BANKSY (Bristol, England, 1975).Souvenir Wall Section, Palestine.Piece of concrete painted with graffiti and miniature figure in mixed media.Attached original payment receipt issued by "Walled Off Hotel".Measurements: 10 x 9.5 x 3 cm.Sculpture consisting of a piece of the Gaza wall accompanied by a small miniature figure of a graffiti artist. In March 2017, the "Walled Off" hotel was inaugurated in the Palestinian city of Bethlehem. With a slogan announcing it as the hotel with "the worst view in the world", it is located in front of the Israeli separation wall in the West Bank. All of its rooms are decorated by Banksy, and its stated aim is both to attract tourists to the city and to expose works by Palestinian artists to an international and Israeli audience. In a small museum inside the hotel is a statue of Lord Balfour signing his famous declaration.Banksy, the British artist whose identity is still unknown, is considered one of the leading exponents of contemporary street art. According to a study by Queen Mary University of London published in March 2016, Robin Gunningham, a resident of Bristol, is the artist behind the Banksy pseudonym. His works address universal themes such as politics, culture and ethics, mostly from a satirical and ironic point of view, combining graffiti writing with the use of stencil stencils. This technique is similar to that used by Blek le Rat, who began working with stencils in 1981 in Paris. In fact, Banksy acknowledged Blek's influence by stating that "every time I think I've painted something slightly original, I realise that Blek le Rat did it better, only twenty years earlier".
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VICTOR MIRA (Zaragoza, 1949 - Munich, 2003)."Natura Morta".Mixed media on paper adhered to wood.Signed and titled in the lower margin.Size: 110 x 86 cm.Painter, sculptor, engraver and writer, his training was basically self-taught. At the age of eighteen he had his first individual exhibition at the N'Art gallery in Zaragoza, which was also the first open-air sculpture exhibition held in that city. Shortly afterwards he moved to Madrid, where he exhibited in 1973 at the Pol Verdié gallery. During his years in the capital he attended the Encuentros de Pamplona, where he met John Cage. Two years later, in 1974, Ana María Canales published her book "Víctor Mira, eres mi pintor preferido" (Victor Mira, you are my favourite painter). In 1975 she travelled to Heidelberg, where she lived for five months, and that same year she published "El libro de las dos hojas". In 1976 he began to work in Germany on his series "Spanische Haltung" and "Manos". After spending some time between Madrid and Germany, in 1977 he settled in Barcelona. There he began his cycle of paintings "Interiores catalanes con tomate", and in 1979 he published his first book of poems, "El bienestar de los demonios". That same year he had his first solo exhibition in Munich, at the Tanit gallery, and the following year he showed his work in the United States, at the George Staempfli gallery in New York. From then on his international career took off, with exhibitions in Germany, the United States, Holland, Switzerland, Sweden, Norway, Colombia, France, Belgium and Austria, while he continued to exhibit regularly in Spain. In 1983 he travelled to the United States for the first time, invited by the Meadows Museum in Dallas, and that same year he worked in the printmaking workshops of the Southern Methodist University in Dallas and spent five months in New York. Also in 1983, in Barcelona, he produced his first series of iron sculptures, "Cultura del arco" and "Mediodías". In 1997 he was invited to participate in the Art Biennale in New York by Amy Chaiklin, and six years later, shortly before his death, he was awarded the prize for the best living Spanish artist at the ARCO Fair. The most recent retrospective exhibition devoted to this artist was held in Düsseldorf, Germany, at the Beck & Eggeling gallery. Works by Mira are held in museums and private collections all over the world, including the Museum of Modern Art in New York, the Museo Nacional Centro de Arte Reina Sofía, the MACBA in Barcelona, the Fine Arts Museums of Vitoria and Zaragoza, the Beulas Foundation in Huesca, and the Museo Colecciones ICO in Madrid, among others.
JEAN TINGUELY (Switzerland, 1925 -1991).Untitled, 1972.Mixed media on paper.Signed, dated and inscribed.Stains on the passepartout and in the margins of the work.Size: 35 x 25 cm; 48 x 37,5 cm (frame).If anything characterises Jean Tinguely's work on paper, it is movement, chance and the use of everyday materials intuitively dispersed on its surface. Throughout his career as an artist, Jean Tinguely sent hundreds of illustrated messages to his friends and colleagues in the art world. All these missives had one thing in common: they were written wherever the artist was - in his studio, in a museum or a gallery, in his kitchen, in a restaurant or even on the floor of his home. They had all been created in a totally intuitive way, driven by the subconscious and regardless of the place or time of their creation. Tinguley himself nodded: "I draw a lot of things, just as I doodle while talking on the phone. At the same time, I systematically transform these kinds of drawings into messages to my friends, letters and things like that. The Swiss painter and sculptor was, for more than 30 years, a key figure in the European avant-garde movement. He was known for his "sculpture machines" or kinetic art, rooted in the Dada tradition. He applied the term meta-mechanics to his creations. As in the rest of his kinetic works, his purpose was to give the spectator a spectacle of displacement, or at least the illusion of it. Jean Tinguely's mobile works were created to destroy or self-destruct, all in an effort to satirise the overproduction of meaningless goods manufactured by advanced industrial society. After turning to abstract painting, the Swiss artist experimented with movement as a form of expression. His first works, exhibited in Paris, were moved by electric motors. These monumental pieces depicted an ironic universe of useless machines that, it seemed, were producing. "The concept is to show that a work of art is never a definitive object, but that its creative capacities are, in truth, the potential given to it by both the artist and the spectators. He also worked on ready-made works, approaching the New York New Realists and assemblage artists. His production, which touched on all the themes that interested the artists of his generation, earned him an important place in post-war Paris, a leading figure of the stature of Yves Klein. Jean Tinguely is currently represented in the most important museums all over the world, including the Tinguely Museum in Basel, Switzerland, dedicated to the painter's life and work, the Tate Modern in London, the Metropolitan Museum of Art in New York and the Museo Reina Sofía.
ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Untitled, 1967.Mixed media and collage on wood.Signed and dated in the lower right corner.Measurements: 52 x 52 cm .Painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.
FEDERICO AGUILAR ALCUAZ (Philippines, 1932).Untitled, 1982.Mixed media on paper.Signed and dated in the lower left corner.Size: 29 x 38 cm; 46 x 54 cm (frame).Born in Santa Cruz, Manila, Alcuaz studied law at the Ateneo in the Philippine capital, graduating in 1955. Between 1949 and 1950 he took painting courses at the University of the Philippines School of Fine Arts, where he was taught by painter Fernando Amorsolo and sculptor Guillermo Tolentino, as well as other prominent Filipino artists such as Toribio Herrera, Ireneo Miranda and Constancio Bernardo. During his student years he was already awarded first prize at the University of the Philippines School of Fine Arts (1953), and the same award in the 1953 UP Art and 1954 Shell competitions. In 1955 he obtained a scholarship from the Spanish Ministry of Foreign Affairs, which enabled him to move to Madrid and enter the San Fernando Academy of Fine Arts. The following year he moved to Barcelona, where he joined the group La Puñalada, together with Tàpies, Cuixart and Tharrats. In Spain Alcuaz was again awarded the first Moncada Prize (1957), the Francisco de Goya Prize of the Cercle Maillol in Barcelona (1958), the first prize for painting in Sant Pol de Mar (1961), the second Vancells Prize at the IV Biennial of Tarrassa (1964), and the Republic Cultural Heritage Award (1965). From Spain he began his international projection, being distinguished in Paris with the Diploma of Honour at the International Exhibition of Free Art in 1961 and, in 1963, with the Medal of the City of Paris for Arts, Letters and Sciences. More recently, in 2007, Alcuaz was recognised by the Philippine government with the Presidential Medal of Merit for his achievements in the field of visual arts. In his fifty-five-year career, the painter has had solo exhibitions in leading galleries in Spain, the Philippines, Portugal, Poland, the United States and Germany, among other countries. Alcuaz's works are currently held in some twenty museums and cultural institutions around the world, including the Museums of Contemporary Art in Barcelona, Madrid, Krakow and Warsaw, the Gulbenkian Foundation in London and the Philips Museum in Holland.
CRISTINA GRAU GARCÍA (Valencia, 1946 - 1997)."Urban landscape", 1992.Mixed media on canvas.Framed and dated in the lower right corner.With Punto Gallery label.Measurements: 92 x 73 cm, 95 x 76 cm (frame).Cristina Grau García was born in Valencia. She studied Fine Arts at the Faculty of Fine Arts of San Carlos. She graduated as an architect in 1972 at the Escuela Técnica Superior de Arquitectura de Valencia. Due to her training in Fine Arts, she could draw, and very well.The same year she joined the studio, they won 2nd Prize in the National Competition for Port Stevedores and 1st Place in the National Competition for Emergency Plan 14 EGB Schools of the Ministry of Education. In 1975 they won 1st Prize in the competition for the Altos Hornos de Madrid office building, which was never built due to the bankruptcy of the client. The great Spanish architects of the time took part in the competition. Together with Escario, Vidal and Vives, the Grau family competed with the Isósceles motto in the competition for the Valencia headquarters of the Official College of Architects of Valencia and Murcia (COAVM), where they came third (1976). In 1981, also with Antonio Escario, they won first prize in a competition and became the architects of the Valencia Royal Yacht Club.Other outstanding projects from this period were the Valencia Regional Telephone Exchange (1979), a building that they covered with a large mesh to protect it from the sun.In the 1980s the Grau family devoted themselves predominantly to the restoration of heritage buildings such as the transformation of the old La Salle school into the Palma de Mallorca Courts (1981), the restoration of the Alarcón Palace, originally from the 18th century in the Jativa City Courts, Valencia (1983), the transformation of an old prison into the Courts in Manacor (1986), the reform of the stage of the main theatre in Valencia (1990) and the integral transformation of the Raga Palace (1992).In 1988 Cristina Grau restored the Rialto Cinema, built in 1939, one of the emblematic works of art deco in the Valencian Community and which currently houses the Valencian Institute of Cinematography. In addition to her participation in the architectural project, Cristina played an important role in the design of the interiors.She also worked in the field of industrial design and more specifically in furniture design: for Martínez Medina S.A. she designed the Voluta and Dinámico sofas, the Raíz and Decó tables, as well as the Presidente armchair and the Secretario chair.Cristina Grau's architectural work was exhibited in the Official Architects' Associations of Alicante, Castellón and Madrid, in the Claustro del Patriarca and the Sala Parpalló in Valencia and in the Palacio del Almudí in Murcia.
JEAN-MICHEL BASQUIAT (New York, USA, 1960 - 1988) for DUNNY KIDROBOT.Untitled.Vinyl.With stamped signature of the Estate of Jean-Michel Basquiat and the publisher.Original box enclosed.Measures: 20 x 13,5 x 7 cm.In collaboration with the Estate of Jean-Michel Basquiat, Kidrobot presents Jean-Michel Basquiat Faces Dunny Art Figure focusing mainly on the "faces" of Basquiat's works. Each art figure represents a face or an image from one of the prolific New York artist's most iconic paintings.A prolific artist, Jean-Michel Basquiat began drawing at the age of three, inspired by urban culture through the cars, taxis and buses that roamed the streets, as well as through television and comic books. He captured this view of his surroundings in his paintings throughout his life, especially in the form of vibrant lines, intense strokes, figures cut in black, facial expressions pushed to the limit, and so on. During the early 1980s he began to emerge as an artist, at a time when the reign of conceptual art and aesthetic minimalism in all its forms was predominant. The presence of urban culture and graffiti mixed with the European figurative tradition. His first solo exhibition took place in 1982, at the Annina Nosei Gallery in SoHo, New York. This marked the beginning of a series of solo and group exhibitions that brought together his work with that of other important contemporary artists, such as Julian Schnabel and David Salle. During these years he produced more than two hundred canvases with portraits of influential figures belonging to that culture, including Muhammad Ali and Dizzy Gillespie. It was at this time that his works began to be highly sought after, and logically his presence was in demand at the most exclusive events of the time. It is worth mentioning his close relationship with Andy Warhol, who had a powerful influence on their work. The intensity with which Jean-Michel Basquiat created was mirrored in his life. A fan of drugs and nightlife since his teenage years, his consumption increased to such an extent that he developed a strong addiction to heroin and cocaine, which led to his death in 1988. From his first solo exhibition to the present day, his work has toured the world's most famous museums. His media power, the outrageous auction prices of some of his works and his visual intensity continue to move crowds. The strong influence of his canvases, graffiti and writings on contemporary art explains the enormous interest in his figure. He is currently represented in museums and institutions such as the Museum of Modern Art (MoMA) in New York, the Centre Pompidou in Paris, the Gagosian Gallery, the Museu d'Art Contemporani de Barcelona - MACBA in Barcelona, the Guggenheim Museum of Modern and Contemporary Art in Bilbao, The High Museum of Art in Atlanta, The Modern Art Museum of Fort Worth in Fort Worth, the Castellani Art Museum in Lewiston, the Whitney Museum of American Art in New York, the Broad Contemporary Art Museum in Santa Monica, the Fondation Carmignac in Paris, the Fukuoka Art Museum in Fukuoka, Japan, as well as in numerous private collections, such as that of David Bowie.
A mixed lot of John Lennon memorabilia, to include: - 'The Messenger' media box set in sealed packaging, to include DVD, Audio CD and 32 page booklet - Great Interviews of the 20th Century booklet - The John Lennon Collection 12" vinyl LP: EMTV37 (Side 1 slight mark) - John lennon and Yoko Ono 'Double Fantasy' 12" vinyl LP: K99131
Georg Engestrom (Finnish, 1921 - 2008)'Spring Landscape', mixed media, gouache and watercolour, intialled titled and dated 1994 lower left, title 'A***mainen 2', and bearing gallery stamp verso, framed and mounted, overall 73cm x 85cm, within frame 48cm x 60.cm Condition: Unexamined out of frame - apparently good condition
Chris Calle (American, B. 1961) "Olympic Centennial Games - Rowing" Signed lower right. Original Mixed Media on Illustration Board painting. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting appeared on the Fleetwood First Day Cover for the 32c Rowing Classic Collection Series stamp issued May 2, 1996. The ancient Greeks recognized rowing as a means of survival for oarsmen whose job it was to maneuver massive warships in the midst of battle. Centuries later, rowing contests became popular among the lower classes. The sport gained even more popularity when English public schools became interested in it. During the 19th century, competitive rowing garnered support in both England and the United States. In 1892, the international governing body for rowing was established by the national associations of the Adriatic, France, Italy, Belgium and Switzerland, and remains the sport's controlling international body. Rowing was scheduled into the program of the first modern Olympic Games at Athens in 1896. Unfortunately, the event was cancelled due to inclement weather and did not become an official sport until 1900. Image Size: 15.25 x 10.25 in. Overall Size: 23.25 x 14.25 in. Unframed. (B15519)
Chris Calle (American, B. 1961) "Olympic Centennial Games - Wrestling" Signed lower right. Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover for the 32c Freestyle Wrestling Classic Collection Series stamp issued May 2, 1996. Freestyle wrestling was featured in both the 1904 and 1908 Olympic Games, but in 1912 it was replaced by the Greco-Roman discipline. Not until the 1920 Games, at Antwerp, were athletes able to compete in both forms of wrestling. Internationally, freestyle and Greco-Roman wrestling are the two most widely used and accepted wrestling styles. These are the only two styles permitted in annual world championships, as well as in the Olympic Games. Athletes who compete in freestyle wrestling are allowed to use nearly any hold, trip or throw, while the Greco-Roman form is more limited -- these wrestlers may not seize their opponents below the hips or grasp in any way with the legs. Both styles take place on a raised platform with slightly sloping sides. A wrestling bout lasts for nine minutes and is made up of three rounds of three minutes each. Wrestlers score points for effective holds, positions of advantage and near-throws. Image Size: 19 x 10 in. Overall Size: 23 x 14.5 in. Unframed. (B15484)
Chris Calle (American, B. 1961) "Marshall Islands (Issued by U.S.)" Signed lower right. Original Watercolor/Pencil/Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Maximum Card for the Republic of the Marshall Islands/U.S. Compact of Free Association stamp issued September 28, 1990. Change has been a way of life for the people of the Republic of the Marshall Islands. Over the centuries, the people of the islands have adapted to the subtle changes in nature, but life in the last one hundred years has been much more dramatic. In the final years of the 19th century, the islands were claimed by Germany and governed by that faraway country for over two decades. By the end of the First World War a new government had laid claim to the islands: Japan. Held for three decades by Japan, the islands were liberated by U. S. forces in World War II, and were designated a United Nations Trust Territory in 1947. Under this umbrella, the Marshall Islands moved to a much-desired independence. Today, after more than one hundred years of dealing with one distant government after another, the people of the Marshall Islands are in control of their own destiny. The first of many important steps was taken in that direction in 1979, when the Marshallese adopted a constitution. In 1982, the people signed an agreement, called the Compact of Free Association, which envisioned complete self-government. The compact came into force when the Trust Territory was dissolved in 1986 and the Marshall Islands became independent. The people of the islands elected a thirty-three member parliament, called the Nitijela, to oversee matters on the islands. The parliament, in turn, elected a president. Image Size: 13.75 x 19.75 in. Overall Size: 19.25 x 23.25 in. Unframed. (B12604)
Chris Calle (American, B. 1961) "Micronesia (Issued by U.S.)" Signed lower right. Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Maximum Card for the Federated States of Micronesia/U.S. Compact of Free Association stamp issued September 28, 1990. Flung across the vast sapphire Western Pacific to the north of Australia and south of Japan, the Federated States of Micronesia comprise more than 600 islands and islets. Like tiny ships bobbing on a vast expanse of ocean, the area encompassed by the Federated States is mostly saltwater; Ferdinand Magellan, sailing through their midst in 1521, failed to spot a single island. Yet people have inhabited these islands for as much as 3,500 years, making their living from the sea and farming the small portions of arable land. In more recent centuries, the islands have been claimed by colonial Spain, imperial Germany and Japan. During World War II, the islands were wrenched from the control of Japan by the United States. Following the war, the area was placed under the auspices of the United Nations Trust Territory of the Pacific Islands and administered by the United States. Today, the Re Mathau or People of the Deep Sea -- as many of the islands' more than 100,000 citizens are known -- claim their independence due to a pact signed with the United States in 1982. Under this agreement, called the Compact of Free Association, the Federated States of Micronesia have control of their own government with the United States being responsible for external security, defense and financial assistance to the islands. The compact came into force with the dissolution of the Trust Territory in 1986. Image Size: 15.75 x 16.25 in. Overall Size: 19.25 x 23 in. Unframed. (B12603)
Chris Calle (American, B. 1961) "Zebra Moray Swimming in Coral" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Federated States of Micronesia $1 Zebra Moray Native Fish stamp issued May 14, 1993. Some of the world's most colorful and eye-catching fish are found in Micronesian waters. The Bennett's Butterflyfish is among the most striking in coloration. Characterized by a brilliant yellow body with a distinctive black spot rimmed in white, it takes on a more somber pattern during evening hours while feeding on coral polyps at the ocean bottom. The handsome Orangestriped Triggerfish shares this appetite for polyps and can effortlessly nip off brittle pieces of coral with its powerful teeth and jaws. When this fish is disturbed, the first of its three stout spines on the dorsal fin locks upright and can be dropped only when the second smaller "trigger" spine, which fits into a groove behind the first, is depressed. Another sea creature common to Micronesia is the Regal Angelfish. The male of this species will tirelessly defend its territory, which often includes a "harem" of two to five females. Most Moray eels are also considered highly defensive. However, the distinctive Zebra Moray, despite its snake-like appearance, is surprisingly docile and shy. Image Size: 10.5 x 14.5 in. Overall Size: 20 x 23 in. Unframed. (B14336)
Chris Calle (American, B. 1961) "Mission to Planet Earth - Satellite over City" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.N. 29c Mission to Planet Earth - Satellite over City stamp issued September 4, 1992. If space and space technology are to be utilized to protect the Earth's environment, international cooperation among all the world's nations -- both developed and undeveloped -- is vital. This theme pervaded the special session held by the United Nation's Scientific and Technical Subcommittee on Feb. 24, 1992. Held in part to commemorate the UN's naming of 1992 as International Space Year, the special session brought together distinguished scientists and policy makers from around the world. All were devoted to the idea of utilizing space and space technology for the benefit of humanity, a major tenet of ISY's Mission to Planet Earth. It is hoped the power of space technology can slow such environmental catastrophes as desertification. Each year more than 25,000 square miles of our planet -- an area about the size of South Carolina -- is denuded and turned to desert. Overgrazing by livestock strips the land of vegetation, and top soil blows away. The ever increasing demands of agriculture create a need for thousands of new wells which deplete the Earth's aquifers. Artificial satellites can be used to monitor areas most susceptible to desertification, and help scientists develop strategies to halt its spread. Remote sensing data will allow for an accurate count of livestock and human habitations, and the effect they have on indigenous vegetation. This will provide scientists with a better understanding of human-animal-plant interactions and possibly a solution to this global threat. Image Size: 14.25 x 21.75 in. Overall Size: 23.25 x 16.75 in. Unframed. (B13990)
Chris Calle (American, B. 1961) "American Indian Headresses" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Combination Cover of the U.S. 25c American Indian Headdresses stamps issued August 17, 1990. As with many Indian traditions, the origin of the headdress is lost in the mists of time and shrouded by tribal secrecy. Yet, it is generally agreed that the elaborate, feathered headdress loosely associated with all Indians was the invention of the Sioux; the proud warriors of the open plains. In that almost magical time after the Indian mastered the horse and before the wholesale invasion of the white man -- a period of over one hundred years -- the use of the headdress expanded among the Indian tribes. Yet each tribe and each individual within that tribe added a special touch to each headdress. Each feather in the headdress was prepared with great care with each feather representing a particular feat. Though time has changed and blended many of the old traditional styles, some still endure as the most sacred of tribal secrets. Image Size: 16.5 x 14 in. Overall Size: 20 x 16 in. Unframed. (B12428)
Chris Calle (American, B. 1961) "Diver in Chuuk Lagoon" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published as the Federated States of Micronesia lower left stamp on the 32c Chuuk Lagoon Se-tenant Block of 4 issued February 6, 1995. Measuring 38 miles in diameter and reaching depths of more than 300 feet, Chuuk Lagoon is regarded as one of the best diving spots in the world. It is estimated that over 100 sunken ships as well as scores of aircraft and submarine wreckage litter the lagoon bed. Many are remnants of World War II. In 1944, Allied forces began a relentless push across the Pacific toward Japan. During this campaign, the lagoon -- which had become a large base of operations -- was the scene of continuous bombing, strafing and torpedo runs aimed at disabling this vital Japanese stronghold. Enhancing the myriad coral-encrusted wrecks found in Chuuk Lagoon is a fascinating display of marine life. The snorkelers, divers, underwater photographers and scientists who flock to this intriguing world beneath the sea are treated to a magnificent kaleidoscope of engaging creatures. Colorful clown triggerfish, exotic lion fish and schools of blue devil fish flit among fields of brilliantly hued coral, providing a show like nothing above the surface. Image Size: 14 x 17 in. Overall Size: 18.5 x 23.25 in. Unframed. (B14944)
Chris Calle (American, B. 1961) "Raphael Semmes" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Fleetwood First Day Cover for the 32c Raphael Semmes Classic Collection Series stamp issued June 29, 1995. Born in 1809 in Charles County, Maryland, Raphael Semmes joined the U.S. Navy when he was only 17. He continued in the service and was promoted to lieutenant in 1837, seeing action in the Mexican War. When war broke out between the states, he resigned from the U.S. Navy and volunteered for the Confederate Navy. Given the rank of commander, he was assigned to command the Sumter, a packet steamer berthed at New Orleans. Semmes had the vessel converted to an armed raider and sailed on June 30, 1861. The Sumter burned or captured a number of Union merchant vessels in the Atlantic and the West Indies until it was blockaded at Gibraltar. Semmes abandoned the ship and made his way to England, where he took command of the Alabama, a Confederate cruiser just being built at Liverpool. Semmes spent two years cruising the waters of the world, destroying more than 70 Union ships and seriously disrupting Union maritime trade. With the Alabama badly in need of repairs, Semmes put in at Cherbourg, France, in June 1864, where he was bottled up by the Union warship Kearsarge. On June 19, the Alabama sailed out to fight. In the ensuing battle, the Confederate cruiser was sunk, but Semmes and most of his crew were rescued by a British yacht that took them to England. Returning home, Semmes was given command of the James River squadron, but was forced to destroy it during the evacuation of Richmond. Semmes then organized a land force, but later surrendered at Greensboro, North Carolina. Image Size: 14.5 x 12.5 in. Overall Size: 23 x 18 in. Unframed. (B15213)
Chris Calle (American, B. 1961) "Wood Carvings of the American Eagle" Signed lower right. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day of Issue Maximum Card for the U.S. 23c Flag Pre-sorted First Class Coil stamp issue of September 27, 1991. Throughout the history of the United States, many images have come to symbolize the ideals of the nation. But since the nation's history began, the American flag and the Bald Eagle have been held in reverence as the very essence of the nation. America's first national flag was raised on a hill near Boston on January 4, 1776, by the troops of General George Washington. It was named the Grand Union Flag, and bore thirteen red and blue stripes. It also displayed the crosses of St. Andrew and St. George -- symbols of America's British heritage. It was only after the Declaration of Independence was signed that Americans chose a flag of their own. Through the years, the design of the flag retained many of its original symbols while abandoning others. In 1818, the American flag was officially returned to its original thirteen stripes, with but a single star to be added upon the field of blue for each new state. The Bald Eagle, too, is symbolic of the mighty, peaceloving nation. For example, on June 20, 1782, the infant American government adopted The Great Seal of the United States. An image of the nation's independence and equality, the Seal bears the figure of an Eagle, chosen to grace the Seal for its self-reliance and proud bearing. Image Size: 11.25 x 22.75 in. Overall Size: 22 x 29.25 in. Unframed. (B11489)
Paul Calle (1928 - 2010) and Chris Calle (B. 1961) "Grissom, Liberty Bell 7 - July 21, 1961" Signed lower right. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the MIPS First Day Cover for the Marshall Islands 80c Grissom stamp issued April 12, 2001. Virgil "Gus" Grissom: When Liberty Bell 7 lifted off from Cape Canaveral, on July 21, 1961, Gus Grissom became the second American in space. His spacecraft was equipped with a large viewing window, manual controls and an explosively actuated side escape hatch. Although the mission was a huge success, Liberty Bell 7 was lost when, after splashdown, the hatch blew off, causing the spacecraft to fill with water and sink. Image Size: 7.5 x 9.5 in. Overall Size: 11.5 x 14.5 in. Unframed. (B16922 / B16923)
Mel Crawford (Canadian, B. 1925) "Nova Scotia" Signed lower left. Original Mixed Media on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Canada 17c Flags of Canada Nova Scotia stamp issued June 15, 1979. The conflict between France and England for control of North America in the sixteenth and seventeenth centuries can nowhere be better illustrated than in the history of Nova Scotia. The English were the first Europeans to reach Nova Scotia after the Vikings (who briefly occupied a few coastal villages at the beginning of the eleventh century). John Cabot's expedition of 1497 put to shore on Cape Breton Island -- in the north of the Province -- and was soon followed by both Portuguese and French explorers and fishing vessels. The first colonies were established by France in 1604. But settlement on a large scale was delayed until 1629, when the Scots established two villages: Charlesfort, near the site of the abandoned French settlement of 1604, and Rosemar on Cape Breton Island. Throughout the rest of the seventeenth century, and until the end of the Seven Years War and the Peace of Paris in 1763, the history of Nova Scotia is the story of the struggle between English and French settlers for control of the land and the surrounding seas. The Exiled Acadians, as the French settlers were called, left a rich heritage behind them when they fled their lands rather than take an oath of allegiance to the British Crown. To the Scottish, Irish, and English settlers that stayed behind, Nova Scotia has been a place of peace and prosperity, a rich agricultural land with abundant industrial, mineral, and ocean resources. Image Size: 14 x 12 in. Overall Size: 17 x 15 in. Unframed. (B05329)
Mel Crawford (Canadian, B. 1925) "Australia" Signed lower right. Original Mixed Media on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the U.N. 20c Australia Flags of the U.N. Series stamp issued September 21, 1984. A nursery song playfully describes the kookaburra of Australia: "Kookaburra sits in the old gum tree ... merry merry king of the bush is he." And indeed, spying many of Australia's animal life, one would think that the creatures are out of a fairy tale. The kookaburra's "old gum tree" is probably the eucalyptus tree ... valued by the hardwood timber industry. The leaves of eucalypti provide oils useful both medically and industrially ... and form a major part of the diet of the koala. The koala, like most of the mammals of Australia, is a marsupial ... it bears live young, and then carries them in a pouch. Two exceptions to this rule are the echidna and platypus, egg-laying mammals known as monotremes ... and they are the world's only known monotremes. The creatures of Australia seem strange to the rest of the world, because the continent of Australia has been isolated from the rest of the world for over fifty million years. Another example of this difference is the Aborigines -- their name derived from the Latin ab origine, meaning from the beginning -- the first inhabitants of the continent. Currently, they are just a small minority of the nation, as this Stone Age people of simple nomadic hunters found it very hard to learn the ways of the modern Europeans who settled Australia just two hundred years ago. Today, the nation of Australia is quite remarkable, because it has grown from a primitive land into a modern, industrial country capable of competing well in international business. Image Size: 14 x 12 in. Overall Size: 17 x 14.75 in. Unframed. (B99053)
Mel Crawford (Canadian, B. 1925) "Yukon" Signed lower left. Original Mixed Media painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Canada 17c Flags of Canada Yukon stamp issued June 15, 1979. Like much of the Canadian west, the Yukon Territory was first explored by fur traders of the Hudson's Bay Company. With the discovery of gold in 1873, settlements were established along the Yukon and Stewart Rivers. In 1895, the Territory was incorporated into the newly-organized Northwest Territories along with the rest of the former Hudson's Bay Company lands, and the Northwest Mounted Police were dispatched to the region to maintain Canadian law. When a rich gold strike was made in the Klondike region in 1896, the real modern history of the Yukon began. Thousands of gold seekers swarmed into the Yukon from all over Canada and the United States, and the rough-and-ready reputation of the territory began to spread throughout the world. In 1898, an Act of Parliament separated the Yukon Territory from the Northwest Territories, and established local control over most questions of administration in the Territorial Capital at Whitehorse. By the end of the gold rush, in 1901, the Territory's population had risen to more than twenty-seven thousand. Twenty years later, barely over four thousand people remained in the Territory. Today, there are still fewer than thirty thousand people in the whole Territory. But the Yukon will continue to grow and to prosper, because its rich lands have the resources that the more developed lands to the east and south need: lead, zinc, copper, nickel, asbestos, cadmium, tungsten, coal, gold, and silver are but a few of the resources that the Yukon has in abundance. Image Size: 14 x 12.25 in. Overall Size: 17.75 x 15 in. Unframed. (B05407)
Steve Ferguson (American, B. 1946) "F-5E Tiger II" Original Mixed Media painting on Illustration Board. Signed lower right. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Republic of the Marshall Islands 33c F-5E Tiger II stamp issued June 1, 1999. To meet the U.S. military's need for a lightweight, inexpensive fighter that could be easily maintained and still be capable of supersonic flight, Northrop developed the F-5E Tiger II. U.S. Allies purchased large numbers of its planes. Later, both Spain and Canada manufactured the Tiger II under license. Image Size: 16.5 x 13.75 in. Overall Size: 20 x 14.75 in. Unframed. (B14005)
Steve Ferguson (American, B. 1946) "Curtiss F8C-1 Helldiver Airplane" Signed lower right. Original Mixed Media on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood Commemorative Cover with the U.S. 29c Flag stamp issued November 1, 1991. Between the World Wars, America was able to make much progress in its military technology. One fine example of this was the F8C Helldiver, the first production Navy aircraft designed for dive bombing. The biplane soon replaced the DH-4 Liberty Plane. The Helldiver could pull off steep dives upon target ships, dropping a single 500-pound bomb or twin 116-pound bombs. At the time, the plane was the only two-seat aircraft in the Navy's fighter squadrons. Some, like those delivered to the carrier U.S.S. Saratoga in August 1930 were welcome additions to the ship's arsenal. The plane could hit targets far out at sea and return to the carrier. The importance of its part in aircraft development cannot be denied since sea-launched planes would play a crucial role in the coming Second World War. Image Size: 16.5 x 14 in. Overall Size: 20 x 15 in. Unframed. (B13274)
Steve Ferguson (American, B. 1946) "Polikarpov I-15 Gull" Signed lower left. Original Mixed Media on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 32c Polikarpov I-15 Gull stamp issued November 1, 1996. In late 1935, a specially modified, stripped-down Soviet Polikarpov I-15 Gull was flown by test pilot Vladimir Kokkinaki to an altitude of 47,806 feet, setting a new world altitude record by a tenth of a mile. Image Size: 16.5 x 14 in. Overall Size: 20.25 x 15 in. Unframed. (B15490)
Steve Ferguson (American, B. 1946) "Piper Cub" Signed lower left. Original Mixed Media on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 32c Cub Classic Collection Series stamp issued July 19, 1997. In 1937 the Taylor Aircraft Company was reorganized as the Piper Aircraft Corporation at Lock Haven, Pennsylvania, with William T. Piper as president. The company was soon producing a light, high-wing monoplane called the Piper Cub. By the end of 1941, Piper had manufactured 10,000 of the popular side-by-side, two-seater planes. During World War II, the Cub, which could fly at grasstop height and land almost in its own length, was turned out by the thousands to meet the demand for frontline observation aircraft. Known in the military as L-4Bs -- or Grasshoppers -- the 65hp Cubs were even being fitted with bazooka rockets by 1944 for use as "tankbusters." Image Size: 16.25 x 14 in. Overall Size: 20 x 15 in. Unframed. (B15609)
Steve Ferguson (American, B. 1946) "Alpha" Signed lower left. Original Mixed Media on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 32c Alpha Classic Collection Series stamp issued July 19, 1997. In 1928, Jack Northrup left his job with Lockheed and started his own airplane company. Northrup's first plane appeared in 1930, a speedy, six-passenger, cabin monoplane called the Alpha. Designed to be used as a mail and passenger carrier for TWA, the streamlined, low-winged, single-engine plane was made entirely of metal -- unusual for the time. Covered with stressed-skin duralumin, the Alpha sported one of the strongest and most resilient wings in all of aviation. The unique wing was designed with internal multicellular construction, consisting of aluminum spars and ribs that formed a series of small, rigid compartments or cells -- much like those of a honeycomb. Image Size: 16.5 x 14 in. Overall Size: 20 x 15 in. Unframed. (B15610)
Steve Ferguson (American, B. 1946) "F-105D Thunderchief" Signed lower left. Original Mixed Media painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Republic of the Marshall Islands 32c F-105 Thunderchief stamp issued November 10, 1995. Entering service in the late 1950s, the F-105 Thunderchief was an important aircraft used by the U.S. in Vietnam. It flew hundreds of raids against North Vietnam from 1965 to 1970. Image Size: 16.5 x 14 in. Overall Size: 20 x 15 in. Unframed. (B13855)
Steve Ferguson (American, B. 1946) "JN-3 Jenny" Signed lower left. Original Mixed Media painting on Cold Press Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the U.S. 32c Jenny Classic Collection Series stamp issued July 19, 1997. The end of World War I made thousands of war-surplus airplanes available at bargain prices -- and there were just as many war-trained pilots who wanted to continue flying. At San Diego's Rockwell Field, in 1919, a permanent forest fire patrol was established, equipped with surplus Curtiss Jennies. During the 1920s, the reliable biplane was also a favorite of barnstormers. These daring pilots flew around the country giving stunt flying exhibitions at county fairs and carnivals. In 1924 the Curtiss Exhibition Company flew 100,000 miles -- much of it in Jennies -- conducting aerial photography, carrying passengers, making deliveries and instructing new pilots. Image Size: 16.5 x 13.75 in. Overall Size: 20.25 x 15 in. Unframed. (B15486)
Tom Lydon (American, B. 1944) "Peace Protecting Genius Sculpture" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting is the original painting which was published on the Fleetwood First Day of Issue Maximum Card for the U.S. 19c Official Mail stamp issued May 24, 1991. The year was 1791 and the United States was only a few years old when French engineer Pierre-Charles L'Enfant completed his layout plans for the capital city of the young nation. L'Enfant was a visionary with a strong bent for Baroque landscape architecture; even then he planned for a capital city based upon fifty states and 500,000,000 citizens. The central point of his elaborate plan was the U.S. Capitol Building. The building was designed so that it had a broad vista down a long expanse of park known as The Mall. Although many of L'Enfant's original designs were not incorporated into the Washington, D.C. of today, the city is among the most beautiful in the world and the U.S. Capitol is still its central point. The building is an emblem of democracy and a work of art in its own right. A fine example is the Apotheosis of Democracy, a sculpture on the east front of the House Pediment. This artwork was based upon a portion of the colossal sculpture and depicts Peace Protecting Genius. Peace stands before an olive tree, her right arm symbolically protecting Genius, who rests at her feet and holds the torch of Immortality. Carved from Georgia White marble, the sculpture was completed in 1916 by Paul Wayland Bartlett to adorn the great building of democracy. Image Size: 11.5 x 15.75 in. Overall Size: 15 x 20 in. Unframed. (B12978)
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