Steve Kaufman (American, 1960-2010). Screenprint on canvas titled "George Washington, Father of Our Nation" depicting the profile of the United State's first president as he appears on the one dollar bill. Signed along the verso. Kaufman is well known for his association with Andy Warhol and the Pop Art movement.Provenance: Distinguished corporate collection, Minnesota.Height: 20 in x width: 20 in.br/>Condition:No visible tears, creases, or restoration under UV light. The color is bold and bright, and the surface is stable. To the upper and lower right corners, there is wear. Along the right side of the recto, there are light pen marks; please see the listing image. Along the verso, there is a pen inscription along the lower right; along the upper center, there are four handling marks that are visible in the listing image.
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Jasper Johns (American, b. 1930). Offset lithograph with paints and paintbrush titled "Target" depicting a 'blank' target. Signed in print along the lower left; the second line in the artist section has been left to allow the purchaser to paint the target themselves and sign their own name. Along the the catalog "Technics and Creativity" published by Gemini G.E.L., Los Angeles, in conjunction with the Museum of Modern Art, New York, 1970-71. Contained in a white plastic case.(Print) height: 10 1/2 in x width: 8 1/2 in. (Case) height: 10 3/4 in x width: 9 in x depth: 1 1/4 in.br/>Condition:Light wears, scratches, and scuffs to the white case. Light wear including some discoloration and scratches to the cover of the book. All pages appear present. The paintbrush has come unattached to the sheet of the target print. The print is in otherwise good condition and is still firmly held within the case. A few small discolorations from the paint including a few small red spots near the red paint pot.
Original exhibition poster for "Frank Stella: The Circuits Prints," which was on display at the Walker Art Center in Minneapolis, MN from September 17 to November 27, 1988. Hand-signed and dated by Frank Stella (American, b. 1936) along the lower right of the image.Height: 38 in x width: 23 in.br/>Condition:The colors are bold and bright. There are no major creases, losses, or tears. There are no signs of restoration under UV light. The work is not framed.
Christian Riese Lassen (American, b. 1956). Oil on canvas painting titled "Wind Surfer" depicting a colorful abstract composition of a figure on a sailed surfboard. Signed along the lower right.Lot Essay:Christian Riese Lassen is a celebrated marine artist and environmental advocate recognized for his breathtaking depictions of marine life and seascapes. Immigrating to the United States at a young age, Lassen found inspiration in the natural beauty of the Hawaiian islands, where he later established his artistic career. His works often feature vibrant and surreal underwater scenes, showcasing a unique blend of fantasy and ecological consciousness.Lassen's artistry gained widespread acclaim for its ability to convey a deep connection with nature and a commitment to environmental conservation. His paintings have been featured in numerous exhibitions and are widely collected around the world. Over the years, Lassen has utilized his artistic platform to raise awareness about marine conservation issues, aligning his passion for art with a mission to protect the oceans. Christian Riese Lassen's legacy extends beyond the canvas, embodying a harmonious fusion of art and environmental advocacy that continues to inspire both art enthusiasts and conservationists globally.Sight; height: 39 1/2 in x width: 59 3/4 in. Framed; height: 52 3/4 in x width: 72 3/4 in.br/>Condition:The colors are bold and bright. There is light wear along the edges including some rubbing and minor spots of paint loss. Some dust gathered along the surface of the work. Light wear to the frame. Edges and verso not inspected.
Chris Roberts-Antieau (American, b. 1950). Embroidered textile art composition titled "Conga Line" depicting a line of figures performing a line dance, 2003. In a hand-painted frame. Titled and signed along the center of the lower frame; further signed, titled, and dated along a label affixed to the verso. Chris Roberts-Antieau is a fiber artist based in Michigan. She characterizes her work as "embroidered tapestries", composed of fabric applique, thread painting, and hand embroidery.Sight; height: 16 1/4 in x width: 57 1/4 in. Framed; height: 21 1/2 in x width: 63 1/2 in.br/>Condition:No signs of stains, loose threads, rips, or repairs. The textile is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
Steven Sorman (American, b. 1948). Gouache, watercolor, and collage on St. Armand linen paper titled "Oh I'm (Maundy Thursday) LXX" depicting an abstract scene with bright orange and cream against a deep navy background, 1999. Pencil signed and dated along the lower right; titled along the lower center.Steven Sorman is an internationally recognized Minnesota artist, best known as a painter and printmaker. He earned his BFA from the University of Minnesota. Currently, he resides and is active in Red Wing, Minnesota. His work is housed in numerous international museums that include Stedkijk Museum in Amsterdam, Netherlands, The Museum of Modern Art and the Whitney Museum of American Art in New York, New York, the Art Institute of Chicago in Chicago, Illinois, and Walker Art Center, Minneapolis, Minnesota. Sorman won the Bush Foundation Artist's Fellowship in 1979, the San Francisco Museum of Modern Art Merit World Print III Award in 1980, the Rockefeller Foundation American Center Artist in Residence in Paris in 1982 and the 2nd Bhrat Bhavan International Biennial of Prints Merit Award in 1991.Unframed; height: 18 1/2 in x width: 14 in. Framed; height: 25 1/4 in x width: 21 1/4 in.br/>Condition:The colors are bold and bright. There is undulation to the sheet throughout. No visible rips, creases, or restorations. The artwork is floated in frame. Framed under plexiglass; light wear to the frame; not inspected out of frame.
Nicholas R. Brewer (American, 1857-1949). Oil on canvas landscape painting depicting a road curving into a group of trees with towering mountains rising in the background. Signed along the lower right.Lot Essay:Born in a log cabin in Minnesota in 1857, Nicholas Brewer’s work typifies his frontier spirit and love for the American landscape. He grew up on a farm, where his days were defined by hard work, but he still found the time to draw and paint in between chores. At the age of 18, he moved to St. Paul. He received some art training there from Henry Koempel, a local painter and decorator, and ended up marrying Koempel’s daughter. He eked out a living for his swiftly growing family through portrait commissions and teaching.In 1885, Brewer first traveled to New York, determined to make it as a serious artist. He received a small amount of training there; however, he remained primarily self-taught. He began receiving some success in New York, and continued spending winters there for much of his career. His work was included in several exhibitions, and he was inducted into the illustrious Salmagundi Club. In his later career, he traveled the United States, giving traveling lectures and exhibitions, as well as taking portrait commissions wherever he went. During one productive visit to Washington D.C., Brewer even painted a portrait of President Franklin Delano Roosevelt.The main reason for his travels, though, was his love of the American landscape. Although Brewer was never able to fully make a living by landscape painting, it remained his true passion. His agrarian upbringing left him with a sense of reverence for the earth, and he delighted in experimenting with colors and textures to best capture the mood of a landscape. He paid particular heed to the flora he passed by, from the solemn Minnesota prairie grasses to southern blue bonnets to the tiny patches of scrub grass clinging to vertiginous California cliffs. His paintings rarely depict specific places; Brewer instead preferred to paint landscapes that he felt represented an ideal, more the spirit than the actuality of a location. Nevertheless, his travels provided him with a rich backdrop upon which to base his works.Sight; height: 20 in x width: 24 in. Framed; height: 21 3/4 in x width: 25 3/4 in.br/>Condition:The colors are bold and bright. The surface is stable. There are no major losses or signs of restoration under UV light. There is minute craquelure along the top half of the painting, particularly along the white areas. In the top right quadrant there is a loose brush hair in the paint, that was assumedly artist generated. The verso of the canvas is in stable condition, there are no losses or signs of repair.
Jamali (Pakistani/American, b. 1944). Color lithograph depicting a surrealist face against a tan background. Signed along the lower right. From a limited edition; numbered 15/195 along an Art & Peace, Inc. gallery label affixed to the verso.Sight; height: 20 in x width: 20 in. Framed; height: 30 1/2 in x width: 30 1/2 in.br/>Condition:The colors are bold and bright. No visible tears, losses, or restorations. There is a slight undulation to the sheet throughout. The print is floated in frame. Framed under glass; light wear to the frame. Verso of print not inspected; not inspected out of frame.
Jamali (Pakistani/American, b. 1944). Color lithograph depicting a surrealist face against a tan background. Signed along the lower right. From a limited edition; numbered 15/195 along an Art & Peace, Inc. gallery label affixed to the verso.Sight; height: 20 in x width: 20 in. Framed; height: 30 1/2 in x width: 30 1/2 in.br/>Condition:The colors are bold and bright. No visible tears, losses, or restorations. There is a slight undulation to the sheet throughout. The print is floated in frame. Framed under glass; light wear to the frame. Verso of print not inspected; not inspected out of frame.
Rich Seidelman (American, 20th/21st c). Ink on paper drawing titled "Bobby's World Happy Meal" depicting a boy on a tricycle holding a McDonald's Happy Meal box. Titled, signed, and dated "Fall 1993" along the lower left. Rich Seidelman was the art director and writer for McDonald's commercials from 1979-2001.Height: 8 1/2 in x width: 11 in.br/>Condition:No rips, tears, losses, or repairs. Light handling marks. Two pinholes along the upper center edge, possibly original to the artistic process. Unframed.
Rich Seidelman (American, 20th/21st c). Ink on paper drawing titled "Backyard Fun" depicting Ronald McDonald building a sandcastle with two children in a backyard. Titled, signed, and dated "April 1994" along the upper center. Rich Seidelman was the art director and writer for McDonald's commercials from 1979-2001.Height: 8 1/2 in x width: 11 in.br/>Condition:No rips, tears, losses, or repairs. Light handling marks. Crease along the lower right corner. Unframed.
Rich Seidelman (American, 20th/21st c). Crayon and ink on paper drawing titled "Grimace's Birthday" depicting Ronald McDonald with balloons and stars. Signed and dated 1994 along the lower right. Titled along the lower left. Rich Seidelman was the art director and writer for McDonald's commercials from 1979-2001.Height: 8 1/2 in x width: 11 in.br/>Condition:No rips, tears, losses, or repairs. Light handling marks. The drawing is affixed to a piece of paper along the verso. Unframed.
Riker Bros. Newark 14k yellow gold Art Nouveau brooch with hidden bale. Set with a central opal in a gold bezel with milgrain detail, flanked by two gradient blue basse-taille enamel wings. Central opal surmounted by an approximately 0.10 ct diamond. Marked "14k" and maker's mark (scimitar with R) on the reverse of the wings. Chain for photography purposes only, not included with lot.Height: 16.62 mm x width: 38.36 mm x depth: 10.37 mm. Gross weight: 5.5 grams.br/>Condition:Small chip to the enamel at right wing in the upper right portion. Crack to the enamel at left wing in the lower portion of the point. Opal shows minor wear including light scratches.
The Allsop-Bliss Co. 14k white gold Art Deco style filigree brooch set with central rectangular cut aquamarine and two accent diamonds. With locking safety clasp. Marked "14k" at clasp with markers mark "WAB" for The Allsop-Bliss Co. Newark.Height: 15.43 mm x width: 56.23 mm x depth: 9.31 mm. Gross weight: 5.2 grams.br/>Condition:Overall good condition.
Thomas Hart Benton (American, 1889-1975). Lithograph on paper titled "The Race" depicting a horse galloping in a race against a train on a wide open prairie, 1941. Pencil signed along the lower right. Benton was a key figure in the Regionalist art movement along with fellow artists Grant Wood and John Steuart Curry.Sight; height: 9 1/2 in x width: 13 1/2 in. Framed; height: 19 3/4 in x width: 22 1/4 in.Condition:Undulation and toning is visible across the sheet. It appears the piece was re-matted to a larger mat since toning halts as a hard-edged line near the interior edges of the present mat. Areas of foxing throughout, larger areas along the extreme edges that are not visible when framed. There are two repairs to the extreme edges, not visible when framed. Scattered foxing to the recto. When viewed under UV light there are areas that fluoresce around the perimeter of the image. The work is affixed to the mat with four paper corners. Some very light handling marks. There is water damage to the mat along the bottom edge. Framed under glass; some wear to the frame. The paper backing of the frame has been cut along three edges to allow for inspection of the print.
14k white gold Art Deco style nine stone diamond ring in the form of a filigree circle, with three larger diamonds down the center and three smaller diamonds down each side. Marked "14k" on the inner shank.Ring size: US 9.5; Gross weight: 3.7 grams.br/>Condition:Condition commensurate with normal wear including scratches to the gold.
Platinum art deco style diamond ring, navette shaped, in filigree setting. One central old European cut diamond with six smaller diamond accents (two single cut and four old European cut). Ring marked platinum along shank.Ring size: US 9. Gross weight: 3.9 gramsbr/>Condition:Condition commensurate with normal wear and age, including wear to the engraving. Chips to the center stone and one accent stone.
Ernest Dewey Albinson (American, 1898-1971). Oil on canvas painting depicting the Witch's Tree overlooking Lake Superior. Signed along the lower left.Lot Essay:Dewey Albinson was born in Minneapolis, Minneapolis March 9, 1898. He began painting at the age of 15, and studied at the Minneapolis School of Art, the Art Students’ League of New York to which he had a scholarship, in Paris and Italy. He has received many awards, and has exhibited widely in this country and abroad. Mr. Albinson executed a mural for the Cloquet Minnesota Post Office under the program of the Section of Fine Arts.Dewey Albinson brought an expressionist approach of bold brushstrokes and strong colors to upper Midwestern subjects like farmsteads, towns and cities, Native American life, and the North Shore region of Lake Superior. He studied at the Minneapolis School of Art (today the Minneapolis College of Art and Design), the Art Students League in New York City, and in France and Italy.Following several years of painting in France and Italy, Albinson directed the St. Paul School of Art back in Minnesota. During the Depression he painted Minneapolis and University of Minnesota scenes for the Public Works of Art Project; painted for, and directed the Education Division of, the WPA Federal Art Project in Minnesota; and painted murals for the post offices of Cloquet, Minnesota and Marquette, Michigan.Albinson spent his final years in Mexico, where he painted a series of canvases based on Miguel Cervantes’s story of Don Quixote. Albinson’s typescript memoirs are in the Minnesota Historical Society library.Height: 26 in x width: 22 in.br/>Condition:The colors are bold and bright. There are no visible tears or creases. There is a slight undulation to the canvas. The stretcher bars are visible on the left, top, and right side. There are several areas of loss and repair along the extreme right edge of the canvas. The repaired areas are primarily through the upper right quadrant each measuring approximately 1/2 inch. Along the verso there is wear to the extreme edges of the canvas. Two canvas keys are missing in the upper right corner.
Large hand-tooled 800 silver table garniture in the form of cresting waves topped by mermaids or mermen. With lilies and lilypads along the sides. There are faint marks along the underside that are indecipherable. With a silverplate insert tray. Very similar to Hanau German designs. While the marks could not be read, the piece tested as 800 silver.Provenance: From the distinguished collection of the Walker Art Center, Minneapolis, MN - proceeds from this sale will benefit their mission.Height: 12 3/4 in x width: 13 in x depth: 18 in. Weight (excluding silverplate tray): 3,203.5 grams. Walkerbr/>Condition:There are no major breaks, scratches, or dents. There is tarnishing throughout and accretion of polish in recessed areas. All components are secure. There is minute scratching throughout the interior of the bowl element. The removing bowl interior has scratching and tarnishing. There are some scratches across the interior of the footrim. There are no signs of restoration.
Pair of large silverplate Sheffield candelabra. Each with four arms extending from a central candlestick. With leaded bases.Provenance: From the distinguished collection of the Walker Art Center, Minneapolis, MN - proceeds from this sale will benefit their mission.(Taller) Height: 25 1/2 in x width: 21 in x depth: 21 in. (Shorter) Height: 23 1/2 in x width: 21 in x depth: 21 in. Walkerbr/>Condition:There are no major losses. There is verdigris patination in the recessed areas and scratches throughout. One of the arms on one of the candelabrum is broken at the base and is quite loose.
Art Deco style hammered sterling silver flask monogrammed "L.A.D." in a cartouche along the side. Marked "Sterling 3203 5/8PT" along the neck with an illegible maker's mark.Height: 7 1/4 in x width: 4 1/4 in. Gross weight: 8.11 Troy oz.br/>Condition:The lid hinges open and closes firmly and smoothly. There are a couple of small dents along the back Light scratches throughout. Light wear consistent with age and use. A few small spots of tarnishing.
Rod Massey (American, b. 1949). Oil on panel painting titled "Waiting Construction Equipment" depicting five large construction vehicles in an empty field. Likely depicting a scene in Minneapolis, St. Paul, or one of the Twin Cities' suburbs. Signed, dated, and titled along a label along the verso.Provenance: Groveland Gallery, Minneapolis, Minnesota; Private Minnesota collection.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Sight; height: 20 in x width: 30 in. Framed; height: 22 1/4 in x width: 32 1/4 in.br/>Condition:The colors are deep and bold. There are no visible tears or losses. The surface is stable. There are a few areas of soiling/scuffs throughout, in particular along the upper right quadrant, along the upper edge and along the right edge of the board. Also down the top edge of the upper left quadrant. There is wear to the frame. There are no signs of restoration under UV light.
Rod Massey (American, b. 1949). Oil on panel painting titled "Brian's Fixer-Upper" depicting houses buried in white snow, 2004. Initialed and dated along the lower right corner. Likely depicting a home in St. Paul or Minneapolis. Signed and dated along the verso. With a label from Groveland Gallery in Minneapolis, Minnesota along the verso.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Unframed; height: 48 in x width: 38 in. Framed; height: 50 1/2 in x width: 40 1/2 in.br/>Condition:There are no visible losses, breaks, or restorations. Light wear to the frame.
Paul Winstanley (British, b. 1954). Oil on canvas painting titled "Flux" depicting an interior room or lobby leading to floor-length windows with trees outside, 2005. Signed, titled, and dated along the verso.Lot Essay:Born in Manchester in June 1954, Paul Winstanley is a renowned artist who embarked on his artistic journey by studying painting at Cardiff College of Art from 1973 to 1976, followed by the Slade from 1976 to 1978. Initially influenced by abstract Modernism, Winstanley later forged a distinctive visual language, merging minimalism with photographic pictorialism. His breakthrough moment came with the exhibition of the large painting 'Walkway' at the Whitechapel Open in 1989, earning him the prestigious first prize Unilever Award. This success led to a year as Kettle's Yard artist in residence in Cambridge, where he produced a significant body of work exploring semi-public, post-war interior spaces, culminating in impactful shows like 'Driven Landscapes' in 1993 and 'Annexe' at Tate, Millbank in 1997/98.Throughout the 1990s, Winstanley's work delved into the utility of English modernism and its political context, including landscapes viewed from moving vehicles. After recovering from a serious road accident, his focus shifted to the transience of the interior/exterior relationship, exemplified by the 'Veil' series. His major retrospective in 2008 at Art Space, Auckland, New Zealand, showcased the evolution of his artistic exploration. Winstanley's art places a central emphasis on the role of the viewer, incorporating occasional figures and portraying active passivity. His diverse body of work has been featured in exhibitions worldwide, and his creations find homes in esteemed collections such as Tate, MoMA, MoCA, and more. Currently residing and working in London, Winstanley continues to push the boundaries of his practice, as evidenced by his publications, including the photographic project 'Art School' in 2013 and the book '59 Paintings' in 2018.Height: 47 1/2 in x width: 63 in x depth: 2 in.br/>Condition:No major losses or restorations when viewed under UV light. There are a few minute spots of rubbing and paint loss along the extreme edges; one small spot along the upper center edge. There is a light scuff along the surface along the upper left corner. Clean verso.
Paul Winstanley (British, b. 1954). Oil on canvas painting titled "Utopia 1" depicting a realistic interior room with floor-length glass doors. A city can be seen through a haze outside the doors.Lot Essay:Born in Manchester in June 1954, Paul Winstanley is a renowned artist who embarked on his artistic journey by studying painting at Cardiff College of Art from 1973 to 1976, followed by the Slade from 1976 to 1978. Initially influenced by abstract Modernism, Winstanley later forged a distinctive visual language, merging minimalism with photographic pictorialism. His breakthrough moment came with the exhibition of the large painting 'Walkway' at the Whitechapel Open in 1989, earning him the prestigious first prize Unilever Award. This success led to a year as Kettle's Yard artist in residence in Cambridge, where he produced a significant body of work exploring semi-public, post-war interior spaces, culminating in impactful shows like 'Driven Landscapes' in 1993 and 'Annexe' at Tate, Millbank in 1997/98.Throughout the 1990s, Winstanley's work delved into the utility of English modernism and its political context, including landscapes viewed from moving vehicles. After recovering from a serious road accident, his focus shifted to the transience of the interior/exterior relationship, exemplified by the 'Veil' series. His major retrospective in 2008 at Art Space, Auckland, New Zealand, showcased the evolution of his artistic exploration. Winstanley's art places a central emphasis on the role of the viewer, incorporating occasional figures and portraying active passivity. His diverse body of work has been featured in exhibitions worldwide, and his creations find homes in esteemed collections such as Tate, MoMA, MoCA, and more. Currently residing and working in London, Winstanley continues to push the boundaries of his practice, as evidenced by his publications, including the photographic project 'Art School' in 2013 and the book '59 Paintings' in 2018.Height: 75 in x width: 93 in x depth: 1 3/4 in.br/>Condition:The painting is in overall good condition with no losses or restorations. Some scuffs along the edges, particularly along the top edge. Clean verso and stretcher.
Evan Penny (South African/Canadian, b. 1953). Hyperrealistic sculpture depicting the bust of an elderly man, 2005. Series 2, number 6 from the "No One - In Particular" series. Silicone, pigment, hair, fabric, and aluminum. Titled, dated, and signed faintly in pen along the verso. With a shipping crate and hardware. The crate with labels from Cadogan Tate Fine Art and Phillips auction house.Height: 31 in x width: 40 in x depth: 7 1/4 in.br/>Condition:The sculpture is in overall excellent condition with no losses or repairs. There is a network of small spots of soiling to the jacket along the lower right and right shoulder. Some wear to the crate as expected.
Attributed Henri de Toulouse-Lautrec (French, 1864-1901). Graphite sketch or drawing on laid paper depicting a figure on a horse. With the artist's signature red stamp along the lower right. The paper watermarked "Original Lourvre Mill." In an ornate giltwood and plaster frame.Provenance: From the collection of Malcolm E. Lein, former director of the Minnesota Museum of American Art.Malcolm Emil Lein (1913-2003) was the director of the Minnesota Museum of American Art during its early and formative years. During his 30-year tenure, he fought to procure the museum funding, grow its permanent collection, and establish it as a St. Paul's premiere gallery. Along with his wife Miriam, who worked at the Walker Art Center, he was a fixture in the Twin Cities artistic community throughout his life.Sight; height: 6 1/4 x width: 4 in. Framed; height: 13 x width: 11 in.br/>Condition:No tears, losses, or restorations. The sheet is toned. There is a network of foxing/stains along the upper half, visible in the lot listing. Along the verso there are four pieces of tape along each edge. The work is affixed along the upper edge with a piece of clear tape. Some wear to the gilt plaster and wood frame. Some white tape, pictured in the listing, along the verso of the frame has been removed to allow for inspection of the work.
Ginny Herzog (American, 21st c.) Watercolor and collage titled "In Depth" depicting an industrial scene with colorful squares on top of each other. Signed along the lower right.Ginny Gerzog is an artist based in Minnesota. She received B.A in Studio Art from St Cloud State University. A huge part of her inspiration comes from her early career as an interior designer. Being inspired by different architectural elements, she has been creating mixed media painting through photo manipulation.Sight; height: 27 in x width: 36 in.br/>Condition:The colors are bold and bright. There are no noticeable rips, losses, or restorations. There is a perimeter of mat burn around the image. There is a non-acidic mat included with this lot. The work is not framed.
George Chann (Chinese/American, 1913-1995). Oil on board abstract painting depicting a multitude of short lines in yellow, green, red, and blue on a white ground. Signed along the lower left.Lot Essay:George Chann was a Chinese-American artist known for his significant contributions to modern art in the mid-20th century. Born in Canton, China, Chann immigrated to the United States in 1933, where he later became a prominent figure in the American art scene. His work is characterized by a fusion of Eastern and Western artistic traditions, blending traditional Chinese calligraphy with modern abstract expressionism. Chann's unique style and innovative approach garnered attention, leading to numerous exhibitions and accolades throughout his career.In the 1950s and 1960s, Chann played a key role in the California art scene, particularly in the San Francisco Bay Area. His paintings often featured bold brushstrokes, vibrant colors, and a sense of spontaneity that reflected his deep understanding of both Chinese and Western artistic philosophies. Chann's artistry transcended cultural boundaries, offering viewers a bridge between two worlds. His legacy continues to influence contemporary artists, highlighting the rich tapestry of cultural exchange in the realm of modern art.Unframed; height: 19 1/2 in x width: 15 1/2 in. Framed; height: 21 1/4 in x width: 17 1/2 in.br/>Condition:There are no losses and there are no visible repairs under UV light. Minimal craquelure is present on the upper right quadrant.
Sam Gilliam (American, 1933-2022). Small acrylic on birch plywood titled "Mark Squared" depicting a colorful abstract composition, 2000. With a three-dimensional element in the form of an irregular-shaped wedge projecting from the lower half of the artwork. Signed, titled, and dated along the verso.Provenance: Private Minnesota collection.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and Paul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career.From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Height: 12 in x width: 12 in x depth: 4 in.br/>Condition:The artwork is structurally sound. All pieces are firmly attached. There are no splits, losses, or repairs to the wooden components. Natural bubbles to the paint surface original to the artistic process. Along the lower right of the red panel there are three small spots (the largest measuring 3/4 inch x 3/4 inch) that fluoresce under UV light and appear uneven when compared to the rest of the work which is quite smooth, save for the aforementioned bubbles. This is likely an area of pooled varnish. There is some slight yellow discoloration to the varnish throughout. Some scratches to the metal along the verso of the work.
KING WILLIAM III OIL PAINTINGA handsome painting of King William III in action at the Battle of the Boyne is up for sale at Bloomfield Auctions in Belfast.The equestrian portrait shows King William III on horseback amid the battlefield during the famous Battle of the Boyne.Following analysis by the Tate Britain, the provenance of the painting, which dates from approximately 1693 may be attributed to the Anglo – Dutch painter Jan Wyck, in collaboration with the Dutch portrait painter Constantijn Netscher. The Tate Britain consulted with experts at the RKD, the Dutch art historical institute in The Hague and it is believed the two artists worked together to create the handsome picture, Jan Wyck for the battle and rearing grey horse elements and Constantijn Netscher for the head of King William III.The painting is consistent with a late British Baroque style and the setting of the scene is the Battle of the Boyne which took place on 1st July 1690 between the forces of the deposed King James II and King William III, the husband of Queen Mary II.Sotheby’s London also researched the history of the painting and believe it was produced in 1693, three years after the Battle of the Boyne and is part of an enthusiastic celebration of the King by his Protestant subjects. It is a detailed picture by a highly competent horse painter with the collaboration of a good portrait artist. “Although the painting is indistinctly signed and partially dated, from our investigations and The Tate Britain and Sotheby’s analysis, we are confident it was painted by Jan Wyck and Constantijn Netscher and will make a great collector’s piece.”
![[ART REFERENCE] HOLLANDER (E.) Plastik und Medezin, 4to illus., cloth / boards Stuttgart, 1912; LANTERI (E.) Modelling and Sc](https://cdn.globalauctionplatform.com/63d551f5-8dbc-4d4a-952b-b0f400f867af/93db74bd-0256-40a7-81f7-b0f400faf244/468x382.jpg)
![[BINDING / ART REFERENCE] WILLIAMSON (Dr.) John Dowman, his life and works,...with a Catalogue, 4to, illus., unusual cloth bi](https://cdn.globalauctionplatform.com/63d551f5-8dbc-4d4a-952b-b0f400f867af/38ad1043-2ac6-4827-9381-b0f400fb79b6/468x382.jpg)
![[FRENCH ART] TAPI de CELEYRAN, Our Cousin LAUTREC, 4to, illus., 122/250 copies, inscr. on front e.p. by the COMTESSE LAUTREC](https://cdn.globalauctionplatform.com/63d551f5-8dbc-4d4a-952b-b0f400f867af/c2eb9ed0-0e67-4ff5-8914-b0f400faf520/468x382.jpg)
[FRENCH ART] TAPI de CELEYRAN, Our Cousin LAUTREC, 4to, illus., 122/250 copies, inscr. on front e.p. by the COMTESSE LAUTREC, card covers, 1st Edn., Keatfield (U.S.A.), 1967; COROT / POUSSIN et alia, Le Paysage Francais...a L'Exposition du Petit Palais (Mai - Juin 1925), 4to, illus., card covers (spine broken), Paris, 1926; TOUBLANC (Leon) etcher: 'Princesse Bibesco. Alexandre Asiatique, 4to, etched plates, numbered edition, card covers, Paris, 1927 & 3 other works (6).
![[CHINESE ART] KIEL (H.) translator: Antique Chinese Portraits, folio, plates, clamshell box, slipcase (battered), Milan, n.d.](https://cdn.globalauctionplatform.com/63d551f5-8dbc-4d4a-952b-b0f400f867af/ae9390ea-6639-4b56-a0ca-b0f400fafbd4/468x382.jpg)
![[MOTORING etc.] KENNEDY (R.) Electrical Installations, 5 vols, 4to, moving plates; ART NOUVEAU cloth, L., 1909; & other s](https://cdn.globalauctionplatform.com/63d551f5-8dbc-4d4a-952b-b0f400f867af/242db1dd-ac7f-4303-868a-b0f400fb56da/468x382.jpg)
![[ARCHITECTURE & ART] BOLTON (A.) The Architecture of Robert & James ADAM, 2 vols, folio, illus., cloth gilt, L., Coun](https://cdn.globalauctionplatform.com/63d551f5-8dbc-4d4a-952b-b0f400f867af/cdb0cc2d-4163-474c-8ead-b0f400f9daa8/468x382.jpg)
![[MARITIME] [STEEL (D.)] The Art of Sail-Making as practised int eh Royal Navy, 8vo, pp. iv, 196, 19th c. half calf, L. 1796.](https://cdn.globalauctionplatform.com/63d551f5-8dbc-4d4a-952b-b0f400f867af/92ccabfb-e211-4e4f-bfba-b0f400fb5240/468x382.jpg)
![[ART] SPIES (W.) MAX ERNST Collages, lge 4to, illus., clo., d.w., 1st U.K. edn., 1991 (1).](https://cdn.globalauctionplatform.com/63d551f5-8dbc-4d4a-952b-b0f400f867af/69dd45e9-3fa9-4371-bc67-b0f400faf1c2/468x382.jpg)
UNITED KINGDOM. Silver lot of 3 medallions, 1974. John Pinches 100 Works of Art. Number 1 - "Queen Nefertiti" in ca. 1365 B.C., Number 2 - "The Virgin Of The Rocks" by Leonardo Da Vinci in ca 1485, Number 4 - "The Ecstasy Of St. Theresa" by Gian Lorenzo Bernini in 1645 - 1652. Diameter: 51 mm.Total gross weight: 196.50 g. (ASW = 5.8445 oz.)Composition: 925.0/1000 Silver.PLEASE NOTE: 6% Buyer Premium + VAT on this lot. Additional 6% fee charged on the Saleroom. Delivery cost will be added to your order.
![Britains - World War II Series, comprising: James Dietz " Art of War" Series [2003] Set 17461 - 505th PAR - "Seize the Day",](https://cdn.globalauctionplatform.com/0494b7a2-6428-43e8-ba08-b0d500992bb9/0324917e-e2ef-4545-a931-b0d5009b4529/468x382.jpg)
Britains - World War II Limited Edition Art Series, comprising: Set 17499 Dietz "Hold to the Last Round" & Set 17500 - Dietz "Hold to the Last Round" Add-On [Ardennes, 44]. Mint overall, contained in near Mint set boxes complete with Limited Edition Certificates and Colour Reproductions of the Original Artworks. [2]
A selection of hardback and coffee table books, primarily relating to art and architecture, titles including: Francesco’s Italy, by Francesco da Mosto; The Art of Bloomsbury, by Richard Shone; Rijksmuseum: Amsterdam; Gaudi: The Complete Works, 2 vols; An Architectural Journey in Japan, by J. M. Richards; and others, one box.
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