Herrmann Julius Meyer (German, 1826-1909). Color steel engraving titled "The Falls of St. Anthony, Mississippi - General View" depicting a pre-colonial view of St. Anthony Falls in Minneapolis on the Mississippi River, ca. 1850. With inscriptions in plate including: titled in plate along the lower center; "Drawn from Nature" and "Published for Herrmann J. Meyer .164, William Str. New York" along the lower left; "For the Proprietor Herrmann J. Meyer" and "Copyright secured according to Act of Congress" along the lower right.Image; height: 4 in x width: 6 in. Sight; height: 5 3/4 in x width: 7 1/4 in. Framed; height: 12 in x width: 13 in.Condition: There do not appear to be any rips or losses. Along the tree and rock formations along either side of the falls and along the mass that splits the falls there appear to be restorations that can be seen under UV light and with a raking light. Framed under a matboard. Light wear to the frame; framed under TruView glass; not inspected out of frame.
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R. LeRoy Turner (American, 1905-1957). Watercolor and graphite on paper titled "Mural Study - Mining (Right Panel) - Two Harbors High School - Two Harbors, Minnesota," depicting a study for a WPA mural for the Two Harbors High School along the north shore of Lake Superior, ca. 1939. A copy of Turner's typewritten two panel mural plan is affixed along the verso. Among other teaching positions at the University of Minnesota, the St. Paul School of Art, the Walker Art Center, and Hamline University, Turner was an art instructor at Jo Lutz Rollins' "Stillwater Art Colony" from 1938 to 1950.Sight; height: 16 1/2 in x width: 23 in. Framed; height: 25 in x width: 31 in.Condition: There are no visible major losses, tears, or restorations when inspected under UV light. There is an area of possible water exposure along the lower edge; though due to the nature of the painting being executed in watercolors this may be original to the artistic process. There are 11 minute holes throughout the work, most visible in the beige areas of the work. Light wear to the frame; framed under TruView glass; not inspected out of frame.
Charles Biederman, born Karel Joseph Biederman (American, 1906-2004). Green, blue, and black ink on paper abstract drawing, 1935. Dated 11/35 along the lower right.Lot Essay:Born to Czech parents in Cleveland in 1906, Biederman was involved in the American art scene for his entire life. He briefly studied at the Cleveland Art Institute and the School of the Art Institute of Chicago (SAIC) before dropping out and moving to New York. It was there that he met and was included in shows with other influential artists of the time including Alexander Calder, John Ferren, George L.K. Morris, and Charles Green Shaw.For nine months from 1936-37 Biederman studied in Paris. It was here that he met and was influenced by leading artists including Picasso, Mondrian, and Miro. He was initially influenced by the works of Fernand Leger before moving away from his style and towards totally abstract, geometric compositions. The movements of Cezanne, Post-Impressionism, and Cubism informed the evolution of his style. And while he started out painting, he abandoned two-dimensional for more sculptural works by 1937.In 1941 he married Mary Moore Biederman and in the following year he moved to Red Wing, Minnesota, where he would spend the rest of his life. In the 1950s, he created the term "Structurism" to help define his works from Constructivism and De Stijl. Many prominent collections around the world contain Structurist Reliefs including The Whitney Art Museum, The Metropolitan Museum of Art, and The Tate, London.In 2004, Beiderman died at the age of 98 and his estate was subsequently given to the Weisman Art Museum on the University of Minnesota - Twin Cities campus. They have organized traveling exhibitions of his works.Sight; height: 13 in x width: 11 in. Framed; height: 17 in x width: 13 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. Due to the original color of the sheet, it is difficult to discern whether the sheet is toned. There are minute light brown spots throughout; however, it is difficult to discern if it is the original design of the paper or foxing. The color is bold and bright. Along the margins, there is light browning and there are a few areas with light soling. The verso could not be inspected. Not inspected out of frame. Very light wear to the frame.
Grant Goltz (American, 20th/21st c). Group of two carved and painted wooden duck decoys. One green-winged teal, stamped, signed, and dated 1981 along the underside. One wood duck drake. Stamped along the underside with a Duck Unlimited Special Edition stamp for 1985-1986. Numbered 283 and signed.Green-winged Teal; height: 4 in x width: 10 1/2 in x depth: 4 1/4 in. Wood Duck; height: 5 3/4 in x width: 13 in x depth: 5 in.Condition: Both ducks are in good condition with no cracks, chips, losses, or restorations. The color of the wood duck has somewhat yellowed with age; there is a slight cloudiness to the glass eyes. Both ducks have light wear along the underside consistent with age and display.
W. Stephen Hodder (American, 20th/21st c). Blown and cut glass charger decorated with an eagle, deer, and face, ca. 1980s. Similar to a work held in the collection of the Minneapolis Institute of Art (Mia) titled "The Big Toss." Hodder's studio is located in Princeton, Minnesota.Provenance: Distinguished corporate collection, Minnesota.Height: 4 1/2 in x diameter: 26 1/2 in.Condition: The charger is in good condition with no chips, cracks, losses, or restorations. Extremely light wear throughout consistent with very light display and use. Light scratches along the underside.
Knute Heldner (Swedish/American, 1875-1952). Watercolor on paper painting titled "Paris" depicting an urban scene with the Seine flowing peacefully. Pencil signed and titled along the lower right.Heldner trained at the Minneapolis College of Art and Design (MCAD) and won the gold medal at the Minnesota State Fair in 1915. He lived in Duluth, Minnesota until 1934 after immigrating from Sweden in 1902. He also worked in New Orleans. He painted the landscapes and people in these places. His work won high acclaim, with one painting even being hung in the White House. His wife, Colette Pope Heldner, was also an artist.Sight; height: 9 3/4 in x width: 12 3/4 in. Framed; height: 18 1/2 in x width: 21 in.Condition: The item is in good condition with no visible tears, creases, or losses. The paper is toned. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame.
Group of three Kodak No. 1 Carte de Viste (CdV) or cabinet card photographs depicting Native Americans in the Midwest. One depicting a skull with a large river or lake in the distance; one depicting a figure seated next to a miniature teepee with horses in the background; one depicting a large group of figures on horses in a line.Each, height: 4 1/4 in x width: 5 1/4 in.Condition: All board backing shows heavy wear, soiling, and toning. Some show signs of moisture exposure that do not seem to affect the photographs themselves. The photographs show varying degrees of wear. The photograph depicting a seated figure is in fair condition; light scratches throughout; no major losses; one small crease along the middle right edge. The photograph depicting a skull shows wear throughout including light scratches and scuffs; a few minute losses/chipping along the extreme edges. The photograph depicting a procession of figures has scratches and creases throughout; there are a couple of minute losses along the lower middle edge; one small tear or heavy crease along the upper middle edges; creases throughout.
Charles Beck (American, 1923-2017). Oil on canvas painting titled "Warm Winter" depicting an abstract scene, 1960. Signed along the lower right. In the 1940s Beck studied under Cyrus Running at Concordia College in Moorhead. Later he would study under Cameron Booth, Walter Quirt and Malcolm Meyers at the University of Minnesota.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 35 1/2 in x width: 53 in. Framed; height: 42 1/2 in x width: 80 in.Condition: There are no rips or restorations when inspected under UV light. There is an area along the lower left quadrant with some brittleness to the surface which has caused some flaking and small losses to the paint layer. There are several impressions to the canvas, likely from something pressing against the verso, that has caused 'bumps' in the surface of the canvas - mostly along the right half of the work. Along the verso these impressions are also visible. Along the verso there are horizontal lines or creases running along the lower half of the work that does not seem to affect the verso. Wear to the frame.
Eugene Larkin (American, 1921-2010). Group of two artworks on paper prints including:One ink on rice paper painting titled "Pine Tree with Sky" depicting a group of towering pine trees. Pencil signed along the lower right.One woodcut print titled "Pines and Rocks 3" depicting two tall pine trees. Pencil signed along the lower right; titled along the lower left, numbered 9/26 along the lower center.Provenance: Distinguished corporate collection, Minnesota.Pines and Rocks 3; sight; height: 38 in x width: 21 1/2 in. Framed; height: 46 in x width: 29 in. Pine Tree with Sky; sight; height: 24 1/2 in x width: 19 in. Framed; height: 35 in x width: 28 1/2 in.Condition: Both works appear to be free from tears, losses, or restorations. There is a natural texture throughout both sheets due to the type of paper they are on. Both sheets are slightly toned. Each are framed under a matboard. Light wear to the frame; framed under plexiglass; not inspected out of frame.
Walter Quirt (American, 1902-1968). Large oil on canvas painting titled "Mountain Riders" depicting an abstract scene of figures riding horses, 1964. Signed along the lower left. Further signed and dated along the verso; titled along the stretcher.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 46 1/2 x width: 69 in. Framed; height: 48 in x width: 70 1/2 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. The color is bold and bright. The stretcher bar mark is visible along the lower margin. Craquelure began to form, particularly from the corners; please see the listing image. The left margin is not tightly attached to the frame. Wear to the frame. Clean verso.
Mary Ingebrand-Pohlad (American, b. 1953). Graphite, pastel, and paper collage titled "Nantucket Still Life with Whirligig and Hydrangea" depicting a mixed media still life. Pencil signed along the lower right. With a Groveland Gallery label along the verso.Provenance: Groveland Gallery, Minneapolis, Minnesota; Distinguished corporate collection, Minnesota.Unframed; height: 30 in x width: 22 in. Framed; height: 38 in x width: 30 1/4 in.Condition: No visible tears, creases, or losses. The sheet is floating on the mat; all four margins are visible. The color is bold and bright. To the four corners, there are pinholes that are original to the artistic practice. Under UV light, there is an area that is florescent to the upper right quadrant and to the lower left quadrant, only visible under UV light and most likely original to the artwork, possibly glue. Framed under plexiglass; not inspected out of frame. Light wear to the frame. The verso could not be inspected. No visible sign of restoration under UV light.
James Wilcox Dimmers (American, 20th/21st c). Oil on paper painting depicting a peaceful Minnesota impressionist landscape scene with the lake beautifully reflecting the sky, 1985. Signed and dated along the lower right. Hailing from White Bear Lake, James Wilcox Dimmers is considered one of the foremost painters of the St. Croix River Valley.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 21 1/2 in x width: 29 in. Framed; height: 29 1/2 in x width: 37 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. The surface appears to be stable. The color is bold and bright. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Donald R. Biehn (American, 1942-2022). Oil on board painting titled "Minneapolis Stone Arch Bridge" depicting the University of Minnesota power plant and the Stone Arch Bridge on the Mississippi River. Signed along the lower left.Unframed; height: 9 1/4 in x width: 12 in. Framed; height: 15 1/4 in x width: 18 1/4 in.Condition: The painting has no losses, tears, or restorations when inspected under UV light. Along the right edge there is a strip of slight discoloration where the painting has been unevenly exposed to light. Some wear along the verso of the board that does not affect the recto. Some light wear to the frame.
William "Bill" Veasey (American, 1932-2022). Wooden carved mallard drake model standing on a wooden log. Special Ducks Unlimited edition, numbered 221. Signed in pen along the underside.With Base, height: 9 1/2 in x width: 11 1/2 in x depth:8 1/2 in.Condition: The body of the duck is in good condition. There is some discoloration to the bill of the duck. A few minute accretions throughout the body; some dirt and dust collected in the recessed areas of the work. There are cracks where the feet join the body. The duck is attached via two pegs to a piece of wood. The piece of wood has softened considerably and the pegs are loose in the log; this causes the duck to wobble back and forth when the model is moved. Some light wear to the round wooden base.
Mark Horton (American, 20th/21st c). Oil on canvas painting depicting the Historic Minnesota Building in downtown Saint Paul. One corner of the Intercontinental Saint Paul Riverfront hotel is visible. Painted showing the corner of 4th St and Kellogg Blvd.Unframed; height: 30 in x width: 40 1/2 in. Framed; height: 31 in x width: 41 1/4 in.Condition: The colors are bold and bright and the surface is stable. There are no cracks, losses, or restorations when inspected under UV. Light wear to the frame.
Leonard Weible (American, ca. 1928-2000). Acrylic on canvas painting depicting a landscape with crossing highways and an atom bomb mushroom cloud on the horizon. Signed "L. Weible" along the lower left. Reminiscent of the psychogeography paintings of Tristram Hillier.Height: 25 1/2 in x width: 44 1/2 in.Condition: No visible tears, creases, or major losses. Along the lower center and right, there are a few scattered minute paint losses. Along the extreme edges, there are areas with paint loss against the frame. The color is bold and bright. Along the upper and lower margins, there are stretcher bar marks. No visible sign of restoration under UV light. Wear to the frame. Clean verso.
William Saltzman (American, 1916-2006). Untitled watercolor on paper painting depicting rose pink and turquoise harmoniously sharing white space with each other, 1989. Pencil signed and dated along the lower right.William Saltzman was an influential Minnesotan abstract artist, who lived and worked in Minneapolis for much of his life. He was a longtime professor in the art department at Macalester College in St. Paul. His artistic subject matter ranged from landscapes and figures to abstractions, in oil paintings, watercolors, pastels, sculptures, and mixed media. Saltzman's sculpture and stained-glass work in public spaces are well known and his work is enjoyed by owners in many private collections internationally. Throughout his life, Saltzman was fascinated by the interplay of light, color, shape and texture. His work exemplifies his exploration and mastery of these elements.Unframed; height: 23 in x width: 29 1/2 in. Framed; height: 28 3/4 in x width: 36 in.Condition: There are no visible rips, losses, or restorations when inspected under UV light. The colors are bold and bright. Light wear along the deckled edges. The artwork is floated in the frame. Light wear to the frame; framed under glass; not inspected out of frame.
Group of seven studio pottery ceramic bowls, two sets: one set of four Warren MacKenzie (American, 1924-2018) bowls and one set of three unmarked bowls, possibly Warren MacKenzie, Wayne Branum, or Guillermo Cuellar. The set of four Warren MacKenzie bowls are marked along the footrim and have a black, glossy glaze. The set of three bowls with a tri-color matte glaze.Unmarked, each; Height 2 /14 in x width: 5 3/4 in x depth: 5 1/2 in. Marked, each; Height: 2 1/2 in x diameter: 5 1/4 in.Condition: The bowls are in excellent condition with no visible chips, cracks, or restoration under UV light. Very light wear to the underside, consistent with age and use. One of the brown bowls has a minute scratch to the rim.
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic tan vase. Glazed stoneware with a wide mouth and cut sides. Stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 11 1/2 in x diameter: 8 in.Condition: The vase is in excellent condition with no visible chips, cracks, or losses. No sign of restoration under UV light. Crazing throughout. There is original firing and glazing flaws visible. Very light wear to the underside, consistent with age and use.
Kari Lennartson (America, 20th/21st c.). Oil on canvas painting titled "Open for Business" depicting a corner of a restaurant with three tables, 1999. Signed along the lower right. Kari Lennartson is grew up in Minnesota and received BFA at Gustavus Adolphus College in Saint Peter, MN. She earned her MFA at Colorado State University and has been active in Colorado as an artist and an art educator. Sight; height: 16 in x width: 11 3/4 in. Framed; height: 17 1/2 in x width: 13 1/4 in.Condition: No visible creases or tears. To the upper right quadrant, there is a minute paint loss. No visible sign of restoration under UV light. The surface is stable, and the color is bold and bright. Very light wear to the frame. Clean verso.
Randy Johnston (American, 20th/21st c). Studio pottery ceramic vase. With two small handles along the shoulder. Glazed stoneware with a rough, matte texture. Stamped along the footrim.Height: 12 in x diameter: 9 1/2 in.Condition: The vase is in good condition with no cracks or restorations. There is one small chip along the shoulder. Light wear to the footrim consistent with age and use. Due to the rough texture of the vase it is difficult to determine if there are any minute losses, however, it appears fine.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "Butterfly Mornings, Wildflower Afternoons." Pencil signed and dated 2002 along the bottom edge. Editioned 14/18 along the bottom right edge. Titled along the top edge of the print.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 17 in x width: 15 in. Framed; height: 21 1/2 in x width: 19 in.Condition: There are no visible rips, losses, or restorations when inspected under UV light. Slight undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under plexiglass; not inspected out of frame.
Malcolm Haynie Myers (American, 1917-2002). Intaglio print titled "The Journey" depicting a knight on a horse, 1956. Pencil signed and dated along the lower right; numbered 20/30 along the lower center; titled along the lower left.Sight; height: 20 in x width: 24 1/2 in. Framed; height: 29 in x width: 33 3/4 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. Due to the original color of the sheet, it is difficult to discern whether the paper is toned or not. Along the margins, there are a few scattered light brown marks; please see the listing image. Along the lower margin, there is soiling. The surface appears to be stable. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Jerry Rudquist (American, b. 1934). Mixed media on paperboard titled "North Slit Window" depicting an abstract scene of blues, grays, and bold orange. Pencil signed and dated March, 25, 1975 along the lower right.Provenance: Distinguished corporate collection, Minnesota.Height: 40 in x width: 30 in.Condition: There are no tears, losses, or restorations. Light wear along the extreme edges of the work. Very light soiling along the verso that does not affect the recto. Not framed.
Charles Schulz (American, 1922-2000). Original four panel "Peanuts" comic strip, the daily strip for Friday, July 22, 1960. Black ink over pencil on drawing board. Pen signed above the first two panels and inscribed "Best Wishes." Dated along the verso.Charles Schulz grew up in St. Paul, Minnesota, and fostered a love of comics throughout his childhood. He spent his later teen years studying drawing and cartoon work through a correspondence course with Art Instruction Schools. Following deployment in Europe during WWII, Schulz returned to St. Paul and got a job working as an instructor for the Art Instruction Schools. After a short lived comic strip for the St. Paul Pioneer Press, he hit it big with Peanuts in 1950, which was syndicated by United Features. The strip quickly became an enormous success, with legions of fans across the country–and world–falling in love with his quirky cast of characters and charming illustrations.The present lot typifies the characteristics for which Schulz’s comics were best-loved. It shows the characters’ personalities, always distinctive and lovingly mocked by Schulz. The strength of the character depictions, together with Schulz’s crisp, mobile linework, makes this a wonderful example of a Peanuts daily strip and of Schulz’s facility with character.Sight; height: 6 1/2 in x width: 28 1/4 in. Framed; height: 10 1/4 in x width: 32 1/4 in.Condition: There are no rips, losses, or restorations. The comics are on two sheets, split down the middle and taped together along the verso. The sheets are toned and there is light acidic mat burn along the edges. They are affixed a matboard along six points: two along the left and right edges and two along the top edge - one for each side. There is soiling throughout, visible in the lot listing. The date along the lower right of the first panel has been covered with white paint. It is dated along the verso - unable to photograph this well due to the hinging, though it is visible upon careful inspection. There is light wear along the edges. The artwork is housed under a double matboard that due to the coloration is likely acidic. Light wear to the frame; framed under glass.Please see the following link for additional condition photographs: https://www.dropbox.com/sh/skolnrxjqihq20l/AADQ-wRj62g0aEv7VjlPclBwa?dl=0
Elof Wedin (Swedish/American, 1901-1983). Oil on board painting titled "Chicago Construction" depicting a cityscape with construction equipment, 1928. Pencil signed and dated along the verso, on which is perhaps painted a preparatory painting. There is a clear plexiglass sheet that protects the verso and allows the signature to be seen.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 19 1/2 in x width: 15 1/2 in. Framed; height: 20 in x width: 24 in.Condition: The painting shows no signs of restoration when inspected under UV light. There are a few areas that fluoresce under UV light, however, this is likely due to the pigment used during the painting's inception. Soiling to the verso original to the artistic process.
Dewey Albinson (American, 1898-1971). Lithograph on paper titled "Wall Street Center," depicting the New York City skyline with three towering skyscrapers, 1932. Pencil signed and dated along the lower right; titled and inscribed "proof" along the lower left. With documents from a previous exhibition.Exhibition: Minnesota Museum of Art, "Architectural and Urban Influences: Selections from Minnesota Museum of Art's American Collection," April 13-September 21, 1986.Provenance: Private collection, Minnesota.Sight; height: 21 1/4 in x width: 16 1/2 in. Framed; height: 29 1/4 in x width: 23 1/2 in.Condition: There are no signs of rips, losses, or restorations. The sheet is toned. It is framed behind matboard. Some light wear to the frame; framed under plexiglass; not inspected out of frame.
George Morrison (Ojibwe, 1919-2000). Paper collage titled "Phanariot Night Remembered: Rioppelle Fragment" referencing the artist's relationship to Jean-Paul Riopelle (Canadian, 1923-2002). The lower fragment resembles much of Riopelle's works. Titled along a card affixed to the verso of the work.Sight; Height: 10 3/4 in x width: 7 3/4 in. Framed; height: 18 1/4 in x width: 18 1/4 in.Condition: The item is in good condition with no visible tears, creases, or losses. No visible sign of restoration under UV light. There are visible surface stretches along the black area. Framed under plexiglass; not inspected out of frame; to the upper right corner, there is a crack to the glass. Light wear to the frame.
Group of two silver gelatin print photographs by Gary L. Hamilton and JoAnn Verburg:Gary L. Hamilton (American, b. 1940). Silver gelatin print titled "Leah Glaspoole (On the Shore of the Mississippi River, Wabasha, MN." depicting a woman stretching along the Mississippi River's banks, 1988. Pencil signed, dated, and titled along the verso.JoAnn Verburg (American, 1950). Silver gelatin print titled "Untitled (Pat and Ed. No. 2)" depicting ; "Untitled (Pat and Ed No. 2)" depicting to figures in water, 1982.Hamilton; Height: 19 1/2 in x width: 23 1/4 in. Verburg; height: 24 in x width: 34 1/4 in.Condition: The emulsion of each photo appears smooth. Both are free from tears, losses, or restorations.There is a slight undulation to the Hallman photograph. It lifts slightly along either edge. There is a small crease about 1.5" above the figure's raised foot. Light wear along the edges; there is a crease along the upper right edge; the lower left and right corners have small creases.The Verburg photograph has small creases throughout: the most notable being about 3 inches to the right of the left figure's face and about 2 inches above the right figure's shoulder. There is a very slight undulation to the sheet. The edges lift slightly. There is a minute pinhole along the upper right corner.
Cameron Booth (American, 1892-1980). Group of two ink drawings. One ink on paper drawing depicting a sailboat in a harbor; initialed and dated 1943 along the lower right. One ink on paper drawing affixed to a board titled "Moraine" depicting a landscape. Initialed and dated 1968 along the lower left of the sheet and signed along the lower right; inscribed "2/15 68" along the lower right of the sheet; further signed, titled, dated, and inscribed "Dakota County" along the verso of the board.Provenance: From the artist to Glenn Hermann, Minnesota.Glenn was Cameron Booth's paperboy in Minneapolis from approximately 1960-1963, and was given these sketches as a gift.CB 43; height: 9 in x width: 12 in. CB 68; paper; height: 8 in x width: 12 in. Board; height: 11 in x width: 14 in.Condition: The sketch pictured top has no rips, losses, or restorations. The sheet is toned. There is soiling throughout located primarily along the edges; water exposure along the top and bottom right edges. The verso has areas of discoloration along the edges. Evidence of tape along with residual adhesive and tape remnants along the left and right middle edges. A few light creases throughout. Slight undulation to the sheet.The sketch pictured along the bottom has no visible tears, major losses, or restorations. The sheet is toned. The board it is affixed to has a large area of dark discoloration that extends upwards from the bottom edge and onto the sheet. Light soiling throughout. The sketch is affixed to the board with two pieces of tape along the upper right and left corners. Small losses to the right edge of the paper where it was ripped from a spiral bound notebook. Along the verso of the board there are 18 lines along the edges of impressions and discoloration from a previous framing.
Warren MacKenzie (American, 1924-2018). Group of five studio pottery ceramic plates including one matching pair. All glazed stoneware with abstract decoration throughout. Each stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height ranges from 1 1/4 in to 1 1/2 in; diameter ranges from 7 in to 7 3/4 in.Condition: The plates are in excellent condition with no visible chips, cracks, or dents. None of them show a sign of restoration under UV inspection. Crazing to the glaze. All show very light wear along the underside, consistent with age and use.
Paul T. Granlund (American, 1925-2003). Bronze sculpture titled "Figure with Mirror", depicting a figure of a woman with her mirror image next to her, 1984. Signed, titled, and numbered 3/10 along the base.Literature: William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg 117, plate 513.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 29 1/4 in x width: 18 1/4 in x depth: 7 3/4 in.Condition: No visible dents, cracks, or losses. No visible sign of restoration under UV light. Wear throughout. Light oxidation throughout, most noticeably along the upper back of the mirror image. Throughout the sculpture, there is uneven coloration visible; however, it appears to be the original design intended by the artist. Wear along the underside.
George Morrison (Ojibwe, 1919-2000). Paper collage titled "Hot Town Round Up: J. Quick To See Smith," depicting a fragment collage referencing his relationship to Jaune Quick-To-See Smith (Salish and Kootenai Tribes of the Flathead Indian Nation, b. 1940), 1982. Titled and with a plan of the artwork along a fragment of notecard affixed to the verso. Pencil signed and dated along the lower left.Provenance: Distinguished Corporate Collection, Minnesota.Image; height: 16 in x width: 5 1/2 in. Framed; height: 18 in x width: 18 in.Condition: The item is in good condition with no visible tears, creases, or losses. No visible sign of restoration when inspected under UV light. The color is bold and bright. Framed under plexiglass; not inspected out of frame. Light wear to the frame.
Paul Lundquist (American, 20th/21st c.) Giclee print, possibly titled "35W Bridge Collapse, 40 Minutes After," depicting the catastrophic failure of the I-35W Mississippi River bridge collapse taken 40 minutes after the collapse on August 1, 2007. Pen signed along the lower right.Provenance: Sold by the artist at the Minnesota State Fair, 2010; Private Minnesota Collection.Sight; height: 14 3/4 in x width: 44 in. Framed; height: 20 1/4 in x width: 48 1/4 in.Condition: No visible sign of restoration under UV light; no visible tears, creases, or losses. The color is bold and bright; the emulsion appears to be smooth and great. There is a very light surface stretch to the center of the sky at a critical angle under racking light. Framed under plexiglass; not inspected out of frame.
Caroline Kent (American, b. 1975.) Silkscreen on paper print titled "Players, Shadows, Figments and Forms" depicting a colorful abstract scene, 2018. Pencil signed along the lower right; numbered 8/40 along the lower left.Sight; height: 31 1/2 in x width: 23 in. Framed; height: 40 1/2 in x width: 32 1/4 in.Condition: No visible tears, creases, or losses. The surface appears to be stable, and the color is bold and bright. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Wendell Arneson (American, b. 1946). Two watercolor on paper paintings including "Post No Bills XIV" and "Post No Bills XV" depicting abstract and collage compositions, 1986. Each Pencil signed along the lower right; dated 4/86 along the lower center; titled along the lower left.Each, sight: height: 6 3/4 in x width: 9 1/4 in. Framed; height: 20 in x width: 21 1/4 in.Condition: Both items are in great condition with no visible tears, creases, or losses. The color is bold and bright. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Alexis Jean Fournier (American, 1865-1948). Oil on board painting titled "Autumn in the Valley at E.A. NY," depicting a peaceful river valley, ca. 1910. Signed along the lower right. Further signed and titled on a scrap of paper affixed to the verso.Unframed; height: 10 3/4 in x width: 13 3/4 in. Framed; height: 16 1/2 in x width: 19 1/2 in.Condition: There are no tears, major losses, or restorations when inspected under UV light. There are a few minute losses along the extreme edges of the work, particularly along the lower left corner. Some light wear to the board; the board is fairly even. Some light wear along the verso.
Rod Massey (American, b. 1949). Oil on panel landscape painting depicting a rolling landscape, 2005. Depicting the 35W bridge (before collapse) looking south from University Avenue.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 38 1/2 in x width: 46 in. Framed; height: 42 1/2 in x width: 50 1/2 in.Condition: No visible tears, creases, or losses. No visible sign of restoration when inspected under UV light. The surface is stable, and the color is bold and bright. Very light wear to the frame.
Robert Fisch (Hungarian/American, 1925-2022). Gouache on paper painting depicting an abstract white shape against a black background. Signed along the lower right. Fisch was a Holocaust survivor and world-renowned pediatrist as well as an artist and author. He studied art at the Minneapolis College of Art and Design (MCAD), conceived of the Minnesota History exhibit "The Value of One Life," exhibited at the Minneapolis Institute of Art (Mia), and the Weisman Art Museum in Minneapolis, Minnesota. He died on his 97th birthday in 2022.Height: 22 1/2 in x width: 15 in.Condition: No visible tears, creases, or losses. Wear along four margins, most likely to be original to the artistic practice. Surface stretches throughout the recto. Throughout the recto, there is a network of minute white spots that show underlying paper and are not completely covered with paint, which appears to be original. To the center of the image, there is an unevenness to the black pigment; however, it does not appear to be a restoration. No visible sign of restoration under UV light. Along the verso, front image lines have been transmitted; please see the listing image. Along the lower margin, there is a minute paint mark, which does not affect the recto.
Frank Gaard (American, b. 1945). Colored pen on paper drawing depicting faces and underwear. Signed "Frankie Gaard" along the lower right.Provenance: Distinguished Institution, Minnesota.Unframed; height: 13 1/2 in x width: 10 1/2 in. Framed; height: 17 3/4 in x width: 14 1/2 in.Condition: The item is in good condition with no visible tears, creases, or losses. The color is bold and bright. No visible sign of restoration when inspected under UV light. There is light wear along the upper and right margins, which appears to be original to the artistic practice. To four corners, there are pinholes, original to the artistic practice. Throughout the recto, there are white minute accretions. Not inspected out of frame. Very light wear to the frame.
Group of six stereoview cards, likely from the late 19th century, depicting various views of Minneapolis including: the Hennepin Avenue suspension bridge, a view of St. Anthony Falls with the Hennepin Avenue bridge in the distance, a view of Pioneers Saw Mill on St. Anthony Falls, the Pillsbury A-Mill on St. Anthony Falls, Minnehaha Falls frozen solid in the winter, and a view of a house partially obscured by frozen branches and snow. Produced by H.R. Farr and part of a series of "Views of Minneapolis and Vicinity."Each; height: 4 in x width: 7 in.Condition: All cards show signs of wear and use. All cards have a slight bend with the edges bending slightly upwards. Wear and minute losses from handling along the extreme edges of each photograph. Soiling and light scratches along the surface of each photograph. The photograph depicting the A-Mill has a rectangular loss along the top edge of the right photograph.
Paul T. Granlund (American, 1925-2003). Bronze sculpture titled "Toe To Toe" depicting two figures interlocked, 1988. Signed along the base P.T. Granlund, dated, and numbered 12/25.Literature: William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg. 822, plate 555.Lot Essay:Paul Granlund was born in 1923 in Minneapolis. His father was a Lutheran pastor, who instilled in him the background in religion which would provide a major inspiration for his work throughout his life. After high school, Granlund served in World War II, an experience which deeply affected him, strengthening his interest in understanding and conveying the human experience in all its facets.Following the war, Granlund went to Gustavus Adolphus College in St. Peter, Minnesota. He graduated with his BA in 1952, then, after some graduate work at the University of Minnesota, moved to Michigan to continue his education at Cranbrook Academy of Art, from which he graduated with his MFA in 1954. He received the Fulbright scholarship to study sculpture in Italy, and on this trip and a subsequent period of study as a Guggenheim Fellow in Rome, he was exposed to important works of traditional sculpture as well as new sculptural techniques.After studying in Italy, Granlund returned to Minnesota, and was a faculty member at the Minnesota College of Art and Design throughout the 1960s. He returned to Gustavus Adolphus as sculptor in residence in 1971, a title he kept until 1996, when he retired, although he kept a studio at Gustavus Adolphus until his death in 2003. His art adorns much of the campus there, often demonstrating his adeptness at using sculpture as a method of Biblical interpretation.During his long career, Granlund taught and exhibited throughout the United States, as well as creating many important pieces of public art, including the Vietnam War Memorial at the Minnesota Governor’s Mansion. His dedication to creating all parts of the sculpture himself, including casting his own bronze, made him unique among sculptors, as did his versatility, with his sculptures ranging from traditional-seeming figural works to mind-bending abstract pieces.Height: 11 1/2 in x width: 8 in x depth: 8 3/4 in.Condition: The sculpture is in good condition with no dents, losses, bend, breaks, or restorations. Some light wear, especially along the base, consistent with age and use.
Cyrus Running (American, 1913-1976). Oil on canvas painting titled "After Rain," depicting an abstracted city or urban landscape, 1961. Signed and dated along the lower right.Provenance: Distinguished Corporate Collection, Minnesota.Unframed; height: 38 in x width: 48 in. Framed; height: 40 in x width: 50 in.Condition: No visible tears, losses, or restoration under UV light. The surface is stable, and the color is bold and bright. Along the extreme edges, there are several scattered areas of minute paint loss against the wooden frame. To the upper right margin, there is a minute line crack to paint, which is not visible at arm length. Along the verso, there are faded pen inscriptions which appear to be original by the artist.
Wanda Gag (American, 1893-1946). Lithograph on paper titled "Fireplace," depicting an interior scene with a fireplace, 1930. Pencil signed dated along the lower right. From an edition of 100. While studying at The Minneapolis School of Art, she became acquainted with artists like Harry Gottlieb, Adolf Dehn, and book collector and publisher Herschel V. Jones. She is most well known for her 1928 book "Millions of Cats," written and illustrated by Gag.Sight; height: 12 1/2 in x width: 9 1/4 in. Framed; height: 18 3/4 in x width: 15 3/4 in.Condition: There are no visible rips, losses, or restorations. The sheet is toned. There are a few visible handling creases throughout, the most notable along the lower right quadrant. The work is framed behind a non-acidic mat. Light wear to the frame; framed under plexiglass; not inspected out of frame.
Cameron Booth (American, 1892-1980). Oil on canvas painting titled "Sunset," depicting two horses in a pasture while the sun sets in the distance, 1963. Signed and dated along the lower right.Provenance: Distinguished Corporate Collection, Minnesota.Unframed; height: 32 in x width: 54 in. Framed; height: 33 1/2 in x width: 55 1/4 in.Condition: There are no rips, major losses, or major restorations when inspected under UV light. There is a small area that fluoresces under UV light along the extreme edge along the upper left corner. There are a few scattered minute paint losses along the extreme edges of the work. Light wear to the frame; verso not inspected.
Jack Barkla (American, 20th/21st c). Oil on canvas surrealist landscape titled "Me and a Friend (Someone I Knew Once)" depicting two figures against a stage set, 1975. Signed and dated along the lower right. Titled along the verso. Further inscribed in pencil along the verso "Perhaps the only meaning of life is to be together and to not be together." Number 89 in the artist's "Odd Performances" series.Barkla is a lifelong resident of Minnesota having grown up in Edina and attended the University of Minnesota. He has performed and designed for numerous theater companies including the Guthrie. He also designed flower shows for Dayton's (later Marshall Fields and then Macy's) department store. Other clients of his have included Prince, Princess Grace of Monaco, and Jennifer Lopez.Sight; height: 23 3/4 in x width: 17 3/4 in. Framed; height: 25 in x width: 19 1/4 in.Condition: The item is in good condition with no visible tears or creases, or major losses. The surface is stable, and the color is bold and bright. To the upper right quadrant, there is a 1 1/2 in area that the underlying canvas is seen through. Under the UV light, there is an area that is florescent to the lower right quadrant; however, it does not appear to be a restoration. Throughout the recto, there are a few scattered minute black accretions and minute original paint accretions. Light paint loss to the upper margin. Along the verso, the canvas is lightly toned; there are light brown spots throughout; see the listing image. Light wear to the frame.
Brian Foster (American, b. 1953). Mixed media wall sculpture comprised of laminated wood, metal chains, and linoleum. The words "before" and "after" are incorporated into the blue line decoration that encircles the work. Foster has been active around the Twin Cities since the 1970s and his works have been in the collections of the Walker Art Center, the Weisman Museum on the University of Minnesota campus, as well as several distinguished corporate collections.Height: 20 in x width: 60 1/2 in x depth: in.Condition: No visible cracks, losses, or restoration under UV light. Along the recessed areas, dust collected. Along the extreme edges, there is minute wear. Along the back, there is a minute dent to the center right.
Haile Selassie (Ethiopian, 1892-1975), Emperor of Ethiopia from 1930 to 1974. Silver and gold box given to Hubert Humphrey, former Vice President of the United States. With a hinged lid that lifts to reveal three compartments within the box. It rests on four stepped feet.Provenance: Gifted to Hubert Humphrey by Haile Selassie.Height: 3 1/4 in x width: 9 1/2 in x depth: 5 1/2 in. Weight: 1,947.1 gramsCondition: The lid opens and closes smoothly. There are no major dents. There is light wear throughout consistent with age and use. Wear to the feet consistent with age and use. The work is tarnished; especially along the interior. There are a few areas of residual polish in the recessed areas of the work. All gold metal pieces that are attached to the box are firmly attached and not loose; one piece (front right corner) has a slight break along the top edge.
Charles Huntington (Ojibwe, 1926-2017). Geometric steel sculpture, 1969. Signed, dated, and numbered 1/6 along one of the spokes.Born in Niagara, Wisconsin, Huntington moved to the Twin Cities as a child. After serving in World War II, he turned to automotive repairs and began creating sculptures out of found automobile parts. Eventually he learned metal casting from renowned Minnesotan artist Paul Granlund. Many of his sculptures are made of steel and are geometric in form, folding in on themselves and creating a sense of balance and reflexivity, connecting with the viewer physically and metaphysically.Base; height: 3/4 in x width: 12 in x depth: 12 in. Sculpture; height: 10 in x 10 in.Condition: The item is in good condition with no cracks, dents, or losses. No visible sign of restoration under UV light. Light wear throughout, as shown in the listing image. The sculpture is not attached to the base. Light scratches to the base; light wear throughout; along the underside, there is "2206" written.
Barton Stone "B.S." Hays (American, 1826-1914). Oil on board painting depicting a landscape with cows in a pasture along a body of water. Signed along the lower right.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's "Uncle Tom's Cabin."Sight; height: 11 1/4 in x width: 15 1/2. Framed; height: 15 1/4 in x width: 19 1/4 in.Condition: No visible cracks, losses, or restoration under UV light. Along the margins, there are a few scattered minute pinholes. Dust collected to the surface, which discolored the original paint slightly; please see the listing image. However, the color is still bold and bright. Wear to the frame. The verso could not be inspected due to the nature of how the artwork is framed.
Ronald Selbitschka (American, 20th/21st c). Oil on board landscape painting depicting a photorealistic grassy field with a red barn. Selbitschka was a Luminist painter, greatly inspired by the Hudson River School artists. He was born in St. Paul and many of his landscapes are inspired by the Minnesotan countryside.Sight; height: 11 1/2 in x width: 23 in. Framed; height: 14 1/2 in x width: 26 1/2 in.Condition: No visible tears, creases, or losses. The surface is stable, and the color is bold and bright. No visible sign of restoration. The verso could not be inspected due to the nature of how the item is framed. Light wear to the frame.
Samuel Chatwood Burton (American, 1881-1947). Group of three etchings on paper including:One print titled "Cliff Dwellers, Cuenca, Spain" depicting a cluster of cliffside houses. Pencil signed along the lower right; titled along the lower center.One print titled "Sunlight & Shadow, Morocco" depicting a hooded figure walking through pointed archways. Pencil signed along the lower right; numbered 2/25 along the lower left; titled along the lower center.One print titled "Pine Cones - Taylor's Falls Minn." depicting towering pine trees. Pencil signed along the lower right; titled along the lower right below the signature; signed in plate along the lower center of the image.Height ranges from 11 1/4 in to 13 in; width ranges from 8 1/4 in to 10 in.Condition: Taylor's Falls: There are no rips, tears, or restorations. the sheet is toned unevenly, likely from display. There is a network of minute spots of accretions along the upper left. There a few minute spots of singular accretions throughout the work. There are four thin pieces of brown tape that affix the print to the matboard - two along the front and two along the back - along the upper right and left edge.Sunlight & Shadow: There are no rips, tears, or restorations. There are areas of light wear throughout, particularly along the edges. Some wear to the deckled edges. The sheet is toned. There is soiling to the lower left and right corners.Cliff: There are no rips, tears, or restorations. The sheet is toned. Light soiling to the verso; there is one spot along the center of the back of the print. There are four thin pieces of brown tape that affix the print to the matboard - two along the front and two along the back - along the upper right and left edge.
Barton Stone "B.S." Hays (American, 1826-1914). Oil on canvas still life painting depicting a basket of overflowing grapes and peaches.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's iconic novel "Uncle Tom's Cabin."Height: 26 in x width: 20 in.Condition: Wear throughout. Craquelure throughout the recto; please see the listing image. Stretcher bar marks visible along all four margins. Along the margins and sides of the canvas, there are several scattered areas of paint loss. Along the upper and lower margin, there are scattered canvas losses; see the listing image. Along the lower margin, there are paint residue that is not original to the painting. To the lower left quadrant, there is noticeable area of paint loss. To the center of the lower margin, there is an area that appears to be rubbed against. No visible sign of restoration when inspected under UV light. Along the verso, the canvas is heavily toned and has soiling; to the center, there are spiral lines visible; to the lower right quadrant, there are black paint residue; along the upper margin, there is an area that appears to be rubbed against; see the listing image. Wear to the wooden canvas frame throughout.
LeRoy Neiman (American, 1921-2012). Serigraph on paper titled "Wine, Women, and Cigars" depicting a dapper supper club crowd. Hand signed along the lower right.Sight; height: 22 in x width: 27 in. Framed; height: 28 in x width: 34 1/4 in.Condition: No visible tears, creases, or losses. No visible sign of restoration. The color is bold and bright. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Warren MacKenzie (American, 1924-2018). Set of four studio pottery ceramic plates. All glazed stoneware with abstract decoration in brown along the interior. Each stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Each; Height: 1 1/4 in x diameter 7 1/4 in.Condition: The items are in great condition with no major chips, or visible cracks or losses. Original firing and glazing flaws throughout. No visible chips along the rim. There are minute chips to the underside of two of the plates. No visible sign of restoration when inspected under UV light. Light wear along the underside, consistent with age and use.
George Morrison (Ojibwe, 1919-2000). Oil on canvas painting titled "Descent on the Avenue" depicting an abstract scene painted with thick and vivid colors harmoniously dancing along the surface of the canvas, 1962. Signed and dated along the lower right. Further signed and titled along the verso.Provenance: Freeman Fine Arts, "Jewelry - Furniture & Decorative Arts - Paintings - Prints & Sculpture," February 14, 2011, Lot 1280, Philadelphia, Pennsylvania; Private Minnesota Collection.As described on page 101 of his memoir "Turning the Feather Around" by Morrison:"I went through a period of using thick paint, starting from the late 50's all through the 60's. This gave more immediacy to the painting. Putting the paint on without thinning it with oil, using acrylic paint without any water added.. Putting it thick on the brush and then on the canvas with broad strokes, showing the thickness and movement of the pigment. Some of the paints right out of the tube...This was my version of gestural painting...Movement of the paint became an integral part of the idea of the painting....the artist was more conscious of the paint itself, and that became the painting."Sight; height: 12 in x width: 18 in. Framed; height: 12 1/2 in x width: 18 3/4 in.Condition: The item is in generally good condition with no visible tears, or major creases or losses. The surface is stable, and the color is bold and deep. No visible sign of restoration under UV light. There are several deep cracks to thick paint surfaces; please refer to the listing image, possibly original to the artistic process. Along the extreme edges, there are several scattered areas with minute paint losses against the frame. Along the verso, there is heavy soiling and toning; there is a network of minute accretions along the upper margin. Wear to the frame.
Richard "Dick" Huss (American, b. 1946). Large etched and blown glass vase with lustrous pigmentation and a bright red accent. Signed and dated 1999 along the underside.Provenance: Distinguished corporate collection, Minnesota.As one of the most accomplished glass artists hailing from St. Paul, Minnesota, his works can be found in collections worldwide including the Art Institute of Chicago and the Corning Museum of Glass in New York.Height: 22 in x diameter: 10 1/2 in.Condition: The vase is in good condition with no chips, cracks, losses, or restorations. Very light wear throughout consistent with age and display. There are six small plastic beads affixed along the underside for display.
Mike Proulx (American, b. 1947). Acrylic on canvas photorealistic painting titled "Skyways," depicting downtown Minneapolis, ca. 1985. Signed along the lower right. Further signed and titled along the verso.Provenance: Distinguished Corporate Collection, Minnesota.Unframed; height: 36 in x width: 48 in. Framed; height: 36 1/2 in x width: 48 1/4 in.Condition: There are non rips, losses, or restorations when inspected under UV light. There are a few areas of minute accretions: one area of three drips of liquid along the light pole; one area of a few light accretions and possibly moisture exposure along the lower right; pictured in the lot listing. Light wear to the frame.
Roland W. Reed (American, 1864-1934). Photogravure titled "End of Day" depicting an Ojibwe Native American man resting on a rock overlooking a large body of water, possibly Lake Superior, ca. 1908. Pencil signed along the lower left. Titled and dated along the verso in pen.Reed returned throughout his life to Minnesota, though his sense of wanderlust compelled him to travel throughout the United States. His subjects were often Native Americans and he was part of a school of photographers known as "Pictorialists" whose emphasis on light and focus defined their works. His works are often part of a tradition of photographs taken during this time aimed at capturing the "Disappearing Indian," based on the notion that Native Americans' traditional way of life was disappearing rather than changing.Height: 7 3/4 in x width: 9 3/4 in.Condition: The sheet is toned. There is a significant undulation to the sheet; the work curls inwards along the top and bottom edges. Light wear along the edges. There is a tear along the lower right edge measuring approx. 1" in length. Soiling to the verso that does not affect the recto.
Charles Beck (American, b.1923). Oil on canvas painting titled "Hills and Trees" depicting an abstract landscape, 1960. Signed and dated along the verso. In the 1940s Beck studied under Cyrus Running at Concordia College in Moorhead. Later he would study under Cameron Booth, Walter Quirt and Malcolm Meyers at the University of Minnesota.Provenance: Distinguished corporate collection, Minnesota.Sight; height: 33 1/2 in x width: 53 in. Framed; height: 35 3/4 in x width: 55 in.Condition: There are no visible rips, losses, or restorations when inspected under UV light. The surface is stable and the colors are bold and bright. Light wear along the extreme edges of the work. Wear and minute losses to the rustic wooden frame.
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