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Lot 287
A handwritten signed letter written by Enid Blyton, on headed note paper sent from Green Hedges in Buckinghamshire and dated October 15th 1941, the text reading:Dear PatriciaThank you for your nice little letter. I am so glad you like my books. I must write plenty more for you. I expect "The Family At Red Roofs" will be printed again soon. If you want to know for certain, ask the publishers. Send a card to:Lutterworth PressDoran CourtReigate RoadRedhillSurreyThey will tell you."Second Form At Malory Towers" has been out for some time. If you can't see a copy anywhere, the publishers may be able to send you one. They are - Methuen & Co36 Essex StreetStrandLondon W.C.2I'll print the Sunny Stories serial in a big book for you as soon as it is ended.Much love fromEnid Blyton
Lot 340
Robert "Bob" Carlos Clarke (British/Irish, 1950-2006),"Black Hat",Limited edition silver bromide photographic print on paper,Signed, titled and numbered 1 of 25 to applied label verso (copy of label applied to back board),Baudoin Lebon (Paris) gallery label verso,55.5cm x 66.5cm,Framed and glazed
![After Joan [Johannes] Blaeu (1596-1673), CESTRIA COMITATUS PALATINUS, an engraved map on laid paper depicting the County Pala](https://cdn.globalauctionplatform.com/469051b7-f215-4896-b8ab-afbd013a9de0/f7ba7197-8bdd-436f-98ae-afbf0134d3a4/468x382.jpg)
Lot 356
After Joan [Johannes] Blaeu (1596-1673), CESTRIA COMITATUS PALATINUS, an engraved map on laid paper depicting the County Palatine Of Cheshire, circa 1645, the title cartouche depicting gentlemen, the scale cartouche depicting livestock farmers, the top edge with twelve coats of arms and a blank shield, later hand coloured, visible plate mark, 39cm x 50.5cm, framed and glazed; with John Ogilby (1600-1676), THE CONTINUATION OF THE ROAD FROM LONDON TO HOLY HEAD, two road maps comprising Lichfield to Chester, 31cm x 43cm, and Chester to Holyhead, 35.5cm x 47cm, each later hand coloured, framed and glazed, with three framed and glazed prints of Chester and a print of Conway (6)
Lot 444
A Worcester porcelain coffee cup and saucer, circa 1760-1770, transfer printed in underglaze blue with the Plantation Print pattern, unmarked (foot rim chip to saucer), the saucer 11.5cm diameter, the cup 6cm high, with a Worcester porcelain tea bowl, transfer printed in in underglaze blue with the Mother and Child pattern circa 1775-1785, hatched crescent mark, 7.5cm diameter (3) CONDITION REPORT:The cup and tea bowl show minor surface wear, small firing pits and frits (particularly to the interior of the cup), and small nibbles to the rims, but no obvious chips, cracks, repairs or restoration. The saucer shows a chip 5mm wide and small nibbles to the foot rim.
Lot 95
After Andy Warhol (American, 1928-1987). Group of two silkscreens based on Warhol's iconic 1970 "Flower" portfolio. One in blue, pink, red, orange, and yellow. The other in green, white, and blue.Green; height: 24 1/4 in x width: 24 in. Red; height: 27 in x width: 26 1/2in.Condition: The prints are in fair condition with no major creases, losses, or tears. The color is bold and bright. Both prints do not show a sign of restoration when inspected under UV light. The green-themed print is mounted on the board and has soiling, most noticeably to the dark blue flower as shown in the listing image. Scattered light creases throughout, possibly due to glue from the recto. To the upper right flower, there is a vertical light grey mark; please see the listing image. Wear along the margins. The red-themed print has a few scattered areas of creases, most noticeably by the orange flower. There is a light crease to the upper left margin, measuring 1 1/2 in. To the lower right corner, there is a minute tear. Along the margins, there is light wear. Along the verso, there are several scattered creases that are also visible from the recto; along the upper margin, there is skimming from an old tape.
Lot 51
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hanga woodblock print titled "Dainan Gate in Mukden," depicting the great south gate at Mukden (Shenyang) in Liaoning in China. Pencil signed along the lower right; titled along the lower left.Image; height: 9 1/2 in x width: 14 1/2 in. Matted; height: 15 in x width: 20 in. Margin; right: 1 in x left: 1/2 in x lower: 1/2 in x upper: 1 in.Condition: The print is in good condition overall with no visible rips, tears, or major creases. The paper is hinged along the upper corners with framer's tape. The paper is toned and browned along the extreme margins. Wear along the right margin. There is an acidic burn visible throughout the recto. There is a tear to the upper right corner along the framer's tape line. There is a minor crease to the lower right corner, which is only visible under careful scrutiny. There is a minute mark to the lower left quadrant. When inspected under UV light, there is no visible sign of restoration. There are two pinholes along the upper margin, which are original to the artistic practice. From the verso, the paper is toned and browned. There is a minute skimming to the lower right along the verso. The mat is toned, and there is water damage along the lower margin.
Lot 217
Patrick Demarchelier (French, 1943-2022). Silver gelatin print photograph on gold paper depicting the pop superstar Madonna. Signed along the verso along the lower left corner.Demarchelier began photographing friends and weddings after he was gifted an Eastman Kodak camera by his stepfather. He discovered fashion photography after following his girlfriend to New York City in 1975. He worked as a freelance photographer for Elle, Marie Claire, and 20 Ans Magazine. His intimate portraits of Princess Diana helped establish her popularity and accessible public image. He has shot for international campaigns for brands like Dior, Louis Vuitton, Celine, TAG Heuer, Chanel, Yves Saint Laurent, Moschino, Calvin Klein, Ralph Lauren, among many more.Sight; height: 18 1/2 in x width: 15 in. Framed; height: 26 in x width: 21 in.Condition: The print is in good overall condition. There is a light crease along the corner of the upper left corner. A light handling mark along the right, approximately three inches from the edge, towards the middle. The artwork is hinged with framer's tape along the upper left and right edge. Framed behind glass; some light wear to the frame.
Lot 52
Hiroshi Yoshida (Japanese, 1876-1950). Japanese shin-hanga woodblock print titled "Nikko kiri no hi (Misty day in Nikko)," depicting travelers visiting a shrine nestled amongst a misty forest. Pencil signed along the lower right; titled along the lower left.Image; height: 14 3/4 in x width: 9 1/2 in. Matted; height: 20 in x width: 15 in. Margins; right: 1/4 in x left: 1 in x lower: 1/2 in x upper: 1 in.Condition: The print is in good condition overall with no visible tears, major creases, or losses. The paper is hinged along the upper corners with framer's tape. The paper is toned and browned. There is acidic burn visible. Wear along the right and upper margins. There is a minor crease to the corners. To the sky there is a minute brown accretion. When inspected under UV light, there are white splotches throughout that indicates possible treatment. From the verso, there are pencil inscriptions that are possibly original to the artistic practice; there is a minute skimming to the lower right quadrant. The mat is toned.
Lot 55
Utagawa Kunisada (Japanese, 1786-1865). Diptych woodblock print depicting Mitsuuji (playing the flute) just before he tells the standing Fuji no Kata of his feelings for her. From a series illustrating scenes from the serialized novel "A Rustic Genji by a Fraudulent Murasaki (Nise Murasaki Inaka Genji)." Each sheet with the artist's Toshidama seal, the publisher's seal, the carver's seal, and the censor's seal.Sight; height: 20 in x width: 24 3/4 in. Framed; height: 22 in x width: 28 in.Condition: The sheets are toned and have browning; there is discoloration along the margins. Minute losses to margins. There are creases throughout, most noticeably along the margins; the right image has a 6 inches long crease ascending from the upper margin to the center of the right margin. Light skimming to the left of the figure in the left image. The left image has a vertical crease along the left margin, most likely due to bookbinding. Both images have two holes respectively to the right and left margin, as shown in the listing image, most likely due to bookbinding. When inspected under UV light, there is no visible sign of restoration; however, to the upper left corner of the left image, there is an area of possible water damage. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 213
Michael Spano (American, b. 1949). Silver gelatin print photograph on rough surface paper titled "Eastern Parkway, Brooklyn, 1981" depicting a street scene with two men facing each other, 1986. Signed along the lower right; editioned 81/193.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 22 1/4 in x width: 51 in. Framed; height: 29 in x width: 58 1/4 in.Condition: The photograph is in good condition with no visible tears, creases, or losses. When inspected under UV light, there is no visible sign of restoration. The emulsion appears to be smooth. Along the right and left margins, there is an area where the line appears clear, which appears to be original to the development process. There is undulation to the photograph visible along the upper margin.
Lot 212
Kurt Markus (American, 1947-2022). Silver gelatin print photograph depicting a young dapper man. Pencil signed along the lower right. Markus photographed portraits and filmed music videos for celebrities such as Tori Amos, Meryl Streep, John Mellencamp, Christy Turlington, and Mike Tyson.Sight; height: 17 3/4 in x width: 14 in. Framed; height: 24 1/2 in x width: 20 3/4 in.Condition: The item is in great condition with no visible tears, losses, or creases. The emulsion appears to be smooth. Framed under plexiglass; not inspected out of frame. No visible sign of restoration. Light wear to the frame.
Lot 102
Dieter Roth (Swiss, 1930-1998). Neo-dada intaglio print on paper titled "Calm Life," depicting a still life of two bouqets of flowers in front of a window, 1970. Faintly pencil signed and dated along the lower right; numbered 18/25 along the lower center.Unframed; height: 30 1/2 in x width: 36 in. Image; height: 19 in x width: 24 3/4 in.Condition: The item is in good condition with no major creases, losses, or tears. No visible sign of restoration under UV light. Light wear along the margins, most likely original to the artistic practice. Along the margins, there are light creases along the margins, which do not affect the center image. Along the upper left quadrant, there is a light blue mark. To the center of the right margin, there is a light grey mark. To the lower left corner, there is a light skimming. Along the verso, there is light soiling and a few light tears to the left margin, which do not affect the overall appearance. Along the upper margin of the verso, there is an old framer's tape.
Lot 73
Herbert Bayer (American/Austrian, 1900-1985). Framed screenprint on paper titled "Structure on Green" from the portfolio "Edition Domberger Stuttgart Portfolio," 1968. Pencil signed along the lower right and numbered 2/85.(Portfolio) height: 20 1/2 in x width: 10 1/8 in. (Prints) sight; height: 19 in x width: 18 1/2 in. Framed; height: 27 in x width: 26 1/2 in.Condition: The print are in excellent condition. There is no undulation to the sheet; there are no rips, tears, or restorations. The sheet is slightly toned, visible only when unframed. It is framed in each corner with a bracket and the print can easily be removed; it is matted. Framed under TruView UV resistant glass; some wear to the frames.
Lot 57
Tsuchiya Koitsu (Japanese, 1870-1949). Shin-hanga Japanese woodblock print titled "Suma Beach," 1938, depicting the beach on a moonlit night. Marked with the artist's seal in the plate along the lower left. With a Doi Teiichi seal and printer's seal to the left margin.Sight; Height: 11 1/4 in x width: 16 3/4 in. Framed; Height: 14 1/2 in x width: 20 in.Condition: The print is generally in good condition with no visible tears, losses, or major creases. All margins are visible under the frame; the paper is floating in the frame. The paper is toned; light browning. The color is bold and bright. Light creases and wear along the upper and right margins. To the upper right corner, there is possible water damage. Along the lower margin, there is paint mark, which appears to be original. Framed under plexiglass; not inspected out of frame. Light wear to the frame.
Lot 53
Group of two Japanese shin-hanga woodblock prints including:One print by Hiroshi Yoshida (Japanese, 1876-1950) titled "Hoten ichiba (Market in Mukden)," depicting a bustling market square with a large gate in the background. Pencil signed along the lower right.One print by Hasui Kawase (Japanese, 1883-1957) titled "Late Spring," depicting a geisha, one hand raised to her hair. Signed in plate along the upper right.Geisha; image; height: 14 1/2 in x width: 9 1/4 in. Matted; height: 20 in x width: 15 in. Margins; right: 1/4 in x left: 3/4 in x lower: 1/4 in x upper: 3/4 in. Market; image: 9 3/4 in x width: 14 3/4 in. Matted; height: 15 in x width: 20 in. Margins; right: 3/4 in x left: 1/2 in x lower: 1/2 in x upper: 3/4 in.Condition: The prints are in good condition overall with no major creases, tears, or losses. Both prints are hinged along the upper corners with the framer's tape. Both papers are toned, browned, and have an acidic burn. When inspected under UV light, both papers show white splotchy throughout, which means possible treatment. The geisha print has a few areas with possible water damage; there are three visible droplet marks to the left of the geisha; please see the listing photo. The margins are possibly trimmed. There are creases throughout- two major creases measuring 9 in and 7 in each. There is a minute crease to the lower right corner. To the right of the writs, there is a minute accretion adhered to the surface, possibly hair. There is white damage to the upper right quadrant. To the upper right margin, there is a pinhole, most likely original to the artistic practice. From the verso, there are creases more noticeable; there are pencil inscriptions. The market print has minor foxing that began to form from the upper margin. There is a tear to the upper left corner along the framer's tape line. There is wear along the upper and right margins. There is a dark mark to the lower margin, which does not affect the image. To the sky, there is a horizontal line mark; please see the listing photo. There is a minute mark to the lower left corner. From the verso, there is a framer's tape adhered to the lower right quadrant. There is light skimming to the center of the verso. Both mats are toned.
Lot 56
Paul Jacoulet (French, 1896-1960). Woodblock print titled "Le Tresor - Coree (The Treasure - Korea)," depicting a mother and child. Titled along the lower right; signed in plate along the lower right.Image; height:15 1/2 in x width: 12 in. Matted; height: 22 in x width: 17 1/2 in. Margins; right; 3/4 in x left: 1 1/2 in x lower: 1 1/4 in x left: 2 in.Condition: The print is in good condition overall with no major tears, creases, or losses. The print is taped along the upper corners with framer's tape. The paper is toned, browned, and has an acidic burn. The right margin is possibly trimmed. The upper, left, and lower margins have wear, visible in the lot listing. There is minor foxing to the lower right and upper left quadrants. There are minute blue paint marks to the lower left quadrant. There are several creases throughout. When inspected under UV light, there are white areas throughout the recto which indicates possible treatment. From the verso, the paper is toned and brown; it is stamped lower right quadrant. The mat is toned.
Lot 72
Herbert Bayer (American/Austrian, 1900-1985). Framed screenprint on paper titled "Spectral Gate" from the portfolio "Edition Domberger Stuttgart Portfolio," 1968. Pencil signed along the lower right and numbered 2/85.(Portfolio) height: 20 1/2 in x width: 10 1/8 in. (Prints) sight; height: 19 in x width: 18 1/2 in. Framed; height: 27 in x width: 26 1/2 in.Condition: The print are in excellent condition. There is no undulation to the sheet; there are no rips, tears, or restorations. The sheet is slightly toned, visible only when unframed. It is framed in each corner with a bracket and the print can easily be removed; it is matted. Framed under plexiglass; some wear to the frames.
Lot 58
Ryohei Tanaka (Japanese, b. 1933). Etching print on paper depicting a scene of a harbor lined with houses. Pencil signed and dated 1989 along the lower right; numbered 34/150 along the lower left.Sight; height: 9 in x width: 10 in. Framed; height: 15 in x width: 15 1/2 in.Condition: The item is in good condition with no visible tears, creases, or losses. The paper is lightly toned. When inspected under UV light, there is no visible sign of restoration. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 211
Paul Caponigro (American, b. 1932). Silver gelatin print photograph titled "Running White Deer, County Wicklow, Ireland," depicting a blurred herd of albino deer running through a darkened pine tree landscape, 1967. Pencil signed along the lower right.Sight; height: 7 1/4 in x width: 19 in. Framed; height: 17 in x width: 30 1/2 in.Condition: The photograph is in great condition with no visible tears, creases, or losses. The emulsion appears smooth. When inspected under UV light, there is no visible sign of restoration. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 64
Group of two modern Japanese woodblock prints including:Haku Maki (Japanese, 1924-2000). Cement mortar abstract woodblock print titled "Poem 71-38" depicting abstract shapes in black, red, yellow, and green. Artist seal along the bottom left. Pencil signed along the lower right; titled along the lower center; numbered 38/154 along the lower left.Ueno Nagoa (Japanese 20th c.) Woodblock print titled "Recollection of the Past" depicting layers of black, red, and white organic shapes against a blue ground, 1964. Signed and dated along the lower right; numbered 196/210 along the lower right.Recollection; image; height: 16 in x width: 12 1/4 in. Framed; height: 22 1/4 in x width: 18 1/4 in. Poem; image; 10 1/4 in x width: 17 in. Framed; height: 18 in x width: 23 3/4 in.Condition: Both items are in generally good condition with no visible tears, creases, or losses. Neither show a sign of restoration under UV light. The item with a blue background has toning and undulation along the margins; there is light foxing throughout. Although it is not inspected out of frame, it seems possibly that is has acidic burn, given that the margins of the mat is browned. The item with a white background has toning, browning, and foxing throughout. There is possible skimming to the center of the upper margin. Both items are framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 42
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "The Raft," executed in 1930, depicting a woman steering a raft through the water with a pole. Silver gelatin print. Hand signed along the backing to the lower right of the photograph.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 12 3/4 in x width: 10 in. Matted; height: 20 in x width: 16 in.Condition: The item is in generally good condition with no visible tears, creases, or losses. The photograph is affixed the mat. When inspected under UV light, there is no visible sign of restoration. The emulsion appears to be smooth. There are a few areas with light surface stretches, visible at the critical angle. Along the left margin, there is adhesive visible. Along the upper margin of the mat. there is discoloration and foxing. The verso of the photograph could not be inspected due to the nature of how the photograph is attached to the mat.
Lot 60
Hiroyuki Tajima (Japanese, 1911-1984). Woodblock print titled "Impression of Small Monument," depicting an abstract scene, 1966. Pencil signed and dated along the lower right; titled along the lower left; numbered 45/50 along the lower center.Unframed; height: 19 1/4 in x width: 12 1/2 in. Image; height: 12 in x width: 9 1/2 in.Condition: The item is in good condition with no visible losses or tears, or major creases. No visible sign of restoration under UV light. The color is bold and bright. The paper is very lightly toned. There are light creases to corners and along the margins; however, the creases do not affect the center image. Along the verso, there is a few scattered areas with light handling marks; there is ink transmitted from the recto; there is light soiling, which does not affect the recto.
Lot 65
Richard Anuszkiewicz (American, 1930-2020). Lithograph on paper titled "Yellow Reversed" depicting a geometric abstract composition, 1970. Pencil signed, dated, and numbered 96/100 along the lower right. Anuszkiewicz was a practitioner of Op-art and was a student of Joseph Albers.Sight; height: 17 in x width: 11 1/4 in. Framed; height: 24 1/4 in x width: 18 1/4 in.Condition: The print is in excellent condition with no visible tears, creases, or losses. No visible sign of restoration under UV light. Not inspected out of frame. There is a crack to the lower left corner in the glass. Light wear to the frame.
Lot 203
Currier and Ives, United States. Group of three lithographs including:Arthur Fitzwilliam Tait (American/British, 1819-1905). "American Forest Scene: Maple Sugaring," 1856.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 0170, page 22."Mr. Wm. H. Vanderbilt's Celebrated Road Team, Lysander and Leander," 1879.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 4630, page 469.Frances "Fanny" Flora Bond Palmer (American, 1812-1876). "Winter Morning," 1861.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 2: O-Z (Gale Research Company: Detroit, 1984). Number 7277, page 754.Provenance: Distinguished Corporate Collection, Ohio.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.(Sight) height ranges from 9 3/4 in to 22 in; width ranges from 12 3/4 in to 29 in. (Framed) height ranges from 15 in to 35 1/2 in; width ranges from 18 3/4 in to 42 1/4 in. Margins: Lower right; top: 1 1/2 in x bottom: 1 1/4 in x right: 1 in x left: 1 in. Lower left: top: 1 in x bottom: 3 1/4 in x right: 1 in x left: 1 in. Upper; top: 2 in x bottom: 3 in x right: 2 in x left: 2 in.Condition: The print captured lower right in the lot listing is in fair condition with no major creases, tears, or losses. The paper is mounted on the mat. There is toning, foxing, and soiling throughout the recto. There is browning along the extreme edges. There is acidic burn visible. All margins are possibly trimmed. There are two vertical lines that are possibly transmitted from the verso- although since the paper is mounted on the mat, it is not possible to examine the verso, it seems possible that there are brown patterned marks on the verso, and it is transmitted to the recto. To the lower right corner, there is a mark, possibly water damage. To the left margin, there is a pencil inscription. Along the upper margin, there are a few areas of tear. The print is framed under plexiglass. Wear to the frame. The print captured lower left is in good condition overall with no visible creases or major losses or tears. The paper is toned and hinged along the upper margin with framer’s tape. There is very light foxing to the upper margin. There is acidic burn. There are some areas of chipping along the right margin. To the left margin, there is a loss and a tear that measures ¾ inch. There is a minute crease to the upper left quadrant. To the center of the lower margin, there is a mark, possibly from the verso. When inspected under UV light, there is no visible sign of restoration. Throughout the verso, there is toning, foxing, soiling, and acidic burn; towards the lower margin, there is a mark that does not affect the recto. To the left margin, there is a tape. Throughout the verso, there are networks of white bleaching spots. Framed under plexiglass; light wear to the frame. The print captured upper in the listing is in good condition with no visible losses, tears, or major tears. There is a tear to the right margin, which measures ½ inch. The paper is toned; there is acidic burn. To the lower margin, there is a tear that measures ¼ inch. Along the upper margin, there are a few areas with white bleaching spots. Throughout the verso, the paper is toned; there are a few areas with handling marks and vertical marks that are possibly from the previous backing. To the lower left quadrant along the verso, there is pencil inscription; along the upper margin, there is old framer’s tape. The print is framed under museum glass; light wear to the frame.
Lot 54
Group of three Japanese woodblock prints including:Utagawa Hiroshige II (Japanese, 1826-1869) and Utagawa Kunisada (Japanese, 1786-1865). Print titled "Ume Yashiki" from the series "36 Views of the Pride of Edo" depicting figures smoking in a courtyard surrounded by flowering trees. Inscribed along the lower right margin.Toyohara "Yoshu" Chikanobu (Japanese, 1838-1912). Print from the series "Eastern Customs: Enumerated Blessings" depicting two women.Kunichika Toyohara (Japanese, 1835-1900). Print titled "I Don't Want You To Leave" from the series "32 Fashionable Physiognomies" depicting a young woman glancing behind her.Sight; height ranges from 13 1/2 in to 14 1/2 in; width ranges from 9 1/2 in to 10 in. Framed; height ranges from 20 1/2 in to 22 in; width ranges from 16 in to 17 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 96
Suzanne Caporael (American, b. 1949). Lithograph and stencil print titled "Arbitrary World" depicting a color-blocked abstract map of the world, 2007. Pencil signed and dated along the lower right; numbered 40/40 along the lower left.Height: 24 in x width: 48 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 93
Jim Dine (American, b. 1935). Lithograph on paper titled "Cincinnati II" depicting a black field with names in blue-white scrawled throughout, 1969. This print is based on the Name Painting (1968-69) in the collection of the National Gallery of Art in Washington, D.C. The names are of everyone with whom he had a relationship with in the first 28 years of his life.Height: 28 x width: 40 1/4 in.Condition: The item is in good condition with no visible tears, creases, or losses. Light wear along the margins, most likely original to the artistic practice. Light crease to the upper left corner. From the recto there is a pencil inscription to the lower right corner; there are light creases to the upper corners. Along the upper margin, there is a line of paint residue. There is skimming to the upper left quadrant. There are paint marks to the lower right quadrant. No visible sign of restoration when inspected under UV light.
Lot 66
Meyer Vaisman (Venezuelan, b. 1960). Silkscreen on paper artwork from the "Summer Suite," 1989, depicting caricatures against a red background. Pencil dated and inscribed A.P. (Artist Proof) along the lower right; numbered 61/95 along the lower left.Provenance: Distinguished Corporate Collection, Minnesota.Unframed; height: 49 in x width: 33 3/4 in. Height: 54 1/4 in x width: 39 in.Condition: The print is in excellent condition with no visible tears, creases, or losses. When inspected under UV light, there is no visible sign of restoration. All margins are visible and floating under the frame. There is minor undulation along the lower margin. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Lot 356
Group of three NASA first generation photographs and one print of the Apollo missions. One contemporary photograph of the Apollo 12 mission depicting astronaut Alan L. Bean on the surface of the Moon in 1969 with Pete Conrad seen in the reflection of the visor capturing the image; one contemporary photograph of the surface of the Moon from the crew of the Apollo 15 in 1971; one Apollo 17 Earthview taken from two 35mm film photographs and merged into a single print.(Astronaut) sight; height: 6 in x width; 6 1/4 in. Framed; height: 12 3/4 in x width: 12 3/4 in. (Moon) sight; height: 6 in x width: 6 1/4 in. Framed; height: 12 3/4 in x width: 12 3/4 in. (Earth) sight; height: 5 1/2 in x width: 3 1/2 in. Framed; height: 12 3/4 in x width: 10 3/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 207
Joseph Nash (English, 1809-1878). Hand colored lithograph on paper titled "Gallery, Hatfield," depicting a lively crowd in the gallery at Hatfield House in Hertfordshire, England. Signed and dated 1841 in the plate along the lower center.Provenance: Distinguished Corporate Collection, Minnesota.Sight; Height: 13 in x width: 17 1/2 in. Framed; Height: 26 in x width: 30 in.Condition: The print is in good condition with no visible tears, creases, or losses. The paper is toned and has light foxing throughout, particularly to the left margin. When inspected under UV light, there is no visible sign of restoration. Framed under plexiglass; not inspected out of frame. Wear to the frame.
Lot 75
Max Papart (French, 1911-1994). Lithograph titled "The Smile of Gilda," depicting an abstract geometric composition, 1970. Signed along the lower right; numbered 84/120 along the lower left.Max Papart was a French painter and printmaker who is best known for his depictions of circus performers, birds, figures and still lives in a colorful Cubist style. His work captures the joy of life through a sense of movement, cheerful hues, and lighthearted subject matter.Sight; height: 24 in x width: 18 3/4 in. Framed; height: 32 1/2 in x width: 26 in.Condition: The print is in great condition in general with no visible tears, losses, or creases. When inspected under UV light, there is no visible sign of restoration. The paper appears to be slightly toned. The color is bold and bright. Along the margins, there is undulation. Framed under plexiglass. Not inspected out of frame. Very light wear to the frame.
Lot 44
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph depicting a woman carrying water along a rocky bank, with tree branches extending up in the foreground. Silver gelatin print. Hand signed along the backing.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 14 3/8 in x width: 10 in. Matted; height: 20 in x width: 16 in.Condition: The item is in generally good condition with no visible tears, creases, or losses. The photograph is affixed to the mat; there is some adhesive visible along the margins. The photograph is slightly toned and the margins are discolored as shown in the listing image. To the upper left quadrant, there is a network of minute light brown accretions. Throughout, there are a few scattered areas of light surface stretches, visible at a critical angle, most noticeably to the center of the left margin. Light handling marks to the board; there are a few creases along the edges of the board, particularly to the upper margin. Along the back of the board, there is light brown accretion along the left margin, which does not affect the photograph. The verso of the photograph could not be inspected due to the nature of how the item is attached to the board. When inspected under UV light, there is no visible sign of restoration.
Lot 205
James J. McAuliffe (American, 1848-1921) for Currier and Ives, United States. Color lithograph titled "The Trotting Gelding Billy D. with Running Mate," and subtitled "Owned by J.B. Barnaby. Driven by John Murphy. Beacon Park, Boston, Oct. 22, 1881. Record 2:14 1/4. Driven by Thomas S. Foster." This print depicts a team of racing horses as they fly past an audience, 1881. Signed in plate along the lower right.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 2: O-Z (Gale Research Company: Detroit, 1984). Number 6654, page 678.Provenance: Distinguished Corporate Collection, Ohio.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.Sight; height: 22 1/4 in x width: 33 3/4 in. Framed; height: 28 1/4 in x width: 36 1/2 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Lot 43
Chin San Long (Lang Jingshan) (Chinese, 1892-1995). Photograph titled "Spring Fantasia," executed in 1945, depicting a boat floating through mist behind the dramatic silhouette of branches. Silver gelatin print. Signed in ink along the lower right.Chin San Long is known for his innovative art photography, particularly his signature "composite photography" technique. He was the first Chinese photographer to take artistic nude photos, and also specialized in nature photography.Provenance: From the collection of William Atkins.William Atkins (1919-2001) was a pilot for Northwest Airlines, who spent his career flying to Asia. He was an avid photographer who was involved in the Photographic Society of America, through which he developed relationships with photography clubs worldwide. It was through the photographic society in Taiwan that he met Chin San Long, with whom he became close friends. In the 1970s, he arranged an exhibit for Chin San Long's photography in Minnesota.Unframed; height: 13 1/2 in x width: 10 1/8 in. Matted; height: 20 in x width: 16 in.Condition: The item is in generally good condition with no visible tears, creases, or losses. The photograph is affixed the mat. The emulsion appears to be smooth. To the lower right quadrant, there are two minute dents to the surface. No visible sign of restoration when inspected under UV light. Scattered areas with light brown accretions to the mat, as shown in the listing image. The verso of the photograph could not be inspected due to the nature of how the sheet is affixed to the mat.
Lot 198
Football memorabilia, selection inc. 23 programmes, FA Cup Finals 1953 & 1958, Exeter v QPR 56/7, Chelsea v Blackpool 54/5, Portsmouth v Newcastle 56/7, at Brighton Army v RAF 54/5, Brighton v Aston Villa FA Cup 54/5, Watford v Swindon 56/7 (x3) etc, some with signatures, also 9 Manchester City Fanzines, 1980's/90's inc. King of the Kippax, Blue Print, Electric Blue etc, books 'Boys of 66' by Martin Tyler 1981 and 'The Best of Charles Buchan's Football Monthly' 2006 (very mixed condition, poor/vg)
Lot 482
*Charles Johnson Payne, 'Snaffles' (British, 1884-1967)Great banks there was below in the fields; The sparrow-catchin sort each signed in ink and bearing further signatures in the platelithographs in colour, embellished with further ink illustrations to mounts59 x 70cm; 49 x 43cm;together with two further racing prints after Cecil Aldin; each 40 x 53cm; a racing print after Lionel Edwards, The Cheshire Hunt; and five limited edition lithographs of trout after Tim Havers, each signed in pencil (10)
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