BEZALEL SCHATZ (Palestinian 1912-1978) AND HENRY MILLER (American 1891-1980) A GROUP OF TWO BLACK AND WHITE PAPER PRINTS, FROM "Into the Night Life," FIRST EDITION, UNBOUND, BERKELEY, CALIFORNIA, 1947, two color serigraph respectively on black paper and white paper, the pages with serigraph text reproducing Henry Miller's manuscript, the original text an excerpt from Black Spring used in Into the Night Life, artwork and serigraph by Bezalel Schatz, unbound, the present published independently by the artists in an original edition of 800. 15 1/4" x 24 1/2" Provenance: Collection of Kasey Rhodes, Houston, Texas. Condition: A few expected chew marks and holes, toning mostly on white paper pieces, white paper piece with stain in margin, expected surface wear and tone, some rubbing and transfer soil on surface, and overall in good to very good condition, wear commensurate with historically noted poor storage conditions of the original printings. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
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HENRY MILLER (American 1891-1980) AND BEZALEL SCHATZ (Palestinian 1912-1978) A GROUP OF PRINTS AND BOOK COVER, FROM "Into the Night Life," FIRST EDITION, UNBOUND, BERKELEY, CALIFORNIA, 1947, serigraphs on paper, rice paper and cloth, fifty-three unbound paper pages with serigraph text reproducing Henry Miller's manuscript, the original text an excerpt from Black Spring used in Into the Nightlife, serigraph and illustrations by Bezalel Schatz, accompanied by one rice paper sheet serigraph in blue and red ink, signed in plate, and a blue cloth board cover with felt applique, all unbound, the present published independently by the artists in an original edition of 800, cover: 26 1/2" x 16 1/2", sheets: 20" x 13", rice paper: 15 1/4" x 13". Provenance: Collection of Kasey Rhodes, Houston, Texas. Condition: Some tears and toning throughout, creases to rice paper with some small tears, losses and chewed at edges, clipped blue cover corners with bends and some wear, and overall in good to very good condition, wear commensurate with historically noted poor storage conditions of the original printings. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
WARREN PLATNER (American 1919-2006) A GLASS TOPPED SIDE TABLE, THE PLATNER COLLECTION, FOR KNOLL FURNITURE, 1980s, the recessed circular beveled glass top upheld by waisted polished nickel-plated rods ending on a nickel-plated ring with a conforming transparent plastic pad foot. Height: 18" Diameter: 15 1/2" Note: Warren Platner first designed The Platner Collection for Knoll Furniture in 1966. Provenance: From the Estate of William Woodford, Houston, Texas. Condition: Some minor light wear and occasional oxidized spots, but overall in good to very good condition, wear commensurate with age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DEREK BOSHIER (British b. 1937) A COLLAGE, "Camh Bonkoly," 1982, mixed media on paper mounted to matboard, no visible signature. 20 1/2" x 20 1/2" Note: This piece was likely created for the exhibition "Derek Boshier - Texas Works," the British artist's first solo exhibition at the CAMH, featuring his Texas paintings done during his 13-year tenure at the University of Houston. Boshier would later receive a second solo exhibition at the CAMH in 1996. Provenance: Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama February 7 - November 29, 2020. Estate of David E. Brauer, Houston, Texas. Condition: Faint discoloration spot verso, generally in good condition. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
HENRY MILLER (American 1891-1980) AND BEZALEL SCHATZ (Palestinian 1912-1978) A GROUP OF SIX BLACK, BLUE, AND WHITE PAPER PRINTS, SIGNED, FROM "Into the Night Life," FIRST EDITION, UNBOUND, BERKELEY, CALIFORNIA, 1947, comprising six color serigraphs; on one blue paper, one half sheet on black paper, and four on cream white papers, one page signed, "Henry Miller," in black ink and "Bezalel Schatz," in blue ink, pages with serigraph text reproducing Henry Miller's manuscript, the original text an excerpt from Black Spring used in Into the Night Life, artwork and serigraph by Bezalel Schatz, unbound, the present published independently by the artists in an original edition of 800. 15 1/4" x 24 1/2" Provenance: Collection of Kasey Rhodes, Houston, Texas. Condition: Some expected chew marks and holes, fading at edges, the black paper with a surface stain, expected surface wear and tone, and overall in good to very good condition, wear commensurate with historically noted poor storage conditions of the original printings. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DIEGO RIVERA (Mexican 1886-1957) A GROUP OF TWO PRINTS, BOOKLET AND AN ORANGE CASE, FROM "Frescoes of Diego Rivera," MOMA, SIGNED, NEW YORK, 1933, comprising two color calotype prints on heavy paper, each plate signed and dated on plate in black ink, "Diego Rivera, 1942," "Chapel of the Agricultural School," plate VII, signed and dated U/L, the fresco in situ at Chipango, 8 1/4" x 9"; "Persecution of the Indian, Revolution, Independence," plate XVII, signed and dated U/R, the fresco in situ at, "National Palace, Mexico City, Central Stairway," 11 1/2" x 5 1/4"; color plates printed in Germany by Ganymed, Berlin, for The Museum of Modern Art, New York; the accompanying informational booklet printed by Plandome Press, Inc, New York, signed and dedicated in blue ink, "Diego Rivera, To Beatrice Joyce. With my best...Mexico. Feb-23 1942.," with the original orange case, 18 1/2" x 13 3/4". Note: Original press release facsimile: "Saturday afternoon or Sunday, February 18, 19th, 1933. The Mexican murals of Diego Rivera, in a setting of modern interior architecture, will be offered to the public at the Museum of Modern Art, 11 West 53d Street, New York, on Monday, February 20th, when the Museum opens its permanent Architecture Room with a showing of the first color reproductions of the famous murals executed by Diego Rivera in Mexico City, Chapingo and Cuernavaca. The exhibition marks the publication by the Museum of Modern Art of the Rivera Portfolio which contains 19 color plates printed by the Ganymed Press in Berlin, Germany, selected from the frescoes on the walls of the Ministry of Education and the National Palace in Mexico City, the Agricultural School in Chapingo, and the Palace of Cortez in Cuernavaca. In addition, 14 monotone plates, printed by the Plandome Press in New York, show on a smaller scale the entire fresco of which each color reproduction is a part. The portfolio also contains a note on the technique of Rivera's frescoes by Jere Abbott, Director of the Smith College Art Museum. The book has been in preparation for over a year and it a publication has been made possible by the generosity of a member of the Advisory Committee of the Museum of Modern Art. The Architecture Room, in which the prints will be shown, will be a permanent feature of the Museum. It has been installed and decorated as an example of modern interior architecture, under the supervision- of Philip Johnson, Director of the Department of Architecture. The furniture is designed by Le Corbusier, Pierre Jeaneret, and Charlotte Perriand. The colors of the room are gray, brown, and blue. Two walls of gray homespun have aluminum base moldings. One wall is covered by navy blue raw silk curtains and the fourth wall is white. Two windows in this wall are of ribbed translucent glass. Curtains of white fishnet cover this entire wall. The floor is dark brown linoleum."The recipient attributed as Beatrice Joyce Kean (1923-1972), of the Joyce Family and Joyce Foundation, which dedicates considerable charitable donations through grants to the Great Lakes region, focusing on, "advancing racial equity and economic mobility," since 1948. Printer reference: Malet, Marian, and Sara MacDougall, ed. et al, "Applied Arts in British Exile from 1933: Changing Visual and Material Culture: Yearbook of the Research Center for German and Austrian Exile Studies, Brill, Leiden, 2019, page 154.Copyright by Ray Slater Murphy, noted collector and MoMA Patron. Condition: The case and booklet with heavy wear at edges and corners, some smudges, handling creases, tears, bends, most matting with some minor wear, dust, but overall in good to very good condition, wear commensurate with age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DIEGO RIVERA (Mexican 1886-1957) A GROUP OF TWO PRINTS, FROM "Frescoes of Diego Rivera," MOMA, SIGNED, NEW YORK, 1933, comprising two color calotype prints on heavy paper, each plate signed and dated on plate, in black ink, "Diego Rivera, 1942, "Ceiling Detail (Figure with Sickle)," plate VIII, signed and dated L/L, 10 1/4" x 8 5/8"; "Ceiling Detail, Workers," plate IX, signed and dated L/L, 9" x 11"; in situ at the "Chapel of the Agricultural School, Chapingo," color plates printed in Germany by Ganymed, Berlin, for The Museum of Modern Art, New York, "Color Reproductions of Mexican Frescoes by Diego Rivera," exhibition running February 20 - March 12, 1933. Note: Original Exhibition press release (facsimile): "Saturday afternoon or Sunday, February 18, 19th, 1933. The Mexican murals of Diego Rivera, in a setting of modern interior architecture will be offered to the public at the Museum of Modern Art, 11 West 53d Street, New York, on Monday, February 20th, when the Museum opens its permanent Architecture Room with a showing of the first color reproductions of the famous murals executed by Diego Rivera in Mexico City, Chapingo and Cuernavaca. The exhibition marks the publication by the Museum of Modern Art of the Rivera Portfolio which contains 19 color plates printed by the Ganymed Press in Berlin, Germany, selected from the frescoes on the walls of the Ministry of Education and the National Palace in Mexico City, the Agricultural School in Chapingo, and the Palace of Cortez in Cuernavaca. In addition, 14 monotone plates, printed by the Plandome Press in New York, show on a smaller scale the entire fresco of which each color reproduction is a part. The portfolio also contains a note on the technique of Rivera's frescoes by Jere Abbott, Director of the Smith College Art Museum. The book has been in preparation for over a year and its publication has been made possible by the generosity of a member of the Advisory Committee of the Museum of Modern Art. The Architecture Room, in which the prints will be shown, will be a permanent feature of the Museum. It has been installed and decorated as an example of modern interior architecture, under the supervision- of Philip Johnson, Director of the Department of Architecture. The furniture is designed by Le Corbusier, Pierre Jeaneret, and Charlotte Perriand. The colors of the room are gray, brown, and blue. Two walls of gray homespun have aluminum base moldings. One wall is covered by navy blue raw silk curtains and the fourth wall is white. Two windows in this wall are of ribbed translucent glass. Curtains of white fishnet cover this entire wall. The floor is dark brown linoleum." The recipient attributed as Beatrice Joyce Kean (1923-1972), of the Joyce Family and Joyce Foundation, which dedicates considerable charitable donations through grants to the Great Lakes region, focusing on "advancing racial equity and economic mobility," since 1948. Printer reference: Malet, Marian and Sara MacDougall, ed. et al, "Applied Arts in British Exile from 1933: Changing Visual and Material Culture: Yearbook of the Research Center for German and Austrian Exile Studies, Brill, Leiden, 2019, page 154.Copyright by Ray Slater Murphy, noted collector and MoMA Patron. Condition: Some minor surface wear and toning, one mat with some moisture exposure on one edge, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DIEGO RIVERA (Mexican 1886-1957) A GROUP OF TWO PRINTS, FROM "Frescoes of Diego Rivera," MOMA, SIGNED, NEW YORK, 1933, comprising two color calotype prints on heavy paper, each plate signed and dated on plate, respectively in blue and black ink, "Diego Rivera, 1942," "The Fall of the Empire," plate XVIII, signed and dated U/R in blue ink, 11" x 8 5/8"; "Juarez and the Reform Laws," plate XIX, signed and dated U/L in black ink, 11" x 8 5/8"; the frescoes in situ at, "The National Palace, Mexico City," color plates printed in Germany by Ganymed, Berlin, for The Museum of Modern Art, New York, "Color Reproductions of Mexican Frescoes by Diego Rivera," show running February 20 - March 12, 1933. Note: Original press release facsimile: "Saturday afternoon or Sunday, February 18, 19th , 1933. The Mexican murals of Diego Rivera, in a setting of modern interior architecture will be offered to the public at the Museum of Modern Art, 11 West 53d Street, New York, on Monday, February 20th, when the Museum opens its permanent Architecture Room with a showing of the first color reproductions of the famous murals executed by Diego Rivera in Mexico City, Chapingo and Cuernavaca. The exhibition marks the publication by the Museum of Modern Art of the Rivera Portfolio which contains 19 color plates printed by the Ganymed Press in Berlin, Germany, selected from the frescoes on the walls of the Ministry of Education and the National Palace in Mexico City, the Agricultural School in Chapingo, and the Palace of Cortez in Cuernavaca. In addition 14 monotone plates, printed by the Plandome Press in New York, show on a smaller scale the entire fresco of which each color reproduction is a part. The portfolio also contains a note on the technique of Rivera's frescoes by Jere Abbott, Director of the Smith College Art Museum. The book has been in preparation for over a year and it a publication has been made possible by the generosity of a member of the Advisory Committee of the Museum of Modern Art. The Architecture Room, in which the prints will be shown, will be a permanent feature of the Museum. It has been installed and decorated as an example of modern interior architecture, under the supervision- of Philip Johnson, Director of the Department of Architecture. The furniture is designed by Le Corbusier, Pierre Jeaneret, and Charlotte Perriand. The colors of the room are gray, brown, and blue. Two walls of gray homespun have aluminum base mouldings. One wall is covered by navy blue raw silk curtains and the fourth wall is white. Two windows in this wall are of ribbed translucent glass. Curtains of white fishnet cover this entire wall. The floor is dark brown linoleum."The recipient attributed as Beatrice Joyce Kean (1923-1972), of the Joyce Family and Joyce Foundation, which dedicates considerable charitable donations through grants to the Great Lakes region, focusing on "advancing racial equity and economic mobility," since 1948. Printer reference: Malet, Marian and Sara MacDougall, ed. et al, "Applied Arts in British Exile from 1933: Changing Visual and Material Culture: Yearbook of the Research Center for German and Austrian Exile Studies, Brill, Leiden, 2019, page 154.Copyright by Ray Slater Murphy, noted collector and MoMA Patron. Condition: Mild surface wear, some wear to outer mat, one mat with moisture exposure but plates only with minor surface wear and tone, and overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DIEGO RIVERA (Mexican 1886-1957) A GROUP OF TWO PRINTS, FROM "Frescoes of Diego Rivera," MOMA, SIGNED, NEW YORK, 1933, comprising two color calotype prints on heavy paper, each plate signed and dated on plate, respectively in blue and black ink, "Diego Rivera, 1942," "Detail from Day of the Dead (Street Fair)," plate III, signed and dated in blue ink L/R, 10 7/8" x 8 5/8"; "Detail from A Division of the Lands," plate IV, signed and dated in black ink L/L, 11" x 8 3/4"; both in situ at, "The Ministry of Education, Mexico City," color plates printed in Germany by Ganymed, Berlin, for The Museum of Modern Art, New York, "Color Reproductions of Mexican Frescoes by Diego Rivera," exhibition running February 20 - March 12, 1933. Note: The "Detail of Day of the Dead," presented here curiously captures the head of a man with a yellow hat, which unwaveringly favors the artist. The consideration that this is indeed a self-portrait of the artist hidden among the festivities cannot be missed.Original Exhibition press release (facsimile): "Saturday afternoon or Sunday, February 18, 19th, 1933. The Mexican murals of Diego Rivera, in a setting of modern interior architecture will be offered to the public at the Museum of Modern Art, 11 West 53d Street, New York, on Monday, February 20th, when the Museum opens its permanent Architecture Room with a showing of the first color reproductions of the famous murals executed by Diego Rivera in Mexico City, Chapingo, and Cuernavaca. The exhibition marks the publication by the Museum of Modern Art of the Rivera Portfolio which contains 19 color plates printed by the Ganymed Press in Berlin, Germany, selected from the frescoes on the walls of the Ministry of Education and the National Palace in Mexico City, the Agricultural School in Chapingo, and the Palace of Cortez in Cuernavaca. In addition 14 monotone plates, printed by the Plandome Press in New York, show on a smaller scale the entire fresco of which each color reproduction is a part. The portfolio also contains a note on the technique of Rivera's frescoes by Jere Abbott, Director of the Smith College Art Museum. The book has been in preparation for over a year and its publication has been made possible by the generosity of a member of the Advisory Committee of the Museum of Modern Art. The Architecture Room, in which the prints will be shown, will be a permanent feature of the Museum. It has been installed and decorated as an example of modern interior architecture, under the supervision- of Philip Johnson, Director of the Department of Architecture. The furniture is designed by Le Corbusier, Pierre Jeaneret, and Charlotte Perriand. The colors of the room are gray, brown, and blue. Two walls of gray homespun have aluminum base moldings. One wall is covered by navy blue raw silk curtains and the fourth wall is white. Two windows in this wall are of ribbed translucent glass. Curtains of white fishnet cover this entire wall. The floor is dark brown linoleum." The recipient attributed as Beatrice Joyce Kean (1923-1972), of the Joyce Family and Joyce Foundation, which dedicates considerable charitable donations through grants to the Great Lakes region, focusing on "advancing racial equity and economic mobility," since 1948. Printer reference: Malet, Marian, and Sara MacDougall, ed. et al, "Applied Arts in British Exile from 1933: Changing Visual and Material Culture: Yearbook of the Research Center for German and Austrian Exile Studies, Brill, Leiden, 2019, page 154.Copyright by Ray Slater Murphy, noted collector and MoMA Patron. Condition: Very minor surface wear and toning, some small bends at corners of matting, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DIEGO RIVERA (Mexican 1886-1957) A GROUP OF TWO PRINTS, FROM "Frescoes of Diego Rivera," MOMA, SIGNED, NEW YORK, 1933, comprising two color calotype prints on heavy paper, each plate signed and dated on plate, in black ink, "Diego Rivera, 1942," "Workers' Meeting," plate I, signed and dated center, in situ at the "Ministry of Education, Mexico City," 6 7/8" x 11 1/8"; "Forces Under the Earth," plate X, signed and dated L/R, in situ at the "Chapel of the Agricultural School, Chapingo," 7 3/4" x 11 1/4"; color plates printed in Germany by Ganymed, Berlin, for The Museum of Modern Art, New York, "Color Reproductions of Mexican Frescoes by Diego Rivera," exhibition running February 20 - March 12, 1933. Note: Original Exhibition press release (facsimile): "Saturday afternoon or Sunday, February 18, 19th, 1933. The Mexican murals of Diego Rivera, in a setting of modern interior architecture, will be offered to the public at the Museum of Modern Art, 11 West 53d Street, New York, on Monday, February 20th, when the Museum opens its permanent Architecture Room with a showing of the first color reproductions of the famous murals executed by Diego Rivera in Mexico City, Chapingo and Cuernavaca. The exhibition marks the publication by the Museum of Modern Art of the Rivera Portfolio which contains 19 color plates printed by the Ganymed Press in Berlin, Germany, selected from the frescoes on the walls of the Ministry of Education and the National Palace in Mexico City, the Agricultural School in Chapingo, and the Palace of Cortez in Cuernavaca. In addition, 14 monotone plates, printed by the Plandome Press in New York, show on a smaller scale the entire fresco of which each color reproduction is a part. The portfolio also contains a note on the technique of Rivera's frescoes by Jere Abbott, Director of the Smith College Art Museum. The book has been in preparation for over a year and its publication has been made possible by the generosity of a member of the Advisory Committee of the Museum of Modern Art. The Architecture Room, in which the prints will be shown, will be a permanent feature of the Museum. It has been installed and decorated as an example of modern interior architecture, under the supervision- of Philip Johnson, Director of the Department of Architecture. The furniture is designed by Le Corbusier, Pierre Jeaneret, and Charlotte Perriand. The colors of the room are gray, brown, and blue. Two walls of gray homespun have aluminum base moldings. One wall is covered by navy blue raw silk curtains and the fourth wall is white. Two windows in this wall are of ribbed translucent glass. Curtains of white fishnet cover this entire wall. The floor is dark brown linoleum." The recipient attributed as Beatrice Joyce Kean (1923-1972), of the Joyce Family and Joyce Foundation, which dedicates considerable charitable donations through grants to the Great Lakes region, focusing on "advancing racial equity and economic mobility," since 1948. Printer reference: Malet, Marian, and Sara MacDougall, ed. et al, "Applied Arts in British Exile from 1933: Changing Visual and Material Culture: Yearbook of the Research Center for German and Austrian Exile Studies, Brill, Leiden, 2019, page 154.Copyright by Ray Slater Murphy, noted collector and MoMA Patron. Condition: Minor surface wear and expected toning, some small bends at corners of matting, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DIEGO RIVERA (Mexican 1886-1957) A GROUP OF TWO PRINTS, FROM "Frescoes of Diego Rivera," MOMA, SIGNED, NEW YORK, 1933, comprising two color calotype prints on heavy paper, each plate signed and dated on plate in black ink, "Diego Rivera, 1942," "Indians Bathing," plate II, signed and dated L/L, 11" x 8 1/8"; "While the Poor Sleep," plate V, signed and dated C/R, 11" x 8 1/2"; both in situ at the "Ministry of Education, Mexico City," color plates printed in Germany by Ganymed, Berlin, for The Museum of Modern Art, New York, "Color Reproductions of Mexican Frescoes by Diego Rivera," exhibition running February 20 - March 12, 1933. Note: Original Exhibition press release (facsimile): "Saturday afternoon or Sunday, February 18, 19th, 1933. The Mexican murals of Diego Rivera, in a setting of modern interior architecture will be offered to the public at the Museum of Modern Art, 11 West 53d Street, New York, on Monday, February 20th, when the Museum opens its permanent Architecture Room with a showing of the first color reproductions of the famous murals executed by Diego Rivera in Mexico City, Chapingo, and Cuernavaca. The exhibition marks the publication by the Museum of Modern Art of the Rivera Portfolio which contains 19 color plates printed by the Ganymed Press in Berlin, Germany, selected from the frescoes on the walls of the Ministry of Education and the National Palace in Mexico City, the Agricultural School in Chapingo, and the Palace of Cortez in Cuernavaca. In addition, 14 monotone plates, printed by the Plandome Press in New York, show on a smaller scale the entire fresco of which each color reproduction is a part. The portfolio also contains a note on the technique of Rivera's frescoes by Jere Abbott, Director of the Smith College Art Museum. The book has been in preparation for over a year and its publication has been made possible by the generosity of a member of the Advisory Committee of the Museum of Modern Art. The Architecture Room, in which the prints will be shown, will be a permanent feature of the Museum. It has been installed and decorated as an example of modern interior architecture, under the supervision- of Philip Johnson, Director of the Department of Architecture. The furniture is designed by Le Corbusier, Pierre Jeaneret, and Charlotte Perriand. The colors of the room are gray, brown, and blue. Two walls of gray homespun have aluminum base moldings. One wall is covered by navy blue raw silk curtains and the fourth wall is white. Two windows in this wall are of ribbed translucent glass. Curtains of white fishnet cover this entire wall. The floor is dark brown linoleum." The recipient of the dedication is attributed as Beatrice Joyce Kean (1923-1972), of the Joyce Family and Joyce Foundation, which dedicates considerable charitable donations through grants to the Great Lakes region, focusing on "advancing racial equity and economic mobility," since 1948. Printer reference: Malet, Marian, and Sara MacDougall, ed. et al, "Applied Arts in British Exile from 1933: Changing Visual and Material Culture: Yearbook of the Research Center for German and Austrian Exile Studies, Brill, Leiden, 2019, page 154.Copyright by Ray Slater Murphy, noted collector and MoMA Patron. Condition: Some minor toning and surface wear, and some handling and creasing of matting, a small area of moisture exposure at one edge of matting, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
A REPUBLIC OF TEXAS MANUSCRIPT, DEED REQUEST FOR LAND TITLE VALIDATION, ASHBEL SMITH AND CHARLES C. GIVENS OF HARRIS COUNTY TO CHIEF JUSTICE OF WASHINGTON COUNTY, 1837-1844, hand inscribed ink on cream laid paper with a heraldic blind stamp. 7 3/4" x 6 1/4" Note: "To the Hon. The Chief Justice of Washington County, The Petition of Ashbel Smith of Harris County sets forth that he purchased and paid for, several years ago, a tract of land situated on San Jacinto Bay, belonging then and the property of Charles C. Givens. Said C.C. Givens then executed a bond for title to the petitioner with two good and sufficient witnesses and also delivered possession of the land to the petitioner. The bond for title was duly recorded in Harris Co. records shortly after its execution, and the petitioner has ever since held undisputed possession of the land in question. As the C.C. Givens died a few years since before making a title in regular form to the petitioner. Your petitioner therefore prays your honorable court to order and require Givens' administrator of C. C. Givens deed to make title to said tract of land, conformally with law and the written contract between C.C. Givens and petitioner. And your petitioner writes and pray, Ashbel Smith of Harris Co."Ashbel Smith (1805-1886) is recorded in the Texas State Historical Association Handbook of Texas writing, "Smith had a long and distinguished medical career. When he arrived in Texas in the spring of 1837, he became Sam Houston's roommate and close friend. Houston appointed him surgeon general of the Army of the Republic of Texas on June 7, 1837. In this role, Smith set up an efficient system of operation and established the first hospital in Houston, a military institution. He also served as the first chairman of the Board of Medical Censors, which was established by the Second Congress of the Republic in December 1837. During the devastating epidemic of yellow fever in Galveston in 1839, he treated the sick, published factual reports of the progress of the disease in the Galveston News, and after the epidemic abated, wrote the first treatise on yellow fever in Texas...In 1842 Ashbel Smith traveled to Europe as the charge d'affaires of Texas to England and France, a position he held from 1842-1844. In 1848 Smith met with ten other Galveston doctors to begin working for the formation of the Medical and Surgical Society of Galveston. When the Texas Medical Association came into being in 1853, he was chairman of the committee that drafted its constitution and bylaws...After Texas became a state Smith served three terms (1855, 1866, and 1879) in the state legislature as a representative from Harris County. As a legislator, he supported measures to aid railroad construction, validate land titles, improve common schools, found the University of Texas, and pay off the public debt...He spent his last years in an unceasing effort to establish a state university with a first-class medical branch. As president of the University of Texas Board of Regents, established in 1881, he led the effort to recruit the best professors available for the university faculty and to set up a curriculum necessary for a first-rate institution of higher learning." Noting the particularly European style blind stamp, the present letter is attributed to Ashbel Smith's time spent performing ambassadorial and diplomatic duties. Unfortunately undated, the surviving examples of Ashbel's handwriting and age of the paper are consistent with his other known early Texas documents. The work he is conducting here anticipates his legal ownership of lands he had apparently purchased by a word of mouth "handshake" deal between himself and early Texas Pioneer Charles C. Givens. Ashbel Smith writes to the "Chief Justice of Washington County," possibly John P. Coles (1793-1847), where the records for the Republic of Texas were held until Texas was annexed to the United States, and at that time the records were moved to Austin. The location of the records department helps date the work.Charles C. Givens, Esq., is not recorded with any birth or death dates, though his passing is mentioned within the present, undated letter. He appears to have arrived in Texas as a bachelor, which appears to have persisted throughout his lifetime, potentially causing this very land dispute. In one of a few documents that retain his name, C.C. Givens is directed, at the request of Stephen F. Austin, in a correspondence dated October 14, 1836, to supply two oxen in order to ensure supplies. The entry is found in The Quarterly of the Texas State Historical Association, edited by George P. Garrison, Number 4, The Journal of the Permanent Council (October 11-27, 1835), page 258. Otherwise unmentioned within the early Texas record, Charles C. Givens' name is found published in an archive held at the Houston Public Library containing information on the first settlers of Harris County (1822-1845), "In 1824, Stephen F. Austin accompanied by his secretary Sam M. Williams and the commissioner, Baron de Bastrop, came by appointment to the house of William Scott (1784-1837)…'There was no provision in the law for granting land to men without families. These were joined in groups of two or three and each group constituted a legal family." Just below Adele B. Looscan pens that, "Those in Harris County who received titles at this time (1824) and located their land in this county were: [listing the names of early Harris County settlers followed by.]…There seem to have been only about thirty original grants made in Harris County at this time, but there were several settlers in the county who located their lands in other counties embraced within Austin's first colonial grant and the lands of a few located in two counties, which adjoined each other. Besides the settlers who received land titles, there were others, members of the same families who should be mentioned...Charles C. Givens and Presley Grill, who immigrated with William Scott, and Dr. Knuckles..." Reference: "Harris County, 1822-1845, Adele B. Looscan, in The Southwestern Historical Quarterly, Oct. 1914, Vol. 18, No. 2, pp. 195-198. Provenance: Estate of Dr. Paul E. Shutts, Houston, Texas. Condition: Some expected toning, creases as issued, red staining near edges, probably trimmed, undated, blind stamp somewhat illegible, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DAN WINGREN (American/Texas 1923-1998) A PAINTING, "Bad Day for a Festival," 1959, oil on canvas, signed and dated L/R, verso signed, titled and dated on stretcher. 25" x 30" Note: A lifelong teacher of Art and Art history, a former student wrote of Dan Wingren's methodological approach and that he had a, "...brilliantly creative way of bringing contemporary art history to life. I remember, especially, how during the first few moments of every class, he played music of the period we were studying often accompanied by film or other visual images to set the stage for the day’s lecture." Provenance: The Estate of Jeanne Closuit Long, Houston, Texas. Condition: Some large craquelure, mild surface wear, a mild surface scratch at left, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
BEZALEL SCHATZ (Palestinian 1912-1978) AND HENRY MILLER (American 1891-1980) A GROUP OF TWO PRINTS, FROM "Into the Night Life," FIRST EDITION, UNBOUND, BERKELEY, CALIFORNIA, 1947, color serigraph, one on black paper with introduction and printing details, and the other on translucent paper, signed and dated in plate; the pages with serigraph text reproducing Henry Miller's manuscript, the original text an excerpt from Black Spring used in Into the Night Life, artwork and serigraphy by Bezalel Schatz, unbound, the present published independently by the artists in an original edition of 800. 15 1/4" x 24 1/2" Provenance: Collection of Kasey Rhodes, Houston, Texas. Condition: Some mild surface wear, creases, rubbing, some edge wear, and two tears (1 3/4", 2 3/4") upper left to the thin paper, expected surface wear and tone, and overall in good to very good condition, wear commensurate with historically noted poor storage conditions of the original printings. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DEREK BOSHIER (British b. 1937) A PAINTING, "Between Sunset and Sunrise, Houston," 1980, oil on canvas, signed verso. 42 1/8" x 55 1/8" Note: Derek Boshier's "Texas paintings" completed during the 1980s explore cowboy mythology, pop culture, and relationships between politics and art. One particular focus was the dramatically flat landscape of the Houston skyline, which appears in many of these works. Derek Boshier lived in Houston for thirteen years after accepting a temporary teaching position that turned into a long and successful career at the University of Houston. He had first come to prominence during the 1960s in London while still a student at the Royal College of Art, where he helped to launch the British Pop Art movement along with fellow students David Hockney, Allen Jones, R.B. Kitaj, and others. Provenance: Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama. Estate of David E. Brauer, Houston, Texas. Condition: Some discoloration verso, surface in very good to excellent condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
R.B. KITAJ (American 1932-2007) A GROUP OF FIVE PRINTS, FROM "First Series: Some Poets," 1966-1970, comprising five works on paper from "First Series: Some Poets," a portfolio published by Kelpra Studios. "Ed Dorn," screenprint on paper, signed in image in pencil L/R, "Kitaj," numbered L/L 39/70, stamped verso, 25 5/8" x 20 1/2"; "Star Betelgeuse, Robert Duncan," screenprint and collage on paper, numbered 40/70, 33" x 17 7/8"; "Portrait of W.H. Auden," screenprint and lithograph on paper, numbered 33/70, 18 1/2" x 24 1/2"; "Revolt on the Clyde (Hugh Mac Diarmid)," screenprint and photo-screenprint on blue card, signed and numbered in pencil L/L "Kitaj 52/70," 25 1/2" x 20 1/4"; "Fifties Grad Swank: Morton Feldman," signed and numbered in pencil L/L, "Kitaj 63/70," 31 1/2" x 14 3/4". Provenance: Estate of David E. Brauer, Houston, Texas. Condition: "Ed Dorn" has light marks from creasing along right edge, and is hinged to black matboard. Generally in good to very good condition; "Revolt on the Clyde (Hugh Mac Diarmid)" has slight residue along lower edge, along with some scratching to the frame; "Fifties Grad Swank: Morton Feldman" has slight crease in U/R corner, slight discoloration in L/L corner, along with a small crease in L/R corner, otherwise all in generally good to very good condition. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
attributed to FRANCOIS BOUCHER (French 1703-1770) A DRAWING, "Venus Allongée et Cupid," CIRCA 1762, charcoal and chalk on cream laid paper, signed and dated L/R, "F. Boucher 1762," verso retaining the old cardboard back and some paper labels, one inscribed in ink, "F. Boucher No. 1082." 9 1/8" x 12" Note: The nude figure of Venus leans on a contoured left arm, her head turns to the right, while her beauty is viewed in profile. Her gaze focuses beyond her right arm as she rests on a sack pillow. Unadorned is her bed; Venus lounges upon billowing fabrics, which cushion the goddess from the unceremonious figured, knotted wood pallet bed. There is no suggestion of pretense here. The sleeping winged cupid innocently snuggles next to his mother's thigh, mimicking her outstretched pose. Below her are decadent fruits and flowers strewn about the lower left foreground. The infant cupid has carelessly tossed his quiver full of feather tipped arrows and bow at the center foreground. A good comparison is the present drawing with a print (collection number 1944,1014.576) at the British Museum. The British Museum holds two impressions which are reported to originate from a drawing composed in 1761, just one year before the present drawing. The difference between the two is, however; that the floor on The British Museum paperwork is clearly scattered with flowers, whereas the present work has the sketchy suggestion of apples, peaches or flowers on the floor, clearly distinguishing the two "odalisques" from the other. The British Museum work also lacks the figure of the wood palette seen only on the present work. Furthermore, the Kimbell Art Museum holds a drawing titled, "Recumbent Female Nude." The Kimbell figure's repose is very similar to the present work showing a more direct view of the interior right thigh, which is not typically apparent in Boucher's recumbent nudes, however is definitely seen here. The reclining nude female was a consistent theme for Francois Boucher over his lifetime; a luxurious talent for which kings, nobility, and collectors continue to seek out well into the 21st century. Finally, Alan P. Wintermute writes in Francois Boucher: His Circle and Influence, published by Stair Sainty Matthiesen of New York on pages 72-73, that when compared to other drawings by Boucher of the "Odalisque" genre, that this version seems "domesticated." Furthermore, he pens, "In the nineteen years between the first odalisque and this drawing, Boucher's inventive imagination has not been idle: from the exotic carnality of the East to an image of frank voluptuousness closer to home, he ends with an image of expectant desire presented in the guise of Ovidian myth." Literature: Frankel, Paul, "Boucher's Girl on a Couch," Essays In Honor of Erwin Panofsky, 1961; Ananoff, 1976, I, p. 413, no. 304/4, (as "Jeune femme couchée sur le ventre," 1762); Ananoff, 1976, II, p. 101, no. 412-2. Provenance: Richard Owen, New York; Joseph Verner Reed, New York; Stair Sainty Fine Art, Inc., New York; Private Collection. Condition: Trimmed, mounted, a few foxing spots, but overall in good to very good condition, wear commensurate with age. The frame with some repairs. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
JOHN THOMAS BIGGERS (American/Texas 1924-2001) A PRINT, "Dau Fuskie (The First Race Between the Turtle and the Hare)," 1998, lithograph on paper, signed and dated in pencil L/R margin, "John Biggers 1998," special edition number 184/200. 11 1/2" x 14 3/4" Condition: In very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
RICHARD WILLIAM HAMILTON (British 1922-2011) A PRINT "Portrait of the Artist by Francis Bacon," 1970, collotype and screenprint, signed and numbered in margin in pencil L/R, "R Hamilton 18/140," along with watermark, titled L/L. 23" x 21" Note: In 1969, at the end of a characteristically wine-soaked lunch at Robert Carrier’s London restaurant with the artist Francis Bacon (1909–1992), Hamilton asked Bacon to photograph him against the drapes of the dining room. The first exposure was blurry from Bacon’s tipsy handling of the Polaroid, but Hamilton found the image to have an affinity with Bacon’s distinctive style of painting. Working with oil on collotype copies of that portrait, Hamilton produced seven studies from which Bacon was to select his favorite. He chose the seventh study in which Hamilton had covered the blurred curtains with a, particularly Bacon-esque violet.-Description from the Met Museum Collection Provenance: Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama February 7 - November 29, 2020; Estate of David E. Brauer, Houston, Texas. Condition: Generally in good to very good condition wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
IAN HAMILTON FINLAY (Scottish 1925-2006) AND FRIENDS, A GROUP OF FOURTEEN PIECES OF EPHEMERA, LATE 20TH CENTURY, comprising seven tiles described as follows, "Ijn Djinn Yamato," two tiles, verso in relief, "H. & r. Johnson Ltd, Made in England," model G2, cast 52A and 52B, and paper retailer labels, "Wild Hawthorn Press, Stonypath, Dunsyre, Lanark, Scotland," 3" x 6"; "USS Enterprise: A Celebration of Earth, Air, Fire, Water," a tile, verso in relief "P + C," and "Made in England," 6" x 6 1/8"; "Elegy for 'Whimbrel' and 'Petrel Petrol," verso relief kiln marks, 6 1/4" x 6 1/4"; "Midway Through a Dark Wood," verso relief kiln marks, "H. & R. Johnson Ltd.," 6 1/8" x 6"; "Five Fore-and-Afters: The Rosie of Appledore. The Welcome of Freckleton. The Flying Foam of Bridgwater. The Gleaner of Runcorn. The First Fruits of Bridport.," verso in relief kiln marks, "H. & R. Johnson, Made in England.," 6" x 6"; and "Fore-And-Afters, The Samuel Moss," with central central roman numeral diagram, verso in relief, "Cristal," 4 3/8" x 4 3/8"; together with five small books, "Lain Patterson Musical Illustrations," two copies, Edinburgh, Scotland, May 1975, limited edition of 200, 4 3/4" x 3 1/4"; "Eye Spy Trees," for Eye Spy Every Day with the Eye Spy Arcady Club, drawings by Ian Gardner and text by Patrick Eyres, Blue Tunnel Publications, 1980, 5 1/8" x 4"; a three ring bound text, "A Sailor's Calendar, A Miscellany," by Ian Hamilton Finlay and Gordon Huntly, Something Else Press, New York, 1971, ISBN: 0-87110-075-4, 7" x 5"; a catalogue, "Coracle Press Books Publications 1984," artist collaborations with the press, London, May 1984, 7 3/4" x 5 1/4"; a vintage english Westcott ruler, 12"; and "Tempus Fugit," a bronzed metal sundial with boat, verso impressed, "WHITEHALL," 1985, diameter: 13. (14) Provenance: Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama. Estate of David E. Brauer, Houston, Texas. Condition: The tiles with some minor flea size chips mostly at backs, some surface soil to tiles, the paper ephemera with some mild yellowing, stains, foxing, the three ring book possibly a partial example, but overall, in good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
HENRY MILLER (American 1891-1980) TWO HAND PAINTED ADVERTISEMENTS, "We Invite You to See the First One-Man Show of Paintings by Bob Campbell," AND "Come In And Discover Henry Miller," FOR NEW DIRECTIONS, MID 1960s, gouache and ink on Crescent Quality Boards cardboard; the calligraphy in a Filmotype style, one on a yellow ground with sparkling eye in measured manuscript, "April First through Twenty Second. No clichés, No sweets. Instead Invention, Understatement, Pails of Paint. Some persiflage. The Studio for Henry Miller. six Days a Week Noon to Six. Closed Mondays.," signed with a monogram letter "M", and the other on white ground with pale powder blue underscores, "Henry Miller is the Most Original, Most Unusual, and In the View of some Critics, Most Significant of Living American Writers, - Writings, Stories, Essays, and other Prose Pieces Which Defy Conventional Classifications. NEW DIRECTIONS. Come in and Discover Henry Miller." 22" x 14" Provenance: Collection of Kasey Rhodes, Houston, Texas. Condition: Pinholes, apparently used for advertisement, some smudges, and surface soil, bends and minor losses at corners mostly but occasionally, and overall in good to very good condition, wear commensurate with age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
HENRY MILLER (American 1891-1980) AND BEZALEL SCHATZ (Palestinian 1912-1978) A GROUP OF TWO PRINTS, FROM "Into the Night Life," FIRST EDITION, UNBOUND, BERKELEY, CALIFORNIA, 1947, comprising two color serigraph on paper, text by Henry Miller, artworks by Bezalel Schatz, from an unbound edition, the present published independently by the artists in an original edition of 800. 15 1/4" x 24 1/2" Provenance: Collection of Kasey Rhodes, Houston, Texas. Condition: Some expected worm or pest holes, mild expected tone, and some mild bends near edges and corners, the wear though present is desirable and consistent with historically documented poor storage, and overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
BRENDAN BEHAN (Irish 1923-1964) AND PAUL HOGARTH (English 1917-2001) A SIGNED FIRST EDITION BOOK, "Brendan Behan's Island: An Irish Sketch-book," 1962, with dust cover, photo-lithography on smooth wove paper with Monotype Caslon typeface, the title page signed by both author and illustrator, published by Bernard Geis Associates for Random House, "...printed in Great Britain by William Clowes & Sons Ltd, London and Beccles," with a card, "A first edition, autographed by the author especially for the members of The First Edition Circle. Kroch's & Brentano's: The World's Largest Bookstore. Chicago." 10" x 6 3/4" Condition: Some toning and wear at dust cover edges, minor losses, some smudges and tears, the pages with some minor expected wear, but overall in good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
CATHERINE D. ANSPON (20th/21st Century) A FIRST EDITION BOOK, "Texas Artists Today," 2010, "Created and Produced by the Texas Art Team," with preface by James Surls and Forward by Lester Marks, special edition hand numbered 2873/3000. 10 7/8" x 17 1/4" Provenance: Personal Collection of Nora Grossman, Houston, Texas. Condition: Minor surface wear, dents, a drip on orange edges of paper, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
A 19th century portrait of a gentleman in a smoking jacket with wine coloured waistcoat, blue cravat and gold pin, with label to the back for F 'Kleinberger, Paris, 9 Rue de l'Echelle, New York Branch, 709 Fifth Avenue, First-Class Old Paintings, Speciality: Dutch and Flemish Schools, High-Class Primitives of all schools', oil on canvas, 35 by 29cm, framed 45 by 39cm.
An early Victorian Copeland & Garratt Parian sculpture, modelled as 'Narcissus', after the original sculpture by John Gibson (British, 1790-1866), depicting Narcissus seated nude upon a rock gazing at his own reflection in a pool, traces of interior label which originally stated 'Narcissus By Gibson R. A. Modelled By E. B. Stephens And Executed In Statuary Porcelain By Copeland And Garratt For The Art Union of London 1846', impressed 'Copeland' to side of integral base, a/f replacement horn, 22 by 13 by 30cm high.Notes: This was one of a small number of items selected to be produced for the Art Union of London in 1846 as the first parian sculpture, 50 copies were originally made in 1846 to be distributed as prizes.
A New English Dictionary on Historical Principles, founded mainly on the materials collected by The Philological Society, edited by James A. H. Murray, published 1888 to 1928, Oxford at the Clarendon Press and Oxford University Press, Vols I, II, III, IV, V, VI, VII, VIII, IX PART I, IX PART II, X PART I, X PART II, Introduction Supplement and Bibliography, together with a modern copy of The Compact Edition of the Oxford English Dictionary, Volume III, a Supplement to the Oxford English Dictionary Volumes I-IZ. (14)Notes: this set was acquired by the vendor?s family as they were published; the first in 1888 and other early volumes by Joseph Rowntree (1836-1925), later volumes likely by Benjamin Seebohm Rowntree (1871-1954). It took some 40 years to complete and publish the full set. Joseph was a Quaker, social reformer and owned the family?s chocolate making company. Benjamin Seebohm was also a director of the company and was responsible for major studies into poverty. As Chancellor of the Exchequer Lloyd George introduced significant reforms including the Old Age Pension Act and the National Insurance Act which were heavily influenced by the work of his friend Seebohm Rowntree.
A group of seventy one Royal Mail mint sets, mostly 1980's and early 1990's, including Scottish Heraldry, St John Ambulance, Dinosaurs, Ordinance Survey Maps, Edward Lear and Dogs, together with various loose mint stamps including two books of Ten First Class Greetings Stamps and a book of ten nineteen pence First Class Greetings Stamps. (1 bag)
Bassett-Lowke: A Carette for Bassett-Lowke, O Gauge, 4-6-0, Locomotive and Tender, 'Cardean', 903, tin-printed, produced for Caledonian Railway, the inside of the tender printed 'Caledonian Railway Scotland, For Health and Pleasure, The Ideal Holiday Land', untested for working order, general wear, missing one front bumper, chimney slightly loose; together with a 12-wheel First/Third Class brown and cream coach, tin-printed, with plaque to underside 'Caledonian Railway Scotland, For Ideal Holidays, Midst Natures Wildest Grandeur, Bracing Climate, Magnificent Scenery, London & North Western Railway', appears good. (2) Please assess photographs for condition.
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