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Lot 168

Aaron Fink (American, b. 1955). Oil on linen painting titled "Aphrodite" depicting a classical Greco-Roman marble statue in hues of blue against an abstracted navy background, 2007. Signed, titled, and dated along the verso. With a label from Alpha Gallery along the verso.Provenance: Alpha Gallery, Boston, Massachusetts; Private Minnesota Collection.Height: 60 in x width: 36 in x depth: 2 in.Condition: There are no major tears, losses, or restorations. The colors are bold and bright and the surface is stable. Light wear along the exposed edges. The work is not framed.

Lot 142

Robert Natkin (American, 1930-2010). Lithograph on paper depicting overlapping abstract forms in pastels of purple, pink, and blue, 1986. Pencil signed, dated, and numbered 52/90 along the lower left.Lot Essay:Robert Natkin spent his early years in Chicago, renovating and operating the Wells Street Gallery with his wife Judy Dolnick, also an artist. In the late 1950s, they moved to New York and then in 1970 to Redding, Connecticut, where he would spend the rest of his life. His work has been associated with abstract expressionism, color field painting, as well as Lyrical Abstraction.He was described as mischievous in his obituary in the New York Times, having once purportedly licked a Vermeer painting in the Frick collection. He also once removed a Nicolas Poussin painting from the wall in the Art Institute of Chicago and replaced it with his own, hiding the Poussin behind a velvet curtain, before switching it back when his replacement went unnoticed. His playful nature lent itself to equally playful canvases. The shapes in the present work seemingly bounce off of one another and are interspersed with polka dots and lines that heighten the energy of the painting.His use of cloth and netting as stencils led New York Times journalist John Russell to comment in 1978 that his artworks had a “worked-over look that suggests that the painting has been traversed over and over by a very small truck that has just had its tires retreaded.†This texture can be spotted throughout the present work in the net-like patterns that weave through the composition.His artworks are held in the collections of the Art Institute of Chicago, The Metropolitan Museum of Art, The Fogg Art Museum, Centre Pompidou in Paris, the Museum of Modern Art, and the Whitney Museum of American Art among many other prestigious collections.Sight; height: 31 in x width: 43 in. Framed; height: 42 in x width: 54 in x depth: 1 3/4 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations when viewed under UV light. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Lot 198

David Bierk (American/Canadian, 1944-2002). Mixed media diptych titled "A Eulogy, to Vermeer & Earth," 1996-1998. The left half with a photographic reproduction on panel of Johannes Vermeer's "Girl with a Pearl Earring" with oil embellishments. The right half with an oil on panel painting of a landscape. Each work is ink-stamped along the verso. With a label from Nancy Hoffman Gallery, New York.(Left panel) height: 20 in x width: 16 in. (Right panel) height: 20 in x width: 15 in. (Overall, framed) height: 24 1/2 in x width: 35 1/2 in x depth: 3 in.Condition: The work appears in good condition with no major losses or restorations. Applied faux craquelure to the Vermeer photograph. Light wear to the frame.

Lot 225

John Randall Nelson (American, b. 1956). Mixed media on panel painting titled "Sweet Boca" depicting white flowers in a vase. Signed and titled along the verso. With a label from Chiaroscuro Contemporary Art, Sante Fe, affixed to the verso.Height: 9 in x width: 9 in x depth: 1 1/2 in.Condition: No breaks, losses, or restorations. Light wear to the exposed edges. The work is not framed.

Lot 59

Shirley Cleary (American, b. 1942). Graphite on paper drawing depicting a piece of farming equipment abandoned in tall prairie grasses.Sight; height: 16 1/4 in x width: 22 1/2 in. Framed; height: 23 1/4 in x width: 29 1/4 in x depth: 1 in.Condition: There are no rips, creases, or losses. There are no signs of restoration under UV light. Framed under a nonarchival mat. Not examined out of frame. Framed under plexiglass. There is wear to the frame.

Lot 81

Fritz William Scholder V (American/La Jolla Band of Luiseno Indian, 1937-2005). Large acrylic on paper painting depicting blooming pink anthurium flowers, 2002. Pencil signed along the lower left.Unframed; height: 31 in x width: 40 in. Framed; height: 36 in x width: 46 in x depth: 2 in.Condition: The colors are bold and bright and there are no visible tears, losses, or restorations. There is a slight undulation to the sheet. The work is floated in frame. The painting is housed under plexiglass. Light wear to the frame. Not inspected out of frame.

Lot 64

Antoine Blanchard (Marcel Masson) (French, 1910-1988). Oil on canvas impressionist painting titled "Marche aux Fleurs, la Madeleine" depicting a Parisian street scene. Signed along the lower left; titled along a plaque. With a certificate of authenticity from Wally Findlay Galleries.Provenance: Wally Findlay Galleries; Private Minnesota Collection.Sight; height: 12 3/4 in x width: 17 3/4 in. Framed; height: 20 1/2 in x width: 25 in x depth: 2 in.Condition: The colors are bold and bright. The surface is stable. There are no visible tears, losses, or restorations when viewed under UV light. There are areas of light wear and craquelure throughout the extreme edges. Housed under a linen mat. Framed without glass or plexiglass; light wear to the frame. Not inspected out of frame.

Lot 272

Alec Soth (American, b. 1969). Chromogenic photo print titled "Best Western" depicting a four floor hotel exterior, 2005. With Gagosian Gallery and Weinstein Gallery labels affixed to the verso. Signed, titled, dated, and numbered 9/10 on the Gagosian label along the verso.Image; height: 30 in x width: 24 in. Framed; height: 36 3/4 in x width: 31 in x depth: 2 in.Condition: The colors are bold and bright. The emulsion appears smooth and stable. No visible tears, creases, losses, or restorations. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Lot 252

Telegram from Edward Curtis (American, 1868-1952). Received by the Signal Corps United States Army. The telegram reads:Received at 1 A JE WS 14 PdWhiteriver A T Jun 28thCo-op. Store,Holbrook A TSend on todays [sic] stage case six and half by eight and half photographic platesE.S. Curtis10:40AProvenance: From the Estate of Christopher Cardozo.Height: 5 1/2 x width: 8 1/2 in.Condition: The sheet is toned. There are handling marks and light creases throughout. There is a large crease running horizontally through the work that is consistent with the telegram being folded in half. There is a minute chip and a deep crease along the lower left corner. There is a small hole along a crossed out word below "photographic" along the left of the work.

Lot 37

Carl Philipp Weber (American, 1849-1921). Oil on board painting depicting a western romantic landscape with steep mountains divided by a still lake or river. Initialed "C.R.W." along the lower left, ca. late 19th century. The painting bears similarities to the style of Albert Bierstadt, who worked in the same region as Weber, who may have been influenced by him.Sight; height: 19 1/4 in x width: 29 1/4 in. Framed; height: 27 1/2 in x width: 39 1/4 in x depth: 2 1/4 in.Condition: There are no major losses. There are small areas of in-painting throughout the work. A thick varnish may obscure smaller areas of restoration. Light wear to the frame.

Lot 121

Sister Corita Kent, IHM (American, 1918-1974). Silkscreen print on paper titled "Manifest as Language" depicting a quote in an orange block with shapes in black and blue, 1963. Pen signed and dated along the lower right.Sight; height: 29 1/2 in x width: 23 1/2 in. Framed; height: 32 1/2 in x width: 26 1/2 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restoration when viewed under UV light. There is a slight undulation to the sheet. Framed under glass; light wear to the frame. Not inspected out of frame.

Lot 127

Victor Vasarely (Hungarian/French, 1906-1997). Serigraph in blue, red, and purple depicting an Op-Art sphere comprised of dozens of cubes, ca. 1970s. Pen signed along the lower right; numbered 265/340 along the lower left.Sight; height: 23 1/4 in x width: 19 in. Framed; height: 24 in x width: 19 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations when viewed under UV light. Framed under glass; light wear to the frame. Not inspected out of frame. Dust gathered along the verso.

Lot 176

Frank Big Bear (Anishinaabe, b. 1953). Two-part progress silkscreen over a pigment print depicting a composition of thirty cells with a variety of figures and scenes. Pencil signed and numbered 1/5 P.P. along the lower right. Produced in a limited edition for the Walker Art Center in Minneapolis, Minnesota.Sight; height: 28 in x width: 24 in. Framed; height: 31 1/4 in x width: 27 1/4 in x depth: 2 in.Condition: The colors are bold and bright. There is a slight undulation to the sheet. No visible tears, losses, or restorations.The sheet is floated in frame. Framed under glass. Light wear to the frame. Not inspected out of frame.

Lot 38

Hippolyte Emmanuel Boulenger (Belgian, 1837-1874). Oil on canvas painting depicting a snowy landscape. Signed along the lower left.Provenance: Expose Gand, Belgische Kunst.Unframed; height: 14 in x width: 20 in. Framed; height: 21 in x width: 27 in x depth: 3 in.Condition: There is craquelure throughout the canvas. There are minute pinholes in all four corners, possible original to the artistic practice. The varnish is somewhat toned. No signs of restoration under UV light. Some wear associated with age to the stretcher. Several missing stretcher bar keys. Wear to the frame including some losses to the giltwood decoration.

Lot 173

Elizabeth Osborne (American, b. 1936). Screenprint on paper print titled "Winter Still Life" depicting two shelves with glassware, a pear, and a spray of flowers, 1982. Pencil signed and dated along the lower right; numbered 75/125 along the lower center; titled along the lower left.Height: 30 in x width: 22 1/2 in.Condition: The colors are bold and bright. There are no tears, major creases, or restorations. Light wear to the deckled edges. The work is not framed Some light soiling to the verso which may be original to the artistic process.

Lot 227

Print titled "Mother's Tapestry" depicting a tapestry style composition of leaves and flowers with hand-painted white highlighting and gilt decoration. Pencil signed Carrington in the lower right corner.Sight; height: 43 in x width: 29 1/2 in. Framed; height: 49 1/2 in x width: 36 in x depth: 3/4 in.Condition: There are no tears or losses. There are light creases throughout. The print is comprised of many sheets of paper pasted together and some of these areas where the sheets are joined are visible. There is an area of discoloration in the lower right quadrant, however, it is most likely a part of the image. Framed under plexiglass. Not examined out of frame. Wear to the frame.

Lot 1

Abstract watercolor and graphite painting depicting a nude figure seated on a red and blue couch.Height: 40 in x width: 26 in.Condition: There are no major losses or tears. There are two creases across the top, the first is about 1 inch from the top edge, along the left edge to the right edge, the other is several inches from the top edge, also across the entirety of the sheet. There is a slight undulation to the sheet. There are some stains along the top right and left quadrants. There are no signs of restoration under UV light. Not framed.

Lot 99

Irene Rice Pereira (American, 1902-1971). Ink drawing on paper depicting a nude figure in loose clothing intertwined with a serpentine red form, 1960. Dated May 9, 1960 along the lower right.Height: 10 3/4 in x width: 8 1/4 in.Condition: There are no tears, creases, or restorations. The sheet is toned. A few small spots of foxing. Light soiling to the upper right corner. The work is not framed.

Lot 113

John Stuart Gibson (American, b. 1958). Large oil on canvas painting titled "Ultramarine & White Balls" depicting a two-tiered stack of blue and white spheres against a dramatically lit background, 1989. Signed, dated December 1989, and titled along the verso.Unframed; height: 39 1/4 in x width: 50 in. Framed; height: 45 1/4 in x width: 55 in x depth: 3 in.Condition: The colors are bold and deep and the surface is stable. There are visible repairs under UV light. Light wear to the frame.

Lot 255

Edward Curtis, "The North American Indian: Being a Series of Volumes Picturing and Describing the Indians of the United States and Alaska." With a forward by Theodore Roosevelt. This is a sample prospectus of the first volume, meant to allow interested buyers in viewing two photos from the book. Containing two photographic inserts printed on Normandy Vellum including: "The Oath - Apsaroke" and "The Wedding Party - Qagyuhl."Provenance: From the Estate of Christopher Cardozo.Height: 12 1/2 in x width: 9 1/2 in.Condition: The sheet is toned. There is a tear running vertically along the lower quarter of the spine. There are handling marks throughout, particularly along the edges. Light soiling including some foxing along the two image inserts. There is also a crease along the upper left third of the work.

Lot 156

Terence David La Noue (American, b. 1941). Large mixed media on paper collage titled "Water Spirit" depicting a colorful abstract composition, 1987. Signed, numbered A.P. 3/8, and dated along the lower right.Provenance: Flanders Gallery, Minneapolis, MN; Private Minnesota Collection.Height: 36 in x width: 39 1/2 in.Condition: There are no tears, losses, or restorations. Light wear along the deckled edge. Sealed under plastic with four plastic corner tabs affixed to a non-acidic mat. Not inspected out of plastic. The work is not framed.

Lot 12

Henri de Toulouse-Lautrec (French, 1864-1901). Lithograph on paper titled "Aristide Bruant" from the suite "Le Cafe Concert" depicting a figure standing against a darkened background. With a certificate of authenticity from Merrill Chase Galleries. Certificate number 482641. Pencil inscription along the verso "482641 MRO 124" matching the COA number.Provenance: Merrill Chase Galleries; Private Minnesota Collection.Unframed; height: 17 1/2 in x width: 12 3/4 in. Framed; height: 20 1/2 in x width: 17 1/2 in x depth: 1 in.Condition: There are no major tears, losses, or restorations. The sheet is toned. There are light creases and handling marks along the extreme edges, and there are minute dark accretions throughout the margins. The sheet is affixed to an acidic mat and there is a perimeter of matburn along the edges of the work. Framed under glass. Light wear to the frame.

Lot 68

Laimdot Murniek (Latvian, 1922-2011). Oil on canvas painting titled "River Daugara" depicting a small village on the banks of a verdant river, 1978. Signed along the lower right. Further signed, dated, and titled along the verso.Unframed; height: 27 1/2 in x width: 42 in. Framed; height: 30 1/4 in x width: 44 1/2 in x depth: 2 in.Condition: The colors are bold and bright and the surface is stable. No tears, losses, or restorations. Light wear to the frame.

Lot 134

Jeanie Lewis Napangardi (Australian Aboriginal, b. ca. 1950). Acrylic on canvas painting depicting bright dots in pink, orange, and yellow against a black background. Signed and numbered along the verso.Height: 48 in x width: 60 in x depth: 1 1/4 in.Condition: The colors are bold and bright and the surface is stable. There are no major tears, losses, or restorations visible when viewed under UV light. There are minute accretions and faint rounded scuffs throughout, particularly along the black regions of the painting; these attriubtes are possibly original to the artistic process. Light dust gathered along the surface. The work is not framed.

Lot 123

Alexander Calder (American, 1898-1976). Gouache on paper painting titled "Pinwheel & Hourglass" depicting abstracted amorphous and geometric shapes against a bright yellow background, 1944. Signed and dated along the lower right.Provenance: Perls Gallery; Private New York Collection 1966; Lark Mason Associates; Private Minnesota Collection.Sight; height: 22 1/2 in x width: 15 1/4 in. Framed; height: 24 in x width: 17 in x depth: 1 1/4 in.Condition: There are no tears, creases, losses, or restorations. The colors are bold and bright. Toning to the sheet, only visible along the verso. Light wear to the deckled edges. Two pieces of tape affixed to the corners of the verso. Pencil inscription "2874B" along the verso. Floated in frame on a non-acidic matboard. Framed under glass. Light wear to the frame.

Lot 115

David Rathman (American, b. 1958). Ink or watercolor on paper titled "How the Bells do Toll" depicting a silhouette of a tank, 2010. Titled along the upper center.Provenance: Larissa Goldston Gallery, New York; Private Minnesota Collection.David Rathman earned his BFA from the Minneapolis College of Art and Design in 1982. Rathman currently lives and works in Minneapolis, Minnesota. Not limiting himself to a painter, he expands his medium to limited edition books, prints, and films. His work has been housed in numerous outstanding national art institutions including the Whitney Museum of American Art, The Art Institute of Chicago, and the Walker Art Center.Sight; height: 22 in x width: 30 in. Framed; height: 25 1/2 in x width: 33 in x depth: 1 3/4 in.Condition: The colors are bold. There are no visible tears, creases, losses, or restorations. Some light undulation to the sheet. The sheet is floated in frame. Framed under plexiglass. Light wear to the frame. Not inspected out of frame.

Lot 57

Cyrus Running (American, 1913-1976). Gouache on artist board painting depicting a fall landscape.Sight; height: 19 1/2 in x width: 29 1/2 in. Framed; height: 23 1/2 in x width: 33 1/4 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations. Framed under glass. Light wear to the frame. Not inspected out of frame.

Lot 11

Salvador Dali (Spanish, 1904-1989). Lithograph on paper print depicting a surreal landscape with a floating head and a snake, 1971. Embossed "Dali" and crown form along the lower right. Signature and date along the lower center.Sight; height: 23 in x width: 18 1/2 in. Framed; height: 38 in x width: 32 1/2 in x depth: 2 1/2 in.Condition: The colors are bold and deep. There are no visible tears, losses, or restorations when viewed under UV light. There is a minute crease along the lower left. There is an undulation to the sheet. Minute accretions throughout, likely original to the artistic process. Signs of light wear along the extreme upper edge. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

Lot 219

Max Papart (French, 1911-1994). Large lithograph on paper depicting a composition of bright colors juxtaposed with a seascape and a musical arrangement. Pencil signed along the lower right; numbered H.C. VI/XV (6/15) along the lower left.Sight; height: 34 in x width: 27 in. Framed; height: 46 in x width: 39 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are visible tears, creases, losses, or restorations when viewed under UV light. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

Lot 220

Italo Scanga (Italian/American, 1932-2001). Lithograph print on Rives BFK paper titled "Golden Statue" depicting a scene with trees, figures, mountains, and chickens against abstract backgrounds, 1994. Pencil signed and dated along the lower right; editioned 8/30 along the lower left. Pencil marked "TP-1593-327" along the verso.Height: 30 in x width: 22 in.Condition: The colors are bold and bright. There are no tears, creases, losses, or restorations. Light wear along the deckled edges. The work is not framed.

Lot 146

Norris Embry (American, 1921-1981). Acrylic on canvas panel abstract painting depicting a figure and a blue tulip against a vibrant red background. Signed along the center behind the figure's head.Height: 24 in x width: 36 in.Condition: The colors are bold and bright. The surface is stable. There are no tears. There are losses throughout, in particular to the canvas along the extreme edges of the board. There are no signs of restoration under UV light. Not in frame.

Lot 257

Edward Curtis (American, 1868-1952). Group of six real photo postcards (RPPC) depicting portraits. Five depicting Native Americans: two titled "Zuni," one "Zuni Water Carriers," one "Navaho Boy," and one "Apache Girl." One untitled postcard depicting a portrait of a woman. All signed in negative along the lower margin. Most printed circa 1904.Provenance: From the Estate of Christopher Cardozo.Height ranges from 3 1/4 in to 5 1/4 in; width ranges from 3 1/4 to 5 1/4 in.Condition: Four of the six postcards with writing. All sheets are toned. The Zuni postcard without writing has a small notch in the upper left corner. All postcards with light wear along the edges consistent with use and mail. None are framed.

Lot 86

Brad Widness (American, 20th/21st c). Collagraph and stencil color on paper titled "Landing" depicting a scene of a ship coming into the port from a perspective of a person in the boat, 2002. Pencil signed along the lower right; titled along the lower left; marked A/P (artist proof) along the lower center.Brad Widness was born in Sioux Falls, South Dakota, and taught drawing, printmaking, watercolor, design, and digital media at Minnesota State University, Mankato, as well as January interim courses at Gustavus in Bookmaking, and a Bookmaking workshop at the Minnesota Center for Book Arts in Minneapolis. Brad’s work has been selected for many juried regional and national exhibitions, and his work is included in numerous printmaking portfolios and traveling exhibits around the country. Highlights from the last ten years include participating in an invitational exhibition at the MAPC Conference in Minneapolis, receiving a McKnight Fellowship, and having work selected from an open portfolio review for exhibit at the Highpoint Center for Printmaking.Sigh; height: 13 3/4 in x width: 7 3/4 in. Framed; height: 23 3/4 in x width: 16 3/4 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations. Housed under a non-acidic mat. Framed under glass. Light wear to the frame. Not inspected out of frame.

Lot 83

George Morrison (Ojibwe, 1919-2000). Lithograph on paper titled "Red Cube" depicting undulating interlocking forms, reminiscent of the artist's found driftwood collages, 1983. Pencil signed and dated along the lower right. Titled and editioned "Artist Proof" along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 29 3/4 in x width: 22 1/4 in. Framed; height: 34 1/2 in x width: 26 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations. Very light undulation to the sheet. The sheet is floated in frame. Framed under glass. Some wear to the frame.

Lot 71

Renat Ramazanov (Russian, b. 1978). Oil on canvas painting titled "Women" depicting a group gathered around at a sunny table, 2005. Signed along the lower left; further signed, dated, and titled along the verso.Sight; height: 39 in x width: 47 in. Framed; height: 49 1/4 in x width: 57 1/4 in x depth: 3 1/2 in.Condition: There are no major losses. There is patch along the verso (measuring approx. 3.5 in x 3 in) corresponding to a repair along the forearm of the figure in white leaning over the table (second from the left). An area of corresponding length fluoresces under UV light. Light wear to the frame.

Lot 108

Irving Petlin (American, 1934-2018). Lithograph on paper titled "Joseph and His Houses" depicting the Biblical figure striding towards three houses while holding a fourth, 1981. Pencil signed along the lower right; numbered 29/104 along the lower left.Unframed; height: 30 in x width: 20 in. Framed; height: 32 in x width: 22 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations when viewed under UV light. Framed under glass; light wear to the frame. Not inspected out of frame.

Lot 238

Group of three Mutascope promotional works for peep shows, ca. 1930s. Each with a photograph surrounded by hand-painted lettering and decoration on artist board. Advertising three Artistic Figure Studies films including "A Little Devil," "Hearts of Broadway," and "Smooth as Satin."Each, height: 22 1/4 in x width: 14 in.Condition: Areas of wear along the edges including small bumps and chips. Some creases and small tears. Light fading to the ink and photos. The works are not framed.

Lot 170

Ed Baynard (American, 1940-2016). Watercolor on paper painting titled "Homage to Early Spanish Painting" depicting vegetables hanging from delicate strings, 2001. Signed and dated along the lower right.Height: 29 1/2 in x width: 41 1/2 in.Condition: The item is in excellent condition with no visible tears, creases, or losses. No visible sign of restoration under UV light. The color is bold and bright. Light wear along the four deckled edges, original to the artistic practice. All margins are visible under the frame. Pinholes in the corners original to the artistic practice.

Lot 164

Cameron Booth (American, 1892-1980) Oil on canvas painting titled "Emancipation" or "Abstraction" depicting a composition of brightly colored abstract forms, 1968. Initialed and dated along the lower right corner. Signed, dated, and titled along the verso.Provenance: Rev. Richard L. Hillstrom; Collection of Frank J. Indihar, M.D.; Private Minnesota Collection.Unframed; height: 24 in x width: 18 in. Framed; height: 26 1/2 in x width: 20 1/2 in x depth: 1 1/4 in.Condition: The colors are bold and bright and the surface is stable. No chips, losses, or restorations when viewed under UV light. Light wear to the frame.

Lot 56

Axel David Ericson (Swedish/American, 1870-1946). Oil on board painting titled "Wading" depicting a group of three figures wading in the shallows of a beach with a boat and home in the background. Signed along the lower right; annotated "France" along the lower left. With a label from Vern Carver & Beard Galleries, Minnesota affixed to the verso.Axel David Ericson, born in Sweden in 1870, became one of Duluth, Minnesota's most significant painters after immigrating there at a young age. Despite being self-taught, he gained recognition early in his career, winning a prize at the Minnesota State Fair in 1885 and studying at the Art Students League in New York City. Ericson's travels to Paris and study with James McNeill Whistler enriched his artistic style, which evolved from rustic farm scenes to sensitive figure painting and vibrant depictions of foreign landscapes. His work, characterized by its bucolic charm and French Impressionist influence, is represented in notable collections across Minnesota and beyond, solidifying his importance to the state's artistic heritage.Sight; height: 9 1/4 in x width: 11 1/2 in. Framed; height: 14 1/4 in x width: 16 3/4 in x depth: 1 1/4 in.Condition: The colors are bold and bright and the surface is stable. There is a slight convex bow to the board. Light wear to the frame. Verso not inspected; not inspected out of frame.

Lot 65

Antoine Blanchard (Marcel Masson) (French, 1910-1988). Oil on canvas impressionist painting titled "Boulevard des Capucines" depicting a bustling Parisian street. Signed along the lower right; titled along a plaque. With a certificate of authenticity from Wally Findlay Galleries.Provenance: Wally Findlay Galleries; Private Minnesota Collection.Sight; height: 12 3/4 in x width: 17 3/4 in. Framed; height: 20 1/2 in x width: 25 in x depth: 2 in.Condition: The colors are bold and bright. The surface is stable. There are no visible tears, losses, or restorations when viewed under UV light. There are areas of light wear and craquelure throughout the extreme edges. Housed under a linen mat. Framed without glass or plexiglass; light wear to the frame. Not inspected out of frame.

Lot 243

John "Jock" Sturges (American, b. 1947). Gelatin silver print photograph depicting a young girl in black surrounded by leaves. Her dark clothing seemingly blends into the bushes behind her, allowing her head and hands, rendered in sharp detail, to be the main focal point of the work.Sight; height: 14 3/4 in x width: 19 in. Framed; height: 22 1/2 in x width: 26 1/4 in x depth: 1/2 in.Condition: The colors are bold and deep and the emulsion appears smooth with no breaks. No visible tears, creases, losses, or restorations. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

Lot 147

Norris Embry (American, 1921-1981). Group of two vibrant abstract mixed media on paper artworks. One signed along the upper right and dated 1980. One signed and dated 1979 along the lower right.(Red) Height: 18 in x width: 24 in. (Yellow) Height: 18 in x width: 24 in.Condition: The colors are bold and bright. There are no creases. There are tears or losses throughout. There are no signs of restoration under UV light. Not in frame.

Lot 112

Abraham Rattner (American, 1893-1978). Oil on paper painting titled "Moses, 'I Am That I Am'" depicting the biblical figure in pale white against a vibrant red background, 1979. Signed along the lower right. With a label from Kennedy Galleries, New York affixed to the verso.Provenance: Kennedy Galleries, New York; Distinguished Corporate Collection, Minnesota.Sight; height: 24 1/2 in x width: 34 3/4 in. Framed; height: 30 3/4 in x width: 41 1/2 in x depth: 2 in.Condition: There is undulation to the sheet throughout. No visible tears, creases, or restorations. Extreme edges and verso not inspected. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Lot 118

David Rathman (American, b. 1958). Etching and aquatint on paper titled "It's Just My Rough Habits, I Guess." Pencil signed and dated 2002 along the bottom edge. Editioned 10/18 along the bottom right edge. Titled along the top edge of the print.Sheet; height: 17 1/4 in x width: 15 in. Matted; height: 28 in x width: 22 in.Condition: The colors are bold and deep. The sheet is slightly toned. There are no visible tears, losses, or restorations when viewed under UV light. Some areas of soiling throughout the margins of the mat. The work is not framed.

Lot 20

Adamo Scultori (Italian, 1530-1585) after Giulio Romano (Italian, 1499-1546). Engraving titled "Fisherman Catching a Sea Monster" depicting two boats of fisherman hauling a sea monster out of the ocean in a net, ca. 1563-65.Literature: Bartsch 106.Height: 8 in x width: 12 1/4 in.Condition: There are no major tears or restorations. The sheet is toned. There is a crease running vertically through the center of the print. Some light wear along the edges. The sheet has been trimmed. There are two pieces of cloth tape affixed to the verso along the upper corners. Some soiling to the verso. The work is not framed.

Lot 98

Irene Rice Pereira (American, 1902-1971). Mixed media painting on paper titled "The Fourth - Mercuries" depicting a dancing figure with stars, 1963. Titled and dated April 15, 1963 along the lower right.Height: 10 3/4 in x width: 8 in.Condition: There are no creases, tears, or restorations. The sheet is toned. There is some light soiling to the verso. The work is not framed.

Lot 82

Fritz William Scholder V (American/La Jolla Band of Luiseno Indian, 1937-2005). Color lithograph on paper titled "Kachina Dancers" depicting a group of figures in a line with adobe houses in the background, 1970-71. Pencil signed along the lower right; editioned "Artist Proof" along the lower left.Scholder spent much of his early life moving throughout the Midwest, living in Minnesota, South Dakota, and Wisconsin. At seventeen, he attended the Mid-West Art and Music Camp at the University of Kansas where he studied with Robert B. Green. As a freshman at Wisconsin State University, he studied with Arthur Kruk, James Grittner, and Michael Gorski. In 1957 he followed his family to Sacramento, California where he studied with Wayne Thiebaud. He has met and worked with numerous designers and artists including Lloyd Kiva New, Charles Loloma, Max Cole, John Heric, and Bruce McGrew.His works often show the harsh, realistic side of Native Americans' lives and deaths including the effects of alcohol. His unique experience as a figure who never lived on or around other Native Americans allowed for a fresh perspective on Native American art, though it was sometimes controversial. He fused together Expressionism, Color Field, and Pop art to convey his perspective on his subjects.Unframed; height: 22 1/4 in x width: 30 1/2 in. Framed; height: 31 1/2 in x width: 39 1/2 in x depth: 3/4 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or repairs. Light wear along the deckled edge. The work is floated in frame. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Lot 15

Currier and Ives, United States. Hand-colored lithograph titled "An American Farm Scene: In the Olden Time," depicting a rural scene with three cows at the edge of a pond.Provenance: Distinguished Corporate Collection, Ohio.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 0145, page 20.Currier and Ives was founded by Nathaniel Currier (American, 1813-1888) in 1835 as "the Grand Central Depot for Cheap and Popular Prints," but changed its name with the addition of James Merritt Ives (American, 1824-1895) in 1857. The company created over 7000 popular lithographs depicting American life until 1907.Image; height: 8 1/2 in x width: 12 5/8 in. Margins; top: 1/2 in x bottom: 1 in x left: 5/8 in x right: 1/2 in. Sheet; height: 10 in x width: 13 3/4 in.Condition: The sheet is toned. Some areas of light foxing throughout and uneven coloration to the sheet. There is some wear along the edges. There are some frits/chips along the upper left edge. There are three tears along the upper right edge; repaired with framer's tape along the verso. There are three tears along the lower edge; evidence of restoration when viewed under UV light and from the verso. Two further areas with evidence of restoration along the lower edge; one of these areas with some skimming (lower left corner). Evidence of a small area of restoration along the upper center edge. Some soiling to the verso. Three pieces of framer's tape affixed to the verso: one mentioned previously in this report, one on each upper left and right corner. There are six repairs visible along the edges, previously mentioned in this report. It appears that the print has been trimmed in the margins somewhat as evidenced by margin measurements and the closeness of the bottom text to the edge of the sheet. The work is not framed.

Lot 80

Deborah Falls (American, 20th/21st c). Silk dyes on Indian Dipion silk titled "Cornflowers" depicting four of the eponymous bright blue blooms, 2014. Pencil signed along the lower right.Sight; height: 24 in x width: 30 3/4 in. Framed; height: 31 3/4 in x width: 57 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, rips, losses, or restorations. Housed under a non-acidic mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Lot 116

David Rathman (American, b. 1958). Ink or watercolor on paper titled "Sorry You're Responsible for so Much Debt" depicting a silhouette of a helicopter, 2010. Titled along the upper center.Provenance: Larissa Goldston Gallery, New York; Private Minnesota Collection.David Rathman earned his BFA from the Minneapolis College of Art and Design in 1982. Rathman currently lives and works in Minneapolis, Minnesota. Not limiting himself to a painter, he expands his medium to limited edition books, prints, and films. His work has been housed in numerous outstanding national art institutions including the Whitney Museum of American Art, The Art Institute of Chicago, and the Walker Art Center.Sight; height: 22 in x width: 30 in. Framed; height: 25 1/2 in x width: 33 in x depth: 1 3/4 in.Condition: The colors are bold. There are no visible tears, creases, losses, or restorations. Some light undulation to the sheet. The sheet is floated in frame. Framed under plexiglass. Light wear to the frame. Not inspected out of frame.

Lot 77

Jeanette Pasin Sloan (American, b. 1946). Color lithograph titled "Black Star" depicting a highly reflective still life, 1998. Pencil signed and dated along the lower right; titled along the lower center; numbered 1/20 along the lower left.Height: 21 in x width: 22 in.Condition: There are no tears, creases, losses, or restorations. The colors are bold and bright. Light wear along the deckled edges. The work is not framed.

Lot 14

William E. Marshall (American, 1836-1906). Engraving on paper depicting an oval portrait of 16th U.S. President Abraham Lincoln. In plate along the lower center "Abraham Lincoln - Painted and Engraved by Wm. E. Marshall."Sight; height: 24 1/2 x width: 18 1/2 in. Framed; height: 28 in x width: 22 in x depth: 1 1/2 in.Condition: There are no visible tears, creases, or losses when viewed under UV light. The sheet is toned. Framed under glass. Light wear to the frame including some scuffs, gilt loss, and accrections along the glass. Not inpected out of frame.

Lot 103

Tom Wesselmann (American, 1931-2004). Screenprint in colors on museum board titled "Bedroom Face with Orange Wallpaper" depicting a portrait of a woman, 1987. Pencil signed, dated, and numbered 66/100 along the lower right.Sight; height: 58 in x width: 64 in. Framed; height: 60 in x width: 66 1/2 in x depth: 2 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations when viewed under UV light. There is a slight undulation to the sheet. The work is floated in framed. Framed under plexiglass. Light wear to the frame including one accretion along the lower left corner of the plexiglass. Not inspected out of frame.

Lot 126

Victor Vasarely (Hungarian/French, 1906-1997). Serigraph in blue and silver titled "Tuz" depicting an Op-Art sphere comprised of dozens of circles, ca. 1970s. Pen signed along the lower right; numbered 265/340 along the lower left.Sight; height: 23 1/4 in x width: 19 in. Framed; height: 24 in x width: 19 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations when viewed under UV light. Framed under glass; light wear to the frame. Not inspected out of frame. Dust gathered along the verso.

Lot 131

James Rosenquist (American, 1933-2017). Screenprint in colors on wove paper titled "Toy Prison" depicting color shapes trapped within a white cage on a silver amorphous background, 1972. Pencil signed and dated 1972 along the lower right; numbered 11/150 and titled along the lower left.Unframed; height: 22 in x width: 29 in. Framed; height: 34 in x width: 42 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, creases, losses, or restorations when viewed under UV light. There are some irregularitlies and frits along the edges of the deckled paper; however, they are consistent and these are likely original to the artistic process. Floated in frame. Framed under glass; light wear to the frame. Not inspected out of frame.

Lot 8

Eduard Wiiralt (Estonian, 1898-1954). Copperplate etching on paper titled "Porgu (Hell)" depicting an intense surrealist rendition of hell, with figures melding into each other in contorted positions, 1930. Ink signed along the lower right; inscribed "Porgu - eau forte ja vaselige 1930" along the lower left. Additionally signed in print along a creature in the lower left of the image. Inscribed in pencil along the verso "122 III 1948."Height: 22 1/2 in x width: 25 1/4 in.Condition: The sheet is toned unevenly - more so around the perimeter of the image. Some light wear along the extreme edges of the sheet. Some evidence of moisture exposure along the lower edge of the sheet - the lower edge is slightly discolored. A few small pieces of old tape affixed to the edges of the verso. There are few areas of light skimming likely corresponding to now lost pieces of tape. The work is not framed.

Lot 79

Juan Manuel Sanchez (Argentinian, 1930-2016). Oil on canvas painting titled "Paltas y Manzanas (Avocados & Apples)" depicting a cubist still life with two vessels overflowing with red apples and green avocados. Signed along the lower right. Further signed and titled along the verso.Height: 26 3/4 in x width: 56 in x depth: 1 in.Condition: The colors are bold and bright and the surface is stable. There are no tears, losses, or restorations. Light white accretions throughout, possibly original to the artistic process. The work is not framed.

Lot 130

Frank Stella (American, 1936-2024). Lithograph on paper titled "Cipango" from the "Multicolored Square I" series, 1972. Depicting a square in bright, primary colors. Pencil signed, dated, and numbered 41/100 along the lower right.Sight: height: 16 in x width: 22 in. Framed; height: 17 1/4 in x width: 23 1/4 in x depth: 1 1/2 in.Condition: There are no visible tears, creases, losses, or restorations. The colors are bold and bright. There are signs of extremely light wear along the edges. The work is floated in frame. There is a slight undulation to the sheet. Framed under plexiglass; some wear and light scuffs to the plexiglass. Light wear to the frame. Not inspected out of frame.

Lot 261

William Henry Jackson (American, 1843-1942). Photochrome titled "A Crow Indian" depicting a figure wrapped in a blanket with their dogs and a tipi and horse in the background, ca. 1902. Detroit Photographic Co. # 51408.Provenance: From the Estate of Christopher Cardozo.Sight; height: 7 in x width: 3 1/2 in. Framed; height: 17 3/4 in x width: 16 in x depth: 1 in.Condition: The colors are bold and bright. No visible tears, creases, losses, or restorations. Housed under a nonacidic mat. Framed under plexiglass. Light wear to frame. Not inspected out of frame.

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