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Lot 184
A LARGE PALE GREEN AND RUSSET JADE 'SHOULAO' BOULDER18th centuryBoldly carved in openwork with the bearded sage Shoulao in loose flowing robes with the peach of longevity in his hand, an attendant and deer beside him, all beneath a blossoming and fruiting peach tree and pierced rocky landscape with auspicious bats flying above, the stone of pale green tone with brownish-russet inclusions.27cm (10 1/4in) high. Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價十八世紀 青白玉雕壽祿雙全山子Provenance: Sotheby's Milan, 19 October 2010, lot 31Published, Illustrated and Exhibited: Roger Keverne Ltd., Summer Exhibition, London, 2011, no.95.來源：米蘭蘇富比，2010年10月19日，拍品編號31展覽著錄：Roger Keverne Ltd.，《夏季展覽》，倫敦，2011年，編號95Shoulao, also know as Shouxing, is the Daoist God of Longevity. He is commonly depicted with a high forehead, walking with his gnarled staff and holding peaches, symbols of longevity. The current lot contains another auspicious meaning: Shoulao depicted with a deer (lu 鹿), which puns with 'emolument'(lu 祿) together forms a rebus for longevity and prosperity.For a similar jade boulder, see L.J.Davidson, Jades of the T.B.Walker Collection at the Walker Art Center Minneapolis, Minnesota, Minneapolis, 1950, pp.63-64, no.62.For further information on this lot please visit Bonhams.com
Lot 420
Two sets of paintingsQing DynastyThe first set comprising two paintings, each depicting in ink with some pigment a wintry landscape of mountains, water and trees in bold angular strokes, the other with a figure crossing a bridge, both with two seals and each mounted; the second set with three paintings in ink and pigment on paper, of which the first depicting a mountain landscape with scholar in a hut by water, one seal, 42cm (16 1/2in) x 27cm (10 5/8in); the second painting depicting a boat amidst a large expanse of undulating waves moored by a bank with a blossoming tree, poetic inscription and two seals of the artist, Wang and Feng respectively, 42.5cm (16 1/2in) x 27.7cm (10 7/8in); the third painting with a large boulder among trees and a hut, with two seals of the artist, Wang and Feng respectively. 42.5 (16 1/2in) x 27.7cm (10 7/8in).(5).Footnotes:Please note this Lot is to be sold at No Reserve. 本拍品不設底價清 水墨山水 共五幅 鏡心For further information on this lot please visit Bonhams.com
Lot 239
A JADE BOULDER CARVING19th/20th centuryCarved in relief with a gentleman tending his horse, a further horse standing behind a large overhanging paulownia tree, before a craggy mountain and rockwork, the pale green stone with cloudy inclusions and russet veining. 25cm (9.7/8in) high.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.comA few scattered nibbles to the edges, and expected natural inclusions and fissures to stone.
Lot 69
A group of Chinese jade and hardstone scholar's objects, 20th century, including a spinach jade wine ewer and cover carved with 'bamboo' sides, handle and spout, 12cm high, a green and russet jade brush washer modelled as a peach and bat, 16.5cm wide, a pale green jade figure of a turtle and serpent, 14cm long, a grey jade pendant modelled as twin fish, 9cm, four jade bi discs of green and russet hues, 5.5cm dia, a pink veined soapstone water pot and cover with pine branch handle, 17cm wide, a grey and russet soapstone boulder carving of a dragon and phoenix, 12cm wide, a russet jade pendant carved in low relief with a stag and lingzhi fungus, 4cm, and a cast sugar peach, 17cm high. (12)Condition report: Minor to negligible signs of age/use to all.
Lot 212
A 14ct gold opal pendant, a boulder opal or opal doublet, approximately 18 x 11mm, rub set, to fluted surmount and concealed bale, Birmingham, suspended on a 9ct gold textured omega style chain with side lever clasp, Birmingham, chain 450mm long, 17.33gCondition report: Pendant on its own weighs 6.53g.Chain on its own weighs 10.81g.No damage or repairs to pendant.Chain is kinked slightly.Maker's mark QVC.
Lot 187
A Chinese jade plaque, pierced and carved with a dragon chasing a flaming pearl, amongst lingzhi branches, 7.6cm long, wood stand, and a jade boulder carved with deer grasping lingzhi in a rocky landscape, the stone in a celadon tone with russet inclusions, 10.5cm high, wood stand (4) Condition report: Dragon plaque - knocks to edges throughout and one corner chipped. Surface scratches. Wood stand - fittings loose.Boulder - knock and nibbles to edges. Surface scratches.
Lot 96
An 18ct white gold Queensland black boulder opal and diamond ring, collet set with an irregular shape stone weighing 8.82 cts, brilliant cut diamond set shoulders, size R.Together with an Australian Gems Certificate of Authenticity, dated November 2002 and a note from a jeweller who unset the stone stated it is a genuine stone.
Lot 146
Opalanhänger, in leicht geschwungener Form, Boulderopal eingefasst in 750/18K Gelbgold an 585/14K Gelbgold Schlangenkette mit S-Hakenverschluss, Goldschmiedearbeit, Gewicht gesamt 7,2g (Kette 4,2g), Länge 40cmOpal pendant, in slightly curved shape, boulder opal set in 750/18K yellow gold on 585/14K yellow gold snake chain with S-hook clasp, goldsmith work, total weight 7.2g (chain 4.2g), length 40cm
Lot 158
Anhänger Boulder-Opal (ca. 1,8x1cm), tiefblaues Farbenspiel, eingefasst in moderner 750/18K Gelbgoldfassung mit kleinem Brillant, an Stoffkordelcollier, Gewicht Anhänger 5,4gPendant boulder opal (ca. 1,8x1cm), deep blue color play, set in modern 750/18K yellow gold setting with small diamond, on fabric cord necklace, weight pendant 5,4g
Lot 59
Assorted jewellery to include Italian silver gilt necklace, coral boulder necklace, sundry ear studs etc Condition: Group lot, please contact the office for more information. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Lot 76
Pair of 19th Century Pen & Ink Geological Sketches, the first titled 'Dunes Booth Wood, North of Rochdale, highlighting an outcrop of rocks, the next detailing a boulder found on Nicholas Pike 1050 ft above sea level each in recent card mounts, mounts 20cm x 25cm Provenance: According to the vendor, this formed part of the stock of Gregory Bottley & Co, the mineral and fossil shop originally founded in 1858 by James Reynolds Gregory.
Lot 285
Edgar MitchellA group of three views of station G and HThe first two photographs were taken at station G showing a core tube and the gnomon and the last one at station H showing a boulder field.31 January - 9 February 1971Set of one vintage gelatin silver print on fibre-based paper, 25.4 x 20.3cm (10 x 8 in), BLACK NUMBERED NASA AS14-68-9457, with "STA G CT/3T/2T/1" hand written in black ink in right margin, (NASA Manned Spacecraft Center); and two vintage gelatin silver prints on fibre-based paper, each 25.4 x 20.3cm (10 x 8 in), NASA photo numbers AS14-68-9459 and AS14-68-9468 printed in margin (NASA / USGS)Footnotes:The crew fell behind schedule during the traverse due to the difficulty in walking over the rugged terrain, yet the trip back to the LM was quick and uneventful. Shepard and Mitchell showed that, in the event of a Rover breakdown during future missions, a crew could walk back to the LM from a considerable distance.
Lot 298
James IrwinTwo views of David Scott near the Lunar Rover at St George Crater, station 2, EVA 131 July 1971Two vintage gelatin silver prints on fibre-based paper, each 25.4 x 20.3 cm (10 x 8 in), one BLACK NUMBERED NASA AS15-85-11451 in margin; [the second one NASA photo no AS15-85-11437] (NASA Manned Spacecraft Center)Footnotes:Station 2 near St George Crater was one of the most spectacular stations traversed during the Apollo missions. The Rover is parked near a meter-sized boulder sitting on the hillside about fifty meters above the Hadley-Apennine valley floor and offering a perfect site for sampling (first photograph). The location, on the edge of Hadley Rille, provided an extraordinary panorama toward the lunar canyon (second photograph). Thanks to the Rover-mounted TV camera, Scott and Irwin could share the view with watchers back on Earth, exulting over scenery long characterized as barren and drab.
Lot 305
James IrwinViews of the green boulder at station 6A and of David Scott adjusting the antenna of the Rover at station 7, EVA 21 August 1971Two vintage gelatin silver prints on fibre-based paper, each 25.4 x 20.3 cm (10 x 8 in), BLACK NUMBERED NASA AS15-90-12187 and AS15-90-12219 in top margins, the first print bears a NASA MSC caption on the verso (NASA Manned Spacecraft Center)Footnotes:Stations 6 and 7 were close to each other on the north-facing slope of Hadley Delta about 90 to 100 meters above the mare surface, 5 km from the Lunar ModuleStation 6A, an intermediate stop, was the highest location visited by the crew. The boulder that marked this stop (first photograph) had a greenish tinge, later found to come from magnesium oxide. Mount Hadley and the Swann range are in the background.At station 7 near Spur Crater, the crew made a longer stop (second photograph), adjusting the Rover antenna so that Mission Control could survey their activities. They collected a sample that later proved to be more than four billion years old, older than any rocks ever found on Earth. It was dubbed the "Genesis Rock."
Lot 329
Three views of lunar experiments, comprising:1) Charles DukeJohn Young collects lunar samples near North Ray crater23 April 1972 (3rd EVA)Vintage gelatin silver print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), BLACK NUMBERED AS16-106-173402) Charles DukeJohn Young investigates a large boulder at Station No.13. This was a place of permanently shadowed soil samples which were collected by the astronauts23 April 1972 (3rd EVA)Vintage gelatin silver print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), BLACK NUMBERED AS16-106-174133) John Young Charles Duke examines closely examines the surface of a boulder at North Ray crater23 April 1972 (3rd EVA)Vintage gelatin silver print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), NASA photo no AS16-116-18649, with NASA MSC caption on versoCondition Report: Some signs of silvering on two of the photographs, otherwise very goodCondition Report Disclaimer
Lot 330
1) Charles DukeA photograph from a panoramic sequence featuring the magnetometer21 April 1972 (1st EVA)Vintage chromogenic print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), RED NUMBERED AS16-113-18350, with A KODAK PAPER watermark on verso2) John YoungLunar Roving Vehicle parked in a lunar depression on a slope of Stone Mountain, a sample collection bag in the foreground 22 April 1972 (2nd EVA) Vintage chromogenic print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), RED NUMBERED AS16-107-17473, with A KODAK PAPER watermark on verso3) John YoungCharles Duke scoops up lunar soil at the base of a small boulder at Station No. 9 22 April 1972 (2nd EVA) Vintage chromogenic print on fibre-based paper, 25.3 x 20.5 cm (10 x 8 in), RED NUMBERED AS16-107-17561, with A KODAK PAPER watermark on verso4) John Young Charles Duke examines closely the surface of a boulder at North Ray23 April 1972 (3rd EVA)Vintage chromogenic print on resin coated paper, 25.3 x 20.5 cm (10 x 8 in), photo no AS16-116-18649, with A KODAK PAPER watermark and NASA KSC caption on versoCondition Report: Very goodCondition Report Disclaimer
Lot 348
Eugene CernanTwo lunar scenes: 1) The Lunar Rover parked near Tracy's Rock visited during EVA 213 December 1972Vintage chromogenic print on resin-coated Kodak paper, 25.4 x 20.3 cm (10 x 8 in), [NASA AS17-140-21494], with A KODAK PAPER watermarks on the verso 2) Harrison Schmitt taking 500mm photographs, station 6, EVA 213 December 1972Vintage chromogenic print on resin-coated Kodak paper, 25.4 x 20.3 cm (10 x 8 in), NASA AS17-146-22294, with THIS PAPER MANUFACTURED BY KODAK watermarks and NASA Kennedy Space Center caption on the verso Footnotes:Station 6 was located at the base of the North Massif near a huge split rock, which had rolled down the side of the steep North Massif in a 1,500-foot long furrow before breaking into pieces. The boulder was so big that the astronauts could see it from lunar orbit and named it Tracy's Rock for Cernan's daughter. In the first photograph, the astronauts' LM Challenger can be seen just above the rock as a distant speck sitting at the right edge of the lighter area. In the second photograph, Cernan holds the 500mm lens Hasselblad in his hand while leaning on the boulder for stability in order to take telephoto photographs. The Lunar Rover is in the foreground.
Lot 87
Camera onboard the Surveyor I robotic spacecraft1) Boulder-strewn surface of the Moon's Ocean of Storms shows the outside of a crater rim along right centre of the horizon. (NASA photo no 66-H-776)Image transmitted to Earth on the morning of June 5 1966 as Surveyor I began its fourth day of operation on the lunar surface.2) Horizon of the Moon. Horizon is tilted because the camera is tilted. Camera is pointed almost directly at the sun, which is out of view. Bright circles in sky are reflections of the sun caused by the camera mirror. (NASA photo no 66-H-591)June 2, 1966Two vintage gelatin silver prints on fibre-based paper, 20.6 x 25.4cm (8 x 10 in), both with NASA HQ captions mimeographed on the verso Condition Report: 1) A couple of minor handling cracks, otherwise good2) Very goodCondition Report Disclaimer
Lot 2683
Yellow gold Monhof pendant / brooch by the Belgian designer Simonne Muylaert-Hofman - 18 ct. Inspired by nature. 2 Marquise cut diamonds (2x approx. 0.03 ct.). Clarity: P, color: J-K. Natural boulder opal approx. 24 x 20 mm and cultivated freshwater pearl Ø approx. 13 mm. Weight: 28.32 gram.
Lot 390
Daisy Patton Untitled (10th grade 1954), 2020 Oil on Archival Print Signed verso 12.7 x 10.1cm (5 x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Lot 391
Daisy Patton Untitled (Sincerely, Aleycal Matsumura 1938), 2020 Oil on Archival Print Signed verso 12.7 x 10.1cm (5 x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Lot 392
Daisy Patton Untitled (Three Women with Blue Curtain and Silver and Yellow Leaves), 2019, 2020 Print on Paper Signed recto, blank verso 15 x 10cm (5¾ x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Lot 393
Daisy Patton Untitled (L.B. 1937 Westchester Photo Finishing Co. Dec. 7 1936), 2018, 2020 Print on Paper Signed recto, blank verso 15 x 10cm (5¾ x 3¾ in.) Daisy Patton is a multi-disciplinary artist who was born in Los Angeles, CA to a mother from the South and an Iranian father she never met. She spent her childhood between California and Oklahoma, deeply affected by these conflicting cultural ways of being. Influenced by collective and political history, as well as memory and the fallibility of the body, Patton's work explores the meaning and social conventions of families, relationship, storytelling and story-carrying, and also connection. One prominent series, Forgetting is so long, has been featured in publications such as Hyperallergic, The Jealous Curator, The Denver Post, The Chautauquan Daily, and more. Education Currently residing in western Massachusetts, Patton has a BFA in Studio Arts from the University of Oklahoma with minors in History and Art History and an Honors degree. She earned her MFA from The School of the Museum of Fine Arts, Boston/Tufts University, a multi-disciplinary program. Patton has completed artist residencies at Minerva Projects, Anderson Ranch, the Studios at MASS MoCA, RedLine Denver, and Eastside International in Los Angeles. She has been awarded the Barbara Deming Memorial Fund grant, as well as the Assets for Artists Massachusetts Matched Savings grant and the Montage Travel Award from SMFA for research in Dresden, Germany. She has exhibited in solo and group shows nationally, including her first museum solo at the CU Art Museum at the University of Colorado. Minerva Projects Press will publish a collection of essays and poetry on Patton's practice in spring 2021. K Contemporary represents Patton in Denver, CO, and J. Rinehart represents her in Seattle, WA. MFA Tufts University/School of the Museum of Fine Arts, Boston; BFA University of Oklahomahonors and awards 2020 Barbara Deming Memorial Fund, Inc. Grant Award 2020 Massachusetts Matched Savings Grant cohort, Assets for Artists of MASS MoCA 2019 Faith and Freedom Award from the Colorado Religious Coalition for Reproductive Choice, May 2019 Nominated for the Smithsonian Artist Research Fellowship (SARF), 2017 Cycle Montague Travel Grant Award at The School of the Museum of Fine Arts, Boston, December 2010 Exhibitions "Burnt Hair Spun Gold" at K Contemporary, 1412 Wazee St., Denver, CO, Sept.-Oct. 2020 "Put Me Back the Way They Found Me," curated by Simon Zalkind at Fulginiti Pavilion, Anschutz Medical Campus, 13080 E. 19th Ave, Aurora, CO, Mar-June 2020 Project Space at K Contemporary, 1412 Wazee St., Denver, CO, Nov. 2019 "Lineages in Bloom" at the Bellowe Family Gallery, Chautauqua Institution, Chautauqua, NY, June-July 2019 "Would you be lonely without me?" at the Texas Capitol Exhibit Space, 1100 Congress Ave., Austin, TX, Apr. 2019 "Forgetting is so long" at The Art Base, 99 Midland Spur, Basalt, CO Mar.-Apr. 2019 "A Rewilded Arcadia" at K Contemporary, 1412 Wazee St., Denver, CO, Oct. 2018 "This Is Not Goodbye," curated by Sandra Firmin, CU Boulder Art Museum, University of Colorado, Boulder, 318 UCB, Boulder, CO, Jul.-Nov. 2018 "Would you be lonely without me?," Art Gym, 1460 Leyden St., Denver, CO, July-Aug. 2018 "Throw My Ashes Into the Sea," solo at Michael Warren Contemporary Gallery, Denver, CO, Jan.-Mar. 2017 "Forgetting is so long," at Front Range Community College, Boulder County Campus, Longmont, CO, Jan.-Mar. 2017 "Forgetting is so long" at Michael Warren Contemporary Gallery, 760 Santa Fe Dr, Denver CO, Dec. 2014 About the postcard artworks "What rituals are useful to locating someone who's gone. Our story has no language. My loss always in communication with your loss." -Ella Longpre, How to Keep You Alive Who do we choose to remember, and how? These ideas are fraught terrain that cross family relationships, identities, and collective memorialization. For some, living memory supports an elongation of our lives-we only succumb to a blank past when our histories are no longer recalled and held by those that once cared for us. A family photograph is such a vessel of retrieving memory. As time accumulates, however, these emotionally laden images become unknowable, missing their necessary translators. Despite this gradual disintegration of previous selves, our bodies are still affected by the actions of our ancestors. Their lives are encoded into our beings through often-complex interconnections, whether through epigenetics or other practices preserved through time. The inherent loss embedded in these discarded photographs is intertwined with the fragility of the body itself. The depicted bodies can both reveal and conceal embodied language, personality, as well as emotional and physical health. These ties to corporeality and lineages hold us in ways that can manifest as a tender embrace or even a suffocation. In "Forgetting is so long," I collect abandoned family photographs, enlarge them to life-size, and paint over them as a kind of re-enlivening, removing the individuals from their formerly static location and time. Family photographs are revered vestiges to their loved ones, but if they become unmoored, the images and people within become hauntingly absent. Anthropologist Michael Taussig states that defacing sacred objects forces a "shock into being." Suddenly, we perceive them as present and piercing. By mixing painting with photography, I seek to lengthen Roland Barthes' "moment of death" (the photograph) into a loving act of remembrance. Bright swathes of color and the use of painted floral patterns underline relationships and connections to the natural world and beyond, adorning and embellishing these relics with devotional marks of care. These nearly forgotten people are transfigured and "reborn" into a fantastical, liminal place that holds both beauty and joy, temporarily suspended from plunging fully into oblivion.
Lot 173
NEIL YOUNG - PRIVATE LPs. Cool fan pack of 9 x privately released fan LPs including early rarities. Titles are Boulder, Colorado March 1971 (K&S Records 030 very scarce orange/black splatter coloured vinyl - record appearing in Ex+ condition/Ex+ condition original picture sheet), Computer Age - Life '82 (Swingin' Pig red vinyl), Ippodromo Le Capannelle (double LP plus 7" release - please note records have scratches), Carnegie Hall 1970, First Plane Outta Here!, Old Man's Fancy, Wild Bunch, Young Man's Fancy and Neil Young With Crazy Horse (Mushroom Records). Condition is generally VG to Ex+.
Lot 10
Perlcollier mit Schmetterling besetzt mit Boulderopalen, kleinen Rubinen sowie Altschliffdiamanten von zus. ca. 0,60 ct (davon Mittelstein ca. 0,50 ct), ca. GET (M)/SI-P1, RG 14K, Fassungen Silber, 35 gr, Kettenlänge ca. 35 cm, Mittelteil um 1900, Perlen etwas später, Tragespuren, 1 Opal bestoßen. Schließe punz. "GL". | Pearl necklace with butterfly with boulder opals and small rubies, old-european-cut diamonds totalling ca. 0,60 ct (of which center stone ca. 0,50 ct), ca. TIN (M)/SI-I1, RG 14K, settings silver, 35 gr, center piece around 1900, pearls later, signs of wear, 1 opal chipped. Clasp stamped "GL". Gewicht 35g Legierung 585+Silber
Lot 113
A PALE CELADON AND RUSSET JADE ‘BOULDER’ SEAL, MID-QING TO REPUBLICChina, late 18th to early 20th century. Of boulder form, incised with a mythical beast on one side and a lingzhi and leaves on the other. The translucent stone of a pale celadon tone with russet shadings and veins.Provenance: Dr. Ernst Eichler, Vienna, Austria. Thence by descent in the same family. Ernst Eichler (1932-2018) was a judge and poet, writing under the pseudonym of Ernst David. His works have been published worldwide and translated into many languages, including Japanese. Beginning in the late 1960s, he built an important collection of writing instruments, seals and other antique desktop objects, among them a small number of Chinese and Tibetan seals.Condition: Very good condition with minor wear, occasional light scratches, some nicks to edges, traces of pigment to incision work. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 41.5 gDimensions: Height 4.2 cm清中期至民國青玉帶皮山子印章中國，十八世紀末至二十世紀初。山子形，一面神獸紋及靈芝紋。透明的青色的半透明玉石，帶有赤褐色紋理和脈絡。來源：奧地利維也納Ernst Eichler 博士，自此保存在同一家族至今。Ernst Eichler（1932-2018）曾是一位法官和詩人，以Ernst David為筆名寫作。 他的作品已在全球出版並翻譯成多種語言，包括日語。 從1960年代後期開始，他建立了重要的書寫工具、印章和其他古董文房收藏，其中包括少量的中國和西藏印章。圖片：Ernst Eichler 博士(1932-2018) 品相：狀況極好with 輕微磨損, 局部輕微的划痕，邊緣有些微磕損，切口処有色素的痕跡。玉石具有天然裂紋，隨著時間的流逝，其中一些可能會發展成細小的裂縫。重量：41.5 克 尺寸：高4.2 厘米
Lot 346
AN INSCRIBED WHITE, GRAY AND RUSSET JADEITE ‘TIGER’ SNUFF BOTTLE, SIGNATURE OF WANG HENG (1817-1882)China. Reasonably well-hollowed, finely carved in relief to one side with a tiger next to a large boulder and to the other with two lotus flowers on leafy stems growing from a craggy rock, the stone of a white tone with grayish-black and russet shadings skillfully incorporated into the depiction.Inscriptions: To the rock, Shishou ShanrenProvenance: Leslie Gifford Kilborn, USA, and thence by descent in the same family. Leslie Gifford Kilborn (1895-1972), son of Retta and Omar Kilborn, was born in Sichuan, China. He greatly advanced missionary work in Western China, was the author of multiple texts and served as dean of the College of Medicine of the West China Union University. In 1952, he left China and became a professor of physiology at the University of Hong Kong. Old collector’s label ‘105’ to base.Condition: Excellent condition with minor wear, microscopic nibbling to mouth, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Stopper: Pink glass, Beijing style, with green collar and carved spoonWeight: 121.0 gDimensions: Height including stopper 73 mm. Diameter neck 22 mm and mouth 7 mmOf flattened heart-shaped form with a broad oval foot and a waisted neck with an everted and slanted lip.The present bottle shows the signature Shishou Shanren, the hao of Wang Heng (also known as Wang Rong, 1817-1882). He is listed in Zhongguo meishu jiaren mincidian, page 462. His other signed bottles include one in the J & J Collection, illustrated by Moss, Graham, Tsang, The Art of the Chinese Snuff Bottle, number 292, and a pebble-shaped bottle in the Bloch Collection which bears a date corresponding to 1816, and a signed, but undated, root-amber example in the Denis Low Collection.Auction result comparison: Compare with an amber snuff bottle by the same artist at Christies New York, in Important Chinese Snuff Bottles from the J&J Collection, Part IV, 22 March 2007, lot 16, sold for USD 24,000.灰白玉留皮虎紋鼻烟壺，汪鑅（1817-1882) 中國。掏膛良好，一側浮雕老虎，旁邊是一塊大巨石，另一側刻有兩朵蓮花，白色玉石帶有灰黑色和赤褐色的紋理被巧妙利用並納入雕刻中。 款識： 石壽山人 來源：美國Leslie Gifford Kilborn，自此保存在同一家族. Leslie Gifford Kilborn (1895-1972), Retta and Omar Kilborn的兒子，出生於中國四川。他極大地促進了中國西部的傳教工作，是多篇著作的作者，還曾擔任過華西聯合大學醫學院的院長。 1952年，他離開中國，成為香港大學生理學教授。 圖片：Leslie Gifford Kilborn (1895-1972, 左起第三位) 品相：狀況極佳，略有磨損，嘴部有輕微磕損，玉石有天然裂紋，隨著時間的流逝，其中一些可能已發展成細小的裂縫。 壺蓋：粉紅色玻璃，京派風格，綠色蓋托，小壺匙 重量：121.0 g 尺寸：含蓋總高73 毫米，頸部直徑22 毫米，嘴部直徑7 毫米呈扁平的心形，橢圓形底足，嘴唇外翻並傾斜。拍賣結果比較：一件同是汪鑅雕刻的琥珀鼻烟壺，見紐約佳士得 Important Chinese Snuff Bottles from the J&J Collection, Part IV拍場，2007年3月22日 lot 16, 售價USD 24,000.
Lot 71
A CELADON JADE ‘WASHING THE ELEPHANT’ CARVING, QINGChina, 1644-1912. Carved as a huge elephant standing foursquare with its head turned to the right and trunk curled onto the right foreleg. The head is incised with a sun symbol. A foreigner is seated on the elephant’s back emptying a jug of water over its side, a boy by the right hindleg is scrubbing the pachyderm with a long brush.Provenance: British private collection.Condition: Excellent condition with minor wear, few microscopic nicks here and there, the stone with few natural fissures, some of which may have developed into small cracks over time.Weight: 1,900 gDimensions: Height 14.3 cm, Length 12.5 cmThe smoothly finished gray-green stone with cloudy-white inclusions and russet speckles.Literature comparison: The scene of washing the elephant is well known and can be found on a jade group in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum: Jade ware (III), Hong Kong, 1995, pl.98; and on a jade boulder in the National Palace Museum, Taipei, illustrated in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch’ing Court, Taipei, 1997, pl.44.Auction result comparison: A related jade carving was sold by Bonhams New York in Fine Chinese Paintings and Works of Art on 21 July 2020, lot 98, for USD 10,075. Another related jade carving was sold by Christie’s New York in Fine Chinese Jade Carvings from a Private Collection on 13 September 2018, lot 958, for USD 23,750.清代青玉雕洗象擺件 中國，1644-1912。青玉雕一頭巨大的大象，直立，頭部轉向右側，鼻子縮在右側前肢上。 頭部刻有太陽符號。 一個外族人坐在大象背上，從大象的側面倒出一壺水，一個男孩立於象右側後腿旁正用長刷子擦洗大象。來源：英國私人收藏 品相：狀況極佳，磨損小，局部有微小的磕損，玉石内有少量天然裂紋，隨著時間的流逝，其中一些可能會發展成小裂縫。 重量：1,900 克 尺寸：高14.3 厘米，長12.5 厘米 表面光滑潤澤，灰綠色玉石帶有灰白色玉沁和赤褐色斑沁。 拍賣結果比較：一件相似玉雕售于紐約邦翰思Fine Chinese Paintings and Works of Art拍場，2020年7月21日，lot 98, 售價 USD 10,075。另一件相近玉雕售于紐約佳士得Fine Chinese Jade Carvings from a Private Collection拍場。2018年9月13日，lot 958, 售價USD 23,750.
Lot 327
A 14ct gold opal and diamond ring, a boulder opal, or opal doublet, approximately 13 x 9mm, rub set, with a brilliant cut diamond rub set at one side, to crossover shoulders and a plain shank, Birmingham 1999, together with a pair of gold rub set boulder opal or opal doublet earrings, with post and butterfly fittings, tested as approximately 14ct gold, approximately 10 x 8mm, 7.34g total (3)Finger size PCondition report: Opals in ring and earrings are possibly boulder opals or opal doublets, the rub over setting precludes assessment of possible doublet plane.Ring:A couple of very small nicks/scratches to the opal. Surface marks/scratches to mount.Earrings:One butterfly a little loose.
Lot 188
Ring Weißgold 585. Opal. Mit 18 Diamanten. 8,7 Gramm Gesamtgewicht. Der Boulder Opal? circa 16 mm x 12 mm oval. Die Diamanten zusammen circa 1 Karat Diamanten im Farb- und Reinheitsgrad. Ringgröße circa 56. Versand dieses Objektes durch Drittanbieter möglich. Liste ausgewählter vertrauenswürdiger Versandpartner liegt jeder Rechnung bei. Das Auktionshaus versendet nicht. Ring in white gold 585. Opal. With 18 diamonds. 8.7 grams total weight. The Boulder Opal? approximately 16 mm x 12 mm oval. The diamonds total around 1 carat. Medium color and clarity. Ring size approx. 56. Shipping of this object by a third-party provider possible. A list of selected trusted shipping partners is included with each invoice. The auction house does not ship.
Lot 605
λ HENRY BRUCE (BRITISH, B. 1976)'ERRATIC'Tubular stainless steelApproximately 400cm high, 600cm wide Catalogue Note: This giant boulder constructed from stainless steel tube takes its name from geological activity during the last ice age. An 'erratic' is a boulder which has been moved and deposited as part of a glacial flow. Dissonant with its environment an 'erratic' is often a beautiful anomaly. Henry Robert Woolf Bruce (ne Brudenell-Bruce) is a multidisciplinary artist working in the UK. Bruce is particularly well known for his large scale landscape art. "I see my work as an artist as a process of investigation. My studies in Social Anthropology have led me into an enquiry into landscape and the human condition using three-dimensional form.My work engages with ephemera - light, motion and time. By placing work in the landscape I create a locus." Henry BruceCondition Report: Please note that the work currently in the forecourt is to remain at Aynhoe, however the artist has kindly agreed to supply an identical commission for the successful buyer of the lot. Condition Report Disclaimer
Lot 117
An Australian 'Boulder opal' and an amethyst geode, the specimen opal mounted with an inscribed plaque 'Australian institute of Petroleum of South Australia, 1982 Conference', showing seams of translucent turquoise and pale purple, 7.5cm high (exc wooden mount); and a pale amethyst geode on stand, approx 10cm wide
Lot 873
Tiger und Junges. Elfenbein. Mitte 19. Jh. Auf einer fast planen Sockelplatte sitzt ein Tiger mit langem, über den Rücken gelegtem Schwanz, er legt schützend eine Vorderpfote auf das vor ihm kauernde Jungtier. Die Mundspalte beider Tiere rot eingefärbt, die Pupillen aus Horn.H 2,8 cm; L 3,7 cmProvenienzSammlung Paul (1910-2002) und Louise (1911-2015) Bernheimer, Cambridge, MA, USA, verkauft bei Artemis Gallery, Boulder CO, USA, 28.1.2016Dieses Objekt wurde unter Verwendung von Materialien hergestellt, für die beim Export in Ländern außerhalb der EU eine Genehmigung nach CITES erforderlich ist. Wir machen darauf aufmerksam, dass eine Genehmigung im Regelfall nicht erteilt wird. An ivory netsuke of a tiger and cub. Mid-19th century Seated on a flat base with its long tail laid over its back and placing a forepaw protectively over the cub sitting in front. The eye pupils of light horn, red colouring to the mouths.Height 2.8 cm; length 3.7 cmProvenanceCollection Paul (1910-2002) und Louise (1911-2015) Bernheimer, Cambridge, MA, USA, verkauft bei Artemis Gallery, Boulder, CO, USA, 28.1.2016This lot contains materials which require a CITES licence for export outside of the EU contract countries. We would like to inform you that such licenses are usually not granted.
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