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Lot 782
An Edwardian Art Nouveau yellow metal, white opal and seed pearl set drop pendant, 45mm gross 3.1 grams and a 9ct, amethyst and seed pearl pendant, 50mm, gross 4.9 grams.CONDITION: Opal pendant- Minor nicks and surface scratches to both opal surfaces. Two seed pearls missing and some of the seed pearls have damage to the surface.Amethyst pendant- Amethyst has a graze chip to one of the crown facets, otherwise in generally good order.
Lot 401
A GROUP OF CERAMICS, to include a Dresden footed bowl, painted with sprays of flowers, diameter 21cm, an Aynsley Cottage Garden tea pot, a Wedgwood Coniston pattern trinket box and cover, two late 19th/early 20th century continental porcelain figures, an Art Nouveau style Royal Doulton bowl, pattern D3651 (sd) Beswick foal with tiny chip to ear (14)
Lot 217
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Available Phase Space" Dated: '05 Oil on Canvas. Overall Size: 16.75 x 19.75 in. (0 - 4313)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Lot 120
Dennis Lyall (American, B. 1946) "19th C. Folk Art Woodcarving" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 37c Woodcarving stamp issued April 3, 2003. This art features a meticulously hand-painted woodcarving from the 19th century. It depicts a woman radiating both unflagging strength and stalwart determination as she proudly holds aloft a sword in addition to an American flag with 24 stars. Her festive layers of red, white and blue vividly evoke the spirit of the Star Spangled Banner. Female personifications of the United States such as this hand-carved, sword-wielding wooden maiden are known by a variety of names, including "Liberty" and "Columbia," and have been popular with folk artists since the nation's inception, particularly since the adoption of the Stars and Stripes in 1777. That year, on June 14, the Continental Congress adopted a resolution establishing the official flag of the United States as consisting of 13 stripes, alternating between red and white, and a union of 13 white stars in a blue canton. Although the stars were popularly arranged in a circle design, their layout was actually left undefined for many years, leading to several known patterns. The Continental Congress left no record of why it selected red, white and blue as the flag's colors. However, in 1782 it incorporated the same colors into the Great Seal of the United States and provided specific meanings for the use of each: white to signify unity and innocence; red for hardiness and valor; and blue for vigilance, perseverance and justice. Image Size: 12 x 14 in. Overall Size: 15.5 x 18 in. Unframed. (B17109)
Lot 66
Otto Bierhals (New York, 1879 - 1944) Oil on board still life painting. Original label verso. Appears to be unsigned, has not been examined out of frame. Bierhals exhibited at the American Association in Philadelphia, where he won a medal in 1900; the Monclair, NJ Museum of Art (where he was awarded a medal of distinction); the Ogunquit Art Center (prize, 1935); and with the Salons of America and the Society of Independent Artists. Sight Size: 7 x 5.5 in. Overall Framed Size: 12 x 11 in.
Lot 506
Don Balke (North Carolina, B. 1933) "Black-tailed Deer and Douglas Fir" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This art was originally published in the limited edition collection of philatelic proofcards issued by Fleetwood and the National Audubon Society for the Wildlife of the 50 States. A Black-tailed Deer, a small cousin of the Mule Deer bounds away, his dark tail saluting the air in a graceful truce sign that displays the tail's white underside. All Black-tailed Deer can be identified by their ebony tails, dark coats and slight build. Even a mature deer usually weighs no more than one hundred fifty pounds. This artwork depicts an Oregon Black-tailed Deer browsing among towering stands of the state tree, the Douglas Fir. Ordinarily vegetarians, Black-tailed Deer feed primarily on leaves, making them one of the few families of browsers. As browsers, deer do not compete with cattle or other domestic animals for grazing land, a factor which encourages their abundant existence in the United States. At last count more than 400,000 Black-tailed Deer populated the heavily forested Pacific states. These modern deer look very different from their primitive ancestors. In ancient times, deer were only as big as domestic cats, and as weapons they used long, saber-like teeth instead of antlers. These small mammals migrated across the glacial land bridge from Asia to America during the Ice Age. When oceans later covered the land bridge, the isolated deer in North America adapted to their new environment. Today seven separate species of deer live in the United States. Image Size: 12 x 13.75 in. Overall Size: 20.25 x 23 in. Unframed. (B05792)
Lot 37
Alice Doughten (New Jersey, 1880 - 1969) 1937 Atlantic City Beach scene with figures. Oil on board. With original inscription from the artist verso. Signed lower left. Housed in a gilt frame. Doughten studied art at the Pennsylvania Academy of the Fine Arts with Henry McCarter, Earl Horter, Ralph Pearson, Fred Wagner and Hugh Breckenridge. Exhibition venues included the Art Institute of Chicago where in 1915 she entered the Annual Exhibition of Watercolors with two paintings. Sight Size: 12 x 16 in. Overall Framed Size: 18.25 x 22 in.
Lot 215
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Olifactus" Dated: '05 Oil on Canvas. Overall Size: 66 x 72 in. (4279)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Lot 24
Eleanor Moore (New York, Illinois, late 20th C.) Large still life painting depicting an oriental vase, a cluster of grapes on a ledge, and an oriental rug hanging in the background. Signed and dated lower right. Moore was trained at the Chicago Art Institute and the Art Students League in New York, Eleanor Moore paints still lifes reminiscent of works by the Old Dutch Masters with great emphasis on color, shapes and atmosphere. Moore has exhibited with Knickerbocker Artists, the American Artists Professional League, Allied Artists of America, Hudson Valley Art Association and the Artists of America Show. Provenance: Important New York City collection. Sight Size: 30 x 40 in. Overall Framed Size: 42 x 51 in.
Lot 18
Chao-Chu Ho (Taiwan, Born 1931) Oil on canvas 1959 cityscape painting. Signed and dated lower left. Inscribed verso. Ho graduated from Fine Art of National Taipei Normal University. His early work was realism impression and presented concrete scenery. Sight Size: 29 x 24 in. Overall Framed Size: 35 x 31 in.
Lot 140
1970s "Normandie" Lithgraph Poster in color after Adolphe Mouron Cassandre (French, 1901-1968) original 1935 poster.One of the most famous images in poster art, Cassandre’s design for the Normandie is as powerful as it is magnificent. “The arrival in New York Harbor of the gigantic super-liner Normandie will inaugurate a new era of transatlantic travel. She will set new standards of luxury and speed, steadiness comfort and safety...not merely the largest liner afloat (79,280 tons)...but in almost every respect a new kind of liner!” (Transatlantique Advertisement). And in almost every respect, this Cassandre masterpiece was a new way of selling the glamour and excitement of ocean liner travel. A deceptively simple, but impressive design with the ship towering above us, a flight of small birds at the bottom, giving the image as much scale and strength as the imposing hull itself. The classic design appeared with several variants of text at the bottom.Image Size: 38 x 23 in. Overall Framed Size: 39.5 x 24.75 in. Framed behind glass.
Lot 392
Mihail Chemiakin (New York, Russia born 1943) "Untitled VII" Color Lithograph. Numbered (37/225) lower left. Pencil Signed lower right. Watermark "Arches France". Chemiakin's work is in the permanent collections of numerous museums, including the Metropolitan Museum (New York), the State Tretyakov Gallery (Moscow), the State Russian Museum (St. Petersburg), the Sao Paolo Museum of Art (Brazil), the Museum of Modern Art of the City of Paris, Yad Vashem and the Tel Aviv Museum of Modern Art, as well as smaller museums throughout Russia and the United States. Image Size: 19 x 16.5 in. Sheet Size: 30 x 21 in. Unframed.
Lot 9
David K. Stone (American, 1922 - 2001) "Trading in Santa Fe" Signed lower right. Original Oil painting on Canvas. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared in the Fleetwood Trails West Collection of Fine Art Prints as "Trading in Santa Fe" published in 1983. Founded in 1609, Santa Fe served as a northern outpost of New Spain for more than two centuries. It remained isolated from the United States until 1821, when a handful of merchants moving westward forged the Santa Fe Trail. Sharing unknown risks, these few courageous men loaded their merchandise on pack animals and successfully completed the trip to Santa Fe in four months. After selling their merchandise at a handsome profit, they quickly returned home to prepare for a return trip. Encouraged by the reports of success, more merchants headed west to Santa Fe to profit from the newly discovered trade center. In Sante Fe, the cargoes of textiles, lead, hardware, cutlery, glassware and many other items were traded for silver, mules, pelts and hides, blankets and other items that were in demand in the East. This "commerce of the prairies" thrived in spite of the hostile Indian tribes of the Southwest, burdensome duties, wagon tolls and official graft, in addition to the normal problems of trade. Indeed, from 1822 a Santa Fe trade existed that changed the history of the Southwest. Trappers and fur traders now worked out of Santa Fe to gain access to the southern Rockies -- rich in beaver and other wildlife. These mountain men, too, became an integral part of the trading business in Santa Fe. Overall Size: 18 x 21 in. Unframed. (B07277)
Lot 98
Frank Dadd (UK, 1851 - 1929) Fine painting, "The Story". Oil on canvas. Signed lower right. Housed in an elaborate carved/gilded frame. Frank Dadd was born on the 28th March 1851 in London. He studied at the Royal College of Art and at the Royal Academy Schools, where he won a Silver medal for drawing from life. His paintings were chosen for exhibition at the Royal Academy from 1878. Sight Size: 15.5 x 23.2 in. Overall Framed Size: 24.5 x 32.5 in. (J1150)
Lot 112
Don Balke (North Carolina, B. 1933) "Fishing Flies - Cutthroat Trout" Signed lower right. Original Watercolor painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Game Fish of America Art Print. Displaying the colors for which it was named, the Rainbow Trout depicted is about to launch an assault on a well placed lure. When America was mostly wilderness, few fishermen felt the need for such sophisticated lures. Native trout would rise to almost any object presented, the brighter the better. Only after streams became depleted and fish more wily did intricately designed lures become necessary as part of the American fisherman's repertoire. Lures used to catch today's trout come in a wide variety of colors, shapes and sizes. Some dive to the bottom, others skim the top, some produce sonic vibrations and all are purported to entice fish into a frying pan. One of the most clever, hard-fighting fish anyone ever tossed a lure at is the Rainbow Trout. Even experienced fishermen find it challenging to land a Rainbow. But it's worth the challenge, for Rainbows become downright cantankerous when hooked, fighting furiously until exhausted. Size: 13.25 x 15.25 in. Unframed. (B13835)
Lot 277
Mel Crawford (Canadian, B. 1925) "Shepherd Seeing Star of Bethlehem" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 20c Christmas stamp issued October 28, 1981. And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them: and they were sore afraid. And the Angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Savior, which is Christ the Lord. (Luke 2:8-11). Through the centuries, the events and miracles associated with the life of Christ were witnessed, remembered, and retold for generations to come. An excellent example is Italian Renaissance painter Sandro Botticelli's rendition of the Madonna and Child which brilliantly brings forth the deep mutual love Mother and Child feel for one another. Indeed, exemplary of Botticelli's tendency toward naturalism in art, this particular Madonna and Child tempera-on-panel portrait is one of the loveliest and most heartwarming paintings ever created. Today few painters are more popular than Botticelli. His paintings are distinctive for their clear, rhythmic line, delicate color, lavish decoration, and poetic feeling. This moving portrayal of the Madonna and Child by Botticelli now hangs in the Chicago Art Institute in Chicago, Illinois. The Botticelli: Art Institute of Chicago United States Christmas stamp featured on this First Day Cover was issued in Chicago on October 28, 1981. Image Size: 14 x 11.75 in. Overall Size: 17.25 x 14.75 in. Unframed. (B07415)
Lot 216
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Homage to Secrets" Dated: '94 Oil on Canvas. Signed, dated, titled and sized verso. Overall Size: 24 x 20 in. (163 - 4294)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS2001 SRQ ON MAIN, Sarasota, Florida1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida1993 MATRIX, Renegade Gallery, East Hampton, New York1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY1974 AJANTA GALLERY, New York, New York1973 St. Croix, Virgin Islands1972 St. Croix, Virgin Islands1971 Ars Bar, Ibiza, Spain1970 Ars Bar, Ibiza, Spain1969 Ars Bar, Ibiza, Spain1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin IslandsSELECTED GROUP AND JURIED SHOWS2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia1971 LE CENTER AMERICAN, Paris, France
Lot 504
Tom McNeely (Canadian, B. 1935) "Edward G. Robinson; Legends of Hollywood Series" Signed lower right. Original Watercolor painting on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 33c Edward G. Robinson stamp issued October 24, 2000. The Warner Brothers gangster triumvirate of the 1930s included Edward G. Robinson, James Cagney and Humphrey Bogart. Edward G. Robinson was born in Rumania in 1893 with the birth name of Emanuel Goldenberg. To escape persecution, his family managed to scrape together enough fare for steerage passage to America. "At Ellis Island I was born again." Robinson wrote. "Life for me began when I was 10 years old." Growing up on New York City's jam-packed Lower East Side, he learned English and began reciting speeches to family and friends. He planned to become a criminal lawyer and defend the abused and exploited, but his love of performance drew him into acting. In 1913 Robinson made his professional debut in a career that spanned 50 years of silent films, "talkies," theater, radio and TV. A versatile actor who played a wide range of roles in 40 Broadway plays and more than 100 films, he is best remembered as the curled-lip, cigar-chomping gangster, Enrico Bandello, in Little Caesar (1931). In Depression America, anyone who could quickly scale the ladder of success became a hero, even cold-blooded killers. Robinson's prototypical performance as "Rico" was so convincing that real gangsters affected his screen persona. Typecast as a hood, Robinson actually was a gentle, cultured man who spoke eight languages, had a world-famous Impressionist art collection, and contributed generously to many philanthropic and humanitarian causes. Edward G. Robinson died of cancer in 1973. Image Size: 17.75 x 15.25 in. Overall Size: 24.25 x 21.25 in. Unframed. (B16870)
Lot 49
Jesus Rafael Soto (Venezuela, France, 1923 - 2005)Titled: "Escritura" from the 1979 Sintesis Series. Numbered: (37/110) Medium: Silkscreen on Plexiglas with chromed aluminum metal rods. Signed on label verso.Jesús Rafael Soto was born in Ciudad Bolívar and studied at the School of Visual and Applied Arts in Caracas. During this period he became acquainted with Los Disidentes, a group of artists that included Alejandro Otero and Carlos Cruz-Diez. In addition to his fellow compatriots, Soto’'s work was influenced by Kazimir Malevich and Piet Mondrian. The main artistic tenets evinced in Soto's works are pure abstraction, vibrations, progressions and geometric rigor. They can be seen through the use of lines and superimposed squares in his sculptures, made with paint and a series of industrial and synthetic materials. He spent much time in Europe, becoming a key member of the Group Zero movement, which included such artists as Lucio Fontana, Gunther Uecker and Yves Klein. As a result, Soto's work also incorporates modernist concepts such as light, time, movement, color manipulation and space. All of these facets place him as an important figure within the Kinetic and Op Art movements.Dimensions: 11.75 x 27.5 x 4 inches.
Lot 284
Jim Butcher (American, B. 1944) "Building a Snowman" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 29c Snowman ATM stamp issued October 28, 1993. "On the front lawn rises that art form surely older than the Parthenon -- the snow man, complete with pipe and lumps of coal for eyes." The words of author Donald Culross Peattie vividly bring to mind an image familiar even to those who have never faced the challenge of creating such a wonderful character. Those fortunate enough to have experienced the thrill of building a snowman will recall the fun of rolling that first small ball of glistening crystals into a boulder much too big to handle. When that base was completed, construction moved along rather quickly, for the next two sections decreased in size. Once the body was complete, the young artist was then left with the task of bringing his creation to life! With a few well-placed pieces of coal, a bright orange carrot and an old top hat, the snowman took on a character of its own. And what a sense of achievement to see how all this hard labor had turned into such a fine lawn ornament! Sadly, this feeling of accomplishment -- and the snowman itself -- was often short-lived. For when the temperatures rose and the sunlight shone down upon it, the fragile snowman would quickly dissolve into a lonely, damp pile of coal, hat and carrot. Yet all was not lost. For the tale of Frosty the Snowman promises, he'll be back again some day. Image Size: 16.5 x 14 in. Overall Size: 20 x 18 in. Unframed. (B07757)
Lot 17
Ian Berry/Magnum Photos (by), The English, Giclée, Hahnemühle matt fine art German etching, signed to verso, non embossed, 16" x 12". UK. England. Yorkshire. Whitby. People out for a Sunday stroll sit and enjoy the view of the bay with its yachts and the town perched on the hillsides. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
Lot 22
Jill Furmanovsky (by), Rotten and Ramone, Giclée, Fotospeed fine art matt paper, signed, embossed, limited edition of 30, A/P. Johnny Rotten with Johnny Ramone in conversation backstage at The Roundhouse, London before a Ramones gig (with Talking Heads supporting). June 1977. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
Lot 51
Ross Grieve (by), Isolation, Fine art paper, signed, non embossed, limited edition 1/20, 16.5 x 11.7", certificate of authenticity. The human form can seem very vulnerable in times of loneliness. Pembrokeshire, Wales. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
Lot 52
Ross Grieve (by), Solitude, Fine art paper, signed, non embossed, limited edition 1/20, 16.5" x 11.7", certificate of authenticity. A lone man is ignored as the world passes him by on a cold rainy evening. Osaka, Japan. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
Lot 57
Steve Scalone (by), Tables Chairs, Ilford fine art, signed, non embossed, 16.5" x 11.7" on 23.4" x 16.5", certificate of authenticity. Table and Chairs, 2017. An outdoor seating area at the Getty Center, Los Angeles, USA. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
Lot 6
Crispin Rodwell (by), Time for Peace, archival pigment print, Hahnemühle fine art pearl 285gsm acid free, signed to verso, non embossed, 30" x 20", certificate of authenticity. Time For Peace. A young boy plays against a wall in north Belfast on the eve of the August 1994 IRA ceasefire which gave rise to the peace process, culminating in the signing of the Good Friday Agreement in April 1998. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
Lot 62
Terry Harris (by), Lincoln Cathedral, Giclée, fine art cotton 215 gsm, non embossed, 24" x 16". Lincoln Cathedral lights up blue for the NHS every Thursday, City Centre, Lincoln Thursday 16 April 2020. For additional information regarding this lot please contact Edmond Terakopian at edo@pix.org.uk.
Lot 1478
(See English version below)David Hockney (Bradford 1937 – lebt in London und Los Angeles). Photography is dead. Long live painting. 1995Farbiger Inkjetprint auf Karton. 83 × 105,5 cm (88,5 × 110,8 cm) ( 32 ⅝ × 41 ½ in. (34 ⅞ × 43 ⅝ in.)). Signiert, datiert und nummeriert. Mit dem Stempel des Herausgebers.Eines von 45 nummerierten Exemplaren. Los Angeles, Nash Editions, 1995. [3557]Provenienz: Ehemals Unternehmenssammlung, DeutschlandZustandsbericht: Ex. 40/45. In sehr gutem Zustand. Die Farben frisch und leuchtend. Die Blattkanten ohne Einrisse oder Fehlstellen. Am unteren Blattrand mittig und rechts unter dem Buchstaben H. jeweils mit minimaler Fingerspur. Unter UV-Licht sind keine Restaurierungen erkennbar. Sehr schöner harmonischer GesamteindruckWir berechnen auf den Hammerpreis 25% Aufgeld und auf Hammerpreis und Aufgeld die zum Auktionszeitpunkt geltende Umsatzsteuer.David Hockney (Bradford 1937 – lives in London and Los Angeles). Photography is dead. Long live painting. 1995Coloured inkjet print on cardboard. 83 × 105,5 cm (88,5 × 110,8 cm) ( 32 ⅝ × 41 ½ in. (34 ⅞ × 43 ⅝ in.)). Signed, dated, and numbered. Inscribed with the publisher's stamp.One of 45 numbered copies. [3557]Provenance: Formerly Corporate Collection, GermanyLiterature and illustration: Exh. cat.: David Hockney - Prints 1954-1995. Tokyo, Museum of Contemporary Art, 1996, p. 192, ill. 362Condition report: No. 40/45. In very good condition. The colours fresh and luminous. The sheet edges without tears or losses. Minimal fingerprints on the lower margin in the centre and to the right under the letter H. There are no repairs visible under UV-light. Very fine harmonious overall appearanceWe charge 25% premium on the Hammerprice and VAT applies to hammerprice and premium.
Lot 520
100-300 AD. Roman. Pale green glass flask with fold rim, inward sloping neck and globular body. Glass was a major manufacturing industry in the Roman Empire, especially after the invention of glassblowing in the middle of the first century BC, when glass became used for a variety of purposes including vessels, jewellery and construction materials such as glass or tiles. Roman glassmaking reached the farthest corners of the Empire and flourished until about 400 AD, when the Roman Empire started to disintegrate, finally falling in the late 5th century AD. Vessels would probably have been used for perfumes, oils (used as soap) and/or medicines in antiquity. Good condition; on a custom-made stand.Size: L:60mm / W:50mm ; 15g; Provenance: Property of a professional London art expert; obtained from an old British collection formed in the 1990s.
Lot 204
Ca. 100-300 AD. Roman. A restrung necklace of Roman beads comprising multiple opaque and transparent sub- spherical, tubular and rectangular glass, glass-paste and stone beads in a variety of colours. The vibrant colours of the beads make this necklace a unique statement piece. Beads were an important part of Roman women's dress. For more information on Roman bead types, see M. Guido (1978), The glass beads of the prehistoric and Roman periods in Britain and Ireland. London: Society of Antiquaries. Good Condition, wearable.Size: L:220mm / W:mm ; 49.5g; Provenance: Important London collection of Ancient art; formed in 1970s then passed by descent.
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