, formed in the 1930s with Francisco Rebolo, Clovis Graciano, Mario Zanini, Rossir Osir e Bonadei, Fulvio Pennachi, & others. He was a prominent painter of the artistic & cultural Brazilian Modernist Movement, even though he was self-taught. Volpi started painting façades of houses in a highly stylized and colorful manner (these paintings were later named the "historical façades" by art critics) and this recurrent theme became pervasive all through the 1950s, after a brief "concretist" period (even though the artist himself never acknowledged being part of the concretist movement as such). The 1960s witnessed the development of his trademark "bandeirinhas" (small flags) for which Volpi became famous and which originated from Brazilian folklore (small flags are a regular fixture of the popular festa junina, held every year during the month of June): the artist would use the small-flag pattern to show an increasing sense of color combination and balanced composition which would eventually place him among the major Brazilian artists of his time. The painter gained national renown with his participation at the second São Paulo Art Biennial, winning the Grand Prix for Brazilian painting, an award he shared with Di Cavalcanti. Di Cavalcanti publicly dismissed Volpi's art as being that of a "flag painter". Soon he became known as one of the most important 20th century painters in Brazil. More recent exhibitions (MAM São Paulo 2006, Curitiba 2007) have shown how Volpi, far from being the isolated self-made artist he was once thought to be, actually absorbed various influences during his career, especially that of Josef Albers. His use of the ancient tempera technique also shows a knowledge of the Italian Renaissance painters. He died April 28, 1988 at age 92 in Brazil.
• ALFREDO VOLPI "BANDEIRINHAS"
  ALFREDO VOLPI "BANDEIRINHAS" MIXED MEDIAAlfredo Volpi (Italy/Brazil, 1896 - 1988) "Bandeirinhas" (1970) unframed tempera on paper depicting orange, blue, and rose colored flags. Signed verso with artist signature and dated '70, measures 20" in height with width of 16". Comes complete with certificate of authenticity (see photographs). In overall good condition, all measurements are approximate. Provenance: from a prominent Texas collector. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. He was one of the most important artists of the so-called Grupo Santa Helena, formed in the 1930s with Francisco Rebolo, Clovis Graciano, Mario Zanini, Rossir Osir e Bonadei, Fulvio Pennachi, & others. He was a prominent painter of the artistic & cultural Brazilian Modernist Movement, even though he was self-taught. Volpi started painting façades of houses in a highly stylized and colorful manner (these paintings were later named the "historical façades" by art critics) and this recurrent theme became pervasive all through the 1950s, after a brief "concretist" period (even though the artist himself never acknowledged being part of the concretist movement as such). The 1960s witnessed the development of his trademark "bandeirinhas" (small flags) for which Volpi became famous and which originated from Brazilian folklore (small flags are a regular fixture of the popular festa junina, held every year during the month of June): the artist would use the small-flag pattern to show an increasing sense of color combination and balanced composition which would eventually place him among the major Brazilian artists of his time. The painter gained national renown with his participation at the second São Paulo Art Biennial, winning the Grand Prix for Brazilian painting, an award he shared with Di Cavalcanti. Di Cavalcanti publicly dismissed Volpi's art as being that of a "flag painter". Soon he became known as one of the most important 20th century painters in Brazil. More recent exhibitions (MAM São Paulo 2006, Curitiba 2007) have shown how Volpi, far from being the isolated self-made artist he was once thought to be, actually absorbed various influences during his career, especially that of Josef Albers. His use of the ancient tempera technique also shows a knowledge of the Italian Renaissance painters. He died April 28, 1988 at age 92 in Brazil.
• ALFREDO VOLPI "FACHADA DAS CASAS"
  ALFREDO VOLPI "FACHADA DAS CASAS" TEMPERA ON PAPERAlfredo Volpi (Italy/Brazil, 1896 - 1988) "Fachada Das Casas" (1970) unframed tempera on paper depicting four windows on multi-colored background. Unframed, & measuring 20" in height with width of 16". Artist signature in verso. Comes complete with certificate of authenticity (see photographs). In overall good condition. Provenance: from a prominent Texas collector, who was also friends of the artist. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. He was one of the most important artists of the so-called Grupo Santa Helena, formed in the 1930s with Francisco Rebolo, Clovis Graciano, Mario Zanini, Rossir Osir e Bonadei, Fulvio Pennachi, & others. He was a prominent painter of the artistic & cultural Brazilian Modernist Movement, even though he was self-taught. Volpi started painting façades of houses in a highly stylized and colorful manner (these paintings were later named the "historical façades" by art critics) and this recurrent theme became pervasive all through the 1950s, after a brief "concretist" period (even though the artist himself never acknowledged being part of the concretist movement as such). The 1960s witnessed the development of his trademark "bandeirinhas" (small flags) for which Volpi became famous and which originated from Brazilian folklore (small flags are a regular fixture of the popular festa junina, held every year during the month of June): the artist would use the small-flag pattern to show an increasing sense of color combination and balanced composition which would eventually place him among the major Brazilian artists of his time. The painter gained national renown with his participation at the second São Paulo Art Biennial, winning the Grand Prix for Brazilian painting, an award he shared with Di Cavalcanti. Di Cavalcanti publicly dismissed Volpi's art as being that of a "flag painter". Soon he became known as one of the most important 20th century painters in Brazil. More recent exhibitions (MAM São Paulo 2006, Curitiba 2007) have shown how Volpi, far from being the isolated self-made artist he was once thought to be, actually absorbed various influences during his career, especially that of Josef Albers. His use of the ancient tempera technique also shows a knowledge of the Italian Renaissance painters. He died April 28, 1988 at age 92 in Brazil.
• ALFREDO VOLPI "BANDEIRINHAS"
  ALFREDO VOLPI "BANDEIRINHAS" MIXED MEDIAAlfredo Volpi (Italy/Brazil, 1896 - 1988) "Banderinhas" (1978) unframed tempera on paper depicting warm colored flags. Unframed, & measuring 20" in height with width of 16". Artist signature in verso. Comes complete with certificate of authenticity (see photographs). In overall good condition. Provenance: from a prominent Texas collector, who purchased it directly from the artist, a personal family friend. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. Alfredo Volpi was born in Lucca, Italy on April 14, 1896 but less than two years later migrated to Brazil where he became a Brazilian citizen & lived for the majority of his life. He soon became known as one of the most important 20th century painters in Brazil. More recent exhibitions (MAM São Paulo 2006, Curitiba 2007) have shown how Volpi, far from being the isolated self-made artist he was once thought to be, actually absorbed various influences during his career, especially that of Josef Albers. His use of the ancient tempera technique also shows a knowledge of the Italian Renaissance painters. He died April 28, 1988 at age 92 in Brazil.
• LORRIE H. GOULET(m. de Creeft,
  LORRIE H. GOULET(m. de Creeft, New York, born 1925) Kneeling Woman, signed within carved rectangle "Goulet", white marble, 31 x 13 x 15 in. Note: Lorrie H. Goulet studied under Josef Albers at the Black Mountain College in North Carolina during the war years of 1943 and 1944. In the summer of 1944, she met Jose de Creeft, a visiting sculptor and instructor, and in November 1944, Goulet and de Creeft were married. Reference: https://www.blackmountaincollege.org/lorrie-goulet/ Provenance: Private Collection, New York City and Palm Beach Condition: light grime
• JOSEF ALBERS(Connecticut/North
  JOSEF ALBERS(Connecticut/North Carolina/German, 1888-1976) Study for Homage to the Square, Unavowed (JAAF 1962.1.72), 1962, signed with monogram lower right in wet paint "JA 62", signed on board verso "JAlbers 1962" with his notes, oil on board, 18 x 18 in. (45.72 x 45.72 cm.); metal frame, 18-5/8 x 18-5/8 in. Note: Albers inscribes his materials and process verso, "Ground: six coats of Liquitex/Painting: paints used- frame down/_ bright Green (Grumbacher..)/Cadmium Green (Winsor & Newton); Oxydent Chromium (Winsor & Newton)..." Brunk Auctions, in cooperation with the Josef and Annie Albers Foundation, will not be disseminating images of the verso. They have authenticated this work and it is registered as number JAAF 1962.1.72 in the catalogue raisonné which is under preparation. Condition: excellent condition
• SIGNED RAUSCHENBERG PRINT "WHY
  SIGNED RAUSCHENBERG PRINT "WHY YOU CAN TELL II" (1979)Robert Rauschenberg (American, 1925-2008). "Why You Can Tell II" (1979). Screenprint in colors on wove paper. Hand signed, numbered 73/100, and dated in pencil on lower left. Published by Multiples, New York and Printed by Styria Studio, New York. With the blind stamp of the printer at lower left corner. A hand-signed, colorful Robert Rauschenberg screenprint with offset lithograph and collage entitled "Why You Can Tell II" from the suite "Nine Prints" featuring images of collaged photographs that Rauschenberg selected from books and magazines that bring disparate eras, cultures, and meanings together, set in an attractive, custom frame. Size of sheet: 30.4" L x 23" W (77.2 cm x 58.4 cm) Size of frame: 35.75" L x 27.875" W (90.8 cm x 70.8 cm) Born in Port Arthur, Texas, Robert Rauschenberg studied at Black Mountain College where he was exposed to exciting artists such as Josef Albers and John Cage. Early on in his career, his Black Paintings and White Paintings justifiably earned the attention of the New York art scene. In addition, Rauschenberg met Jasper Johns who would be an important personal and professional influence; their relationship has been described as "one of the greatest love stories in modern art" (Duncan Ballantyne-Way "The Relationship Between Jasper Johns & Robert Rauschenberg" in "fineartmultiple" 2017). Rauschenberg created memorable artworks for six decades. A master from the Pop Art era, he explored an eclectic array of materials and experimented with various techniques. Perhaps best known for his "Combines" - three dimensional sculptural collages that he created from seemingly ordinary found objects and discarded materials like tires, umbrellas, sheet metal, and newspapers - as well as vibrant silkscreen paintings which he first screen-printed, then painted over, and collaged photographs from books and magazines. Rauschenberg was the first American to win the Golden Lion award at the Venice Biennale in 1964. From there, he went on to have solo exhibitions at the Guggenheim, Tate Modern, Centre Pompidou, and Moderna Museet, among other elite institutions. His art may be found in collections throughout the globe and has sold for tens of millions at auction; his high auction record is $88.8 million at Christie's in 2019. Several important museums including the Museum of Modern Art in New York have collected "Why You Can Tell II". Provenance: ex-Nancy and Dr. E.F. Simpson collection, Los Angeles, California, USA, acquired from 1970 to 2000 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. #171890 Condition: This screenprint has not been examined outside the frame but appears to be in excellent condition. It is hand signed, numbered 73/100, and dated in pencil on lower left. There is a Styria Studio (printer) blind stamp at the lower left corner. Frame is excellent save some stains on lower end. Fitted with suspension wire and ready to display.
• SIGNED RAUSCHENBERG LITHOGRAPH IN
  SIGNED RAUSCHENBERG LITHOGRAPH IN COLORS - ARROW (1984)...Robert Rauschenberg (American, 1925-2008). Untitled (Arrow) color offset lithograph on cream wove paper, 1984. Signed, dated, and numbered 1/90 in pencil on lower margin. Star shaped blindstamp for the printer Larry B. Wright on lower margin as well. A hand-signed, colorful, framed Robert Rauschenberg offset lithograph featuring images of collaged photographs the artist selected from books and magazines that bring disparate eras, cultures, and meanings together - a Roman goddess joins a Thai bodhisattva, and a modern day motorcycle shares the picture plane with mundane objects such as a push broom. Although untitled, this piece has been dubbed "Arrow" for the bold blue arrow Rauschenberg placed at the upper left. This is a special find, indeed the first of a limited edition of 90 set in its original custom frame. Size: 23" L x 18.25" W (58.4 cm x 46.4 cm) Size of frame: 26" L x 21.375" W (66 cm x 54.3 cm) Born in Port Arthur, Texas, Robert Rauschenberg studied at Black Mountain College where he was exposed to exciting artists such as Josef Albers and John Cage. Early on in his career, his Black Paintings and White Paintings justifiably earned the attention of the New York art scene. In addition, Rauschenberg met Jasper Johns who would be an important personal and professional influence; their relationship has been described as "one of the greatest love stories in modern art" (Duncan Ballantyne-Way "The Relationship Between Jasper Johns & Robert Rauschenberg" in "fineartmultiple" 2017). Rauschenberg created memorable artworks for six decades. A master from the Pop Art era, he explored an eclectic array of materials and experimented with various techniques. Perhaps best known for his "Combines" - three dimensional sculptural collages that he created from seemingly ordinary found objects and discarded materials like tires, umbrellas, sheet metal, and newspapers - as well as vibrant silkscreen paintings which he first screen-printed, then painted over, and collaged photographs from books and magazines. Rauschenberg was the first American to win the Golden Lion award at the Venice Biennale in 1964. From there, he went on to have solo exhibitions at the Guggenheim, Tate Modern, Centre Pompidou, and Moderna Museet, among other elite institutions. His art may be found in collections throughout the globe and has sold for tens of millions at auction; his high auction record is $88.8 million at Christie's in 2019. Provenance: private Armbruster collection, Wilmington, North Carolina, USA, acquired via descent 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. #171651 Condition: Signed, dated, and numbered 1/90 in pencil by the artist on lower margin. Star-shaped blindstamp of the printer Larry B. Wright on lower margin as well. Artwork has not been examined outside the frame but appears to be in excellent condition. Frame is wonderful as well save a few minor scuffs and tears to gallery paper on verso. There is label for Colonial, a framer in Greenwich, Connecticut as well as a stamp with the date Dec 10. 1985 below it suggesting this was the original frame as the piece was created in 1984.