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Click here to subscribeWWII RAF Signal Manual, for VHF Radio Equipment, Normandy to the Baltic book by Field Marshall Montgomery and banquet programme for City Livery Club 1935, Ronald Wong framed RAF print Tornado and Lancasters ltd edition 975/1000 (approximately 75cm x 54cm) Eric H Day framed watercolour "The Spitfire's" (approximately 69cm x 55cm).
P. Masin, Oil on board copy of ‘Buying Flowers’ by Victor Gabriel Gilbert, interior and clothing of figures amended but overall composition of the work is the same (potentially an overpainted print). Signed ‘P. Masin’ in pen to lower right, in gilt frame. Viewing advised. 29cm x 39.5cm.
Clarke Hutton (British, 1898-1985), ‘Mother and Child’ original printer’s proof (c. 1950’s). Black and white unframed print of a mother and child. Predominantly working as an illustrator, Hutton became one of the most eminent and influential book illustrators of his time. Hutton also exhibited paintings at the Royal Academy and The British Museum, the Tate Gallery, the Victoria & Albert Museum and National Gallery of Canada are among public collections which hold examples of his work. 27cm x 35cm.
Judy Massingham (British, 1927-1977), ‘Winter Morning’, colour woodcut print on paper, numbered, titled & signed in pencil. Edition 42/65, framed and glazed. 'Mrs E. J Massingham Studio 7, Oak Hill Way, Hampstead, NW3 7LR' Studio address label affixed to reverse. Judy Massingham’s work is also held in the Government Art Collection. 31.5cm x 32.5cm.
Donald Hamilton Fraser RA (British, 1929-2009), Seascape, limited edition screen-print. Signed and numbered in pencil, limited edition 151/175. Fraser was famed for his abstract landscape paintings; this work was exhibited at the Royal Academy Summer Exhibition 2009 in the Central Hall. Framed and glazed. 57.5cm x 43cm. (Frame measures 79.5cm x 66cm.)
Gerald Coulson framed print unidentified G & W locomotive pulling coaches, approx. frame size: W80cm x H55cm, generally good plus (small paper label residue - top R/H corner), plus South Yorkshire Railway perspex framed plan of Barnsley Stations by Marcus Keane, approx. frame size: W66cm x H55cm. Qty 2
Stephen Doig (British, b. 1964), "Born Champions" limited edition print. Signed by the artist Stephen Doig and Olympic gold medalists Sir Steve Redgrave & Matthew Pinsent. Stephen Doig is a celebrated artist specialising in drawing great sporting moments. This piece is numbered 28/850 of a limited edition print. COA by Hamilton Bland of Sporting Memorabilia Warwick.
Sam Francis (American, 1923-1994). Monotype on handmade paper titled "Chariot," 1985. This print depicts an abstract composition of amorphous forms in various colors such as red, blue, yellow, black, and green. Signed in pencil along the lower right. Original artist pencil inventory number on the lower edge of the verso "GTW-VF-VB. 03-#2-1985." With detached gallery labels.Provenance: Pamela Auchincloss Gallery, Santa Barbara, California; Flanders, Minneapolis, Minnesota; Private Minnesota Collection.Lot Essay:Sam Francis came to be an artist under unlikely circumstances. After serving the Air Force during World War II, Francis was injured during flight test maneuvers and subsequently hospitalized. It was while he was recovering that he first began to paint. Francis went on to graduate from the University of California, Berkeley in 1950 with a degree in art and began his European travels. His first stop was Paris, where he studied Monet’s “Water Lilies†and developed a relationship with the Matisse family and artists such as Al Held, Joan Mitchell, and Jean-Paul Riopelle. He went on to develop and maintain studios in Bern, Paris, Tokyo, Mexico City, New York and Northern and Southern California.Sam Francis was considered a revolutionary master of color, space, and light. His works call to various art movements - New York Abstract Expressionism, Impressionism, Art Informel, and color field painting. They are characterized by bright, vibrant splashes of color against a luminous white background. Francis took great interest in the creative process, but his understanding of the relationship between color and light set him apart from contemporaries such as Jackson Pollock and solidified him as a key player in contemporary art history.Height: 30 in x width: 25 1/2 inCondition: The sheet is in excellent condition with no tears, rips, losses, or restorations. The colors are bold and bright. Along the verso there are two areas of framer's tape along the top left and right edge. There are two rectangular areas of skimming to the sheet along the upper left and right corners of the verso. Each measure 1 inch x 1.5 inches. Purple and red spots along the verso original to the artistic process. It is possible that there is very light wear along the deckled edges. There are natural areas of unevenness to the paper due to the handmade nature of the material. Not framed.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "That’s as Fair as I Know How to Make It." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print.Unframed; height: 17 in x width: 14 1/2 in. Framed; height: 21 in x width: 18 3/4 in.Condition: There are no visible tears, losses, or restorations when inspected under UV light. There is some undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
Albrecht Durer (German, 1471-1528). Woodcut on laid paper titled "Saint John Before God and the Elders" from "The Apocalypse." The print depicts St. John confronted by a heavenly host above a landscape with castles. Monogrammed in plate along the lower center.Literature: Bartsch 63, Hollstein 166.Sheet; height: 15 1/2 in x width: 11 1/4 in. Mat; height: 20 in x width: 16 in.Condition: There are no visible rips, creases, losses, or restorations. The sheet is toned. There are brown stains throughout the recto and verso; visible in the lot listing. A few minute spots of foxing. The artwork is affixed to a matboard with two pieces of clear tape along the upper right and left corners of the verso. The artwork is housed between two matboard; not framed.
Pat Steir (American, b. 1940). Aquatint on Magnani Pescia Satinato bright white paper titled "Beautiful" depicting one of the artist's signature waterfall forms, 2008. Pencil signed and dated along the lower right. From an edition of 120; inscribed "ed. 120" along the lower left. Printed by Carol Weaver and Johee Kim and editioned by Carol Weaver and Felix Harlan. Published by the Madison Print Club. With a printing information sheet signed by Carol Weaver.Image; height: 17 3/4 in x width: 7 3/4 in. Framed; height: 31 in x width: 23 3/4 in.Condition: The colors are bold and deep. The impression is clear. There are no visible rips, losses, stains, or restorations. Framed under glass; light wear to the frame; not inspected out of frame.
Howard Hodgkin (English, 1932-2017). Pair of aquatints titled "Bed" and "Breakfast" with hand coloring in orange gouache on Arches mould made paper depicting fields of orange color. Each initialed in pencil and numbered 25/50 along the lower center. Printed and published by Petersburg Press, London.Reference: Heenk 45-46.(Each) Sight; height: 8 in x width: 12 in. Framed; height: 17 3/4 in x width: 22 in.Condition: There are no visible tears, losses, or restorations visible to either print. Each are floated in the frame. There is a light undulation to the lower print pictured; slightly more undulation to the upper print pictured. The upper print is framed under plexiglass; the lower print is framed under glass. Light wear to both frames; both not inspected out of frame.
LeRoy Neiman (American, 1921-2012). Lithograph on paper print titled "North Seas Sailing" depicting an energetic ocean scene with figures sailing on a yellow boat, 1981. Pencil signed along the lower right; editioned 116/300 along the lower left.Sight; height: 21 1/2 in x width: 29 in. Framed; height: 32 3/4 in x width: 39 3/4 in.Condition: The piece shows no visible tears, creases, or losses. No visible sign of restoration under UV light. The color is bold and bright. Light undulation to the sheet. Framed under plexiglass; not inspected out of frame; very light wear to the frame. The verso was not inspected.
Carol Summers (American, 1925-2016). Woodcut print tiled "Vasudeva Carries the Infant Krishna Across the Yamuna River, Further Upstream" depicting an abstract composition in blue, white, and green, 1996. From an edition of 75. Pencil signed along right margin. Summer's works are known for their soft, painterly quality with bleeding edges and jewel toned prints. He is additionally known for having trained with Louis Schanker and his works are held in the collections of the Whitney, the Victoria & Albert Museum, the Metropolitan Museum of Art, and MoMA.Sight; height: 35 3/4 in x 35 1/2 in. Framed; height: 45 1/2 in x width: 45 in.Condition: The colors are bold and bright. There are no visible rips, losses, or restorations. There are a few minute spots of foxing throughout. The artwork is floated in frame. Framed under plexiglass; some accretions and scuffs to the plexi that do not affect the artwork. Light wear to the frame; not inspected out of frame.
Paulosie Sivuak (Inuit, 1930-1987). Serigraph and stencil on paper titled "Hawk with Young" depicting a mature hawk with several hatchlings in a nest, 1986. Printed by Eliassie Aupaluk, Tania Qumaluk, and Maggie Ittukallak. Pencil numbered 20/50 along the lower left; syllabics along the lower center; dated along the lower right.Sight; height: 16 1/2 x width: 11 3/4 in. Framed; height: 21 1/2 x width: 16 in.Condition: The print appears to be in good condition with no major rips, creases, losses, or restorations. Light wear along the extreme edges; there is a minute loss to the lower right corner. The print is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
Kavavaow Mannomee "Qavavau Manumie" (Inuit, b. 1958). Lithograph and stencil on paper titled "Blue Bird" depicting a bird in flight, 1993. Pencil inscribed in syllabics and titled along the lower left; inscribed "lithograph and stencil," numbered 31/50, and inscribed "Dorset 1993" along the lower center; signed in English and syllabics along the lower right.Sight; height: 29 3/4 x width: 22 1/4 in. Framed; height: 36 1/4 x width: 29 in.Condition: The print appears to be in good condition with no visible creases, rips, losses, or restorations. Possible light wear along the deckled edges. The print is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "Montana's Killing Me." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Signed along the top edge of the print. From a suite of five prints.Unframed; height: 17 in x width: 14 1/2 in. Framed; height: 21 in x width: 18 1/2 in.Condition: The item is in great condition with no visible tears, creases, or losses. The paper is floating on the frame; all four margins are visible. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Malcolm Haynie Myers (American, 1917-2002). Intaglio print titled "The Journey" depicting a knight on a horse, 1956. Pencil signed and dated along the lower right; numbered 20/30 along the lower center; titled along the lower left.Sight; height: 20 in x width: 24 1/2 in. Framed; height: 29 in x width: 33 3/4 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. Due to the original color of the sheet, it is difficult to discern whether the paper is toned or not. Along the margins, there are a few scattered light brown marks; please see the listing image. Along the lower margin, there is soiling. The surface appears to be stable. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Kenojuak Ashevak (Inuit, 1927-2013). Lithograph on paper titled "Attentive Birds" depicting a flock of seabirds looking to the right, 1992. Syllabics in plate along the lower left; pencil titled along the lower left; inscribed "lithograph," numbered 46/50, and inscribed "Dorset 1992" along the lower center; signed in English and syllabics along the lower right.Sight; height: 20 in x width: 25 3/4 in. Framed; height: 24 1/2 x width: 30 1/4 in.Condition: The colors are bold and bright. There are no visible crease, rips, losses, or restorations. Possible light wear along the deckled edges. The print is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
Group of five 18th century prints including:One French print depicting a revelrous atmosphere titled "Vue, Representant la Punition des Cocus volontures comme cel a se pratique ordinairment a Venize."One British print depicting the Hampton Court Palace titled, "A View of the Royal Palace of Hampton Court."One French print depicting the Sons of Liberty tearing down a statue of King Georg III at Bowling Green titled "La Destruction de la Statue Royale a Nouvelle Yorck."One French print depicting the St. Lawrence River in Quebec, Canada titled "Vue de la Basse Ville a Quebeck."One French print depicting the port in Le Havre, France titled "Le Port du Havre."Sight; height ranges from 9 3/4 in to 11 3/4 in; width ranges from 15 1/2 in to 16 in. Framed; height ranges from 13 1/2 in to 15 3/4 in; width ranges from 19 1/4 in to 19 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.
Howard Hodgkin (British, 1932-2017). Aquatint on Velin Arches mould-made paper titled "Interior (Day)" depicting three shapes in violet, white, and green on a black background with deep violet spots, 1973-1974. Published by Petersburg Press. Proofed and printed by Maurice Payne at the Petersburg Studios, London. Pencil signed, dated, and numbered 51/75 along the lower right.Height: 23 1/2 in x width: 17 1/2 in.Condition: The colors are bold and deep. There are no tears, losses, or restorations. The sheet is slightly toned, only noticeable along the verso. There is a light crease along the upper left quadrant, only noticeable under a raking light or at a critical angle. There are five pieces of framer's tape affixed to the verso, corresponding to pieces of framer's tape along an accompanying mat (not photographed). The print is not affixed to the mat.
Paulosie Sivuak (Inuit, 1930-1987). Serigraph and stencil on paper titled "Two Otters Listening for Fish" depicting a pair of otters on a riverbank, 1987. Printed by Peter Qaritaiyuk. Pencil numbered 41/50 along the lower left; syllabics along the lower center; dated along the lower right. Inscribed along the verso with artist, title, date, and printer in pen and along a piece of paper affixed to the backing.Sight; height: 15 1/2 x width: 17 in. Framed; height: 20 3/4 in x width: 22 in.Condition: The print appears to be in good condition with no major rips, losses, or restorations. Light undulation to the sheet throughout. Light wear along the extreme edges. The print is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
Alexander Calder (American, 1898-1976). Color lithograph depicting circles and spirals in bright and vibrant colors, 1970. Red and blue, yellow, and black spirals dominate the right half of the print with irregular forms in orange, red, blue, and gray move their way from the left to the right. Pencil signed along the lower right; numbered 37/150 along the lower left. Included in this lot is a photograph of the artist at work.Sight; height: 26 in x width: 37 1/2 in. Framed; height: 37 1/2 in x width: 49 in.Condition: The colors are bold and bright. There are no visible rips, losses, or restorations. The sheet is toned and there is a light undulation to the sheet. There is light wear along the deckled edges. The work is hinged to the backing along three spots along the upper edge of the verso: one along the top right corner, one along the top left corner, and one along the top center. The artwork is floated in the frame and hinged to a non-acidic mat. Light wear to the frame; framed under glass, there are some chips and wear along the edges of the glass.
Nassos Daphnis (Greek, 1914-2010). Glossy silkscreen print depicting circular forms in bright yellow and white. Signed along the lower right. Daphnis was a master of geometric abstraction and an early work in the field of hard-edge painting.Sight; height: 25 in x width: 24 3/4 in. Framed; height: 30 1/4 x width: 30 1/4 in.Condition: There are no visible rips, losses, or restorations. Due to the nature of the glossy paper, there are several areas with impressed lines or marks, visible under a raking light/critical angle. Several creases throughout. Framed under an acidic mat. Light wear to the frame; framed under glass; not inspected out frame.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "Butterfly Mornings, Wildflower Afternoons." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print.Unframed; height: 17 1/4 in x width: 14 in. Framed; height: 21 1/4 in x width: 18 3/4 in.Condition: The item is in good condition with no visible tears, losses, or creases. Four margins are visible. The paper is floating on the matte. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Robert Zakanitch (American, b. 1935). Lithograph, screenprint, and pochoir on paper print titled "Hearts of Swan (Black)" depicting two interlocked white swans beneath a floral swag. Surrounded by a border of foliate motifs, 1980-1981. Pencil signed and dated along the lower right; numbered 21/75 along the lower left.Height: 27 1/4 in x width: 22 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.
Robert Conover (American, 1920-1998). Woodcut on paper titled "Cityscape" depicting an abstract scene in black, red, and blue, 1957. Pencil signed and dated along the lower right; numbered 176/200 along the lower center; titled along the lower left.Sight; height: 14 in x width: 17 1/2 in. Matted; height: 20 3/4 in x width: 23 3/4 in.Condition: There are no visible major tears, losses, or creases. There is foxing throughout. There are several faint creases in the lower left quadrant; one measuring approximately two inches. There is a faint, dark mark in the corner of the upper left margin. There are several scuffs along the lower margin of the mat; two along the right quadrant and one along the left quadrant. There is a sticker along the recto, as seen in listing image. The print is framed under a non-acidic mat and sealed with plastic. Not inspected out of the plastic seal.
Takashi Murakami (Japanese, b. 1962). Offset print with silver and high gloss varnishing titled "You Have All Sorts of Ups and Downs in Life. Right, Kaikai and Kiki?!" depicting several anime faces, including the artist, 2018. Further depicts flower heads along with hiragana along the ears of the two large faces that read, "KaiKai and Kiki," 2018. Ink signed along the lower right; numbered 139/300 along the lower right. Includes original Kaikai Kiki Gallery Box.Provenance: Pinto Gallery, Los Angeles.Sight; height: 28 in x width: 28 in. Framed; height: 32 in x width: 32 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.
Group of 12 etchings, watercolors, and drawings including several works by Stefano Della Bella. This groups includes:"Mongisgneur le Marquis a Chevel" depicting an equestrian portrait from "Methode et Invention Nouvelle de Dresser les Chevaux," 1737. Hand colored etching.Stefano Della Bella (Italian, 1610-1664). Etching titled "Two Cavaliers Dueling with Pistols on Horseback" from the series "Divers exercices de cavalerie," ca. 1645-46. Published by Israel Henriet (French, ca. 1590-1661).Silkscreen reproduction print of a French late 12th century painting in the Pierpont Morgan Library. Titled "Christ Appearing to Mary Magdalene (Noli Me Tangere)."After Stefano Della Bella (Italian, 1610-1664). Etching depicting plate 18 from "Various animals (Diversi animali)" depicting a camel viewed from behind with a pyramid.Watercolor on paper painting depicting the interior of a basilica or church.Stefano Della Bella (Italian, 1610-1664). Etching titled "The Colosseum" depicting two herds of animals being directed towards the Roman amphitheater from "Paysages et ruines de Rome," ca. 1646. Published by Francois Langlois (French, 1588-1647).Two watercolor on paper paintings depicting Italian landscapes.Drawing and watercolor painting depicting a group of individuals in a courtyard dancing.Stefano Della Bella (Italian, 1610-1664). Etching titled "Place Royale," depicting an equestrian statue in front of a royal palace, 1642.Pierre-Auguste Renoir (French, 1841-1919). Etching depicting a reclining nude woman.Graphite on paper portrait sketch depicting a well-dressed gentleman.(Sight) height ranges from: 3 in to 16 in; width ranges from: 2 1/2 in to 20 3/4 in. (Framed) height ranges from: 8 in to 24 3/4 in; width ranges from: 7 1/4 in to 28 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.
Krishna Reddy (Indian, 1925-2018). Intaglio print titled "Violence and Sorrow" depicting an abstract composition, 1995. Pencil signed along the lower right; titled along the lower center; inscribed "Imp [impression] by the Artist" and numbered XIII/XXV (13/25) along the lower left.Sight; height: 14 in x width: 19 in. Framed; height: 27 in x width: 31 1/2 in.Condition: The colors are bold and deep. There are no visible rips, tears, losses, or restorations. There is a light undulation to the sheet. Framed behind a non-acidic mat. Framed under glass; light wear to the frame; not inspected out of frame.
Walter Rogalski (American 1923-1996). Engraving on paper titled "Locust" depicting the titular creature, 1954. Pencil signed along the lower right. Published by the Print Club of Cleveland Ohio, number 32.Height: 9 in x width: 12 3/4 in.Condition: There are no visible tears, losses, or creases. No signs of restoration under UV light. There is very minute foxing along the margins, particularly along the lower right quadrant. Along the verso there is minute foxing throughout. There is a "The Print Club of Cleveland" insignia along the lower left quadrant.
David Rathman (American, b. 1958). Suite of seven color sugar-lift etchings with chine colle, 1990. Each pencil signed, numbered 1/17, and dated along the lower margin. Published by Vermillion Edition Limited, Minneapolis.Each, sight; height: 11 3/4 in x width: 9 1/2 in. Framed; height: 15 in x width: 12 in.Condition: The colors to all prints are bold and bright. There are no visible rips, major creases, losses, or restorations. To the yellow print there is a minute accretion along the upper left corner. To the orange print there are a few scattered spots of faint foxing along the upper edge. All prints are floated in frame; there is a slight undulation where the prints are hinged. Light wear to all frames; all framed under plexiglass. Not inspected out of frame.
Carol Summers (American, 1925-2016). Hand-embellished silkscreen print titled "Shiva's Throne" with applied metal leaf along the upper half of the work. Signed, titled, and numbered 19/95 along the left margin.Sight; height: 28 3/4 x width: 19 1/4 in. Framed; height: 41 1/4 x width: 30 1/4 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.
Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Mrs. Cleveland II," depicting a portrait of Mrs. Cleveland, President Grover Cleveland's wife, 1899. The etching was done after an oil painting of the same name painted by Zorn. A 6th state printing. Pencil signed along the lower right corner of the print. Titled along the lower left corner of the print and dated in the lower left corner of the sheet.Reference:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 226, plate A.146.Loys Delteil, "Anders Zorn" (Le Peintre-Graveur Illustre, Paris, 1909) plate D.144.Axel L. Romdahl, "Anders Zorn: Som Etsare" (Kulturhistoriska Förlaget, Stockholm, 1928) page 48, plate D.144, plate A.146.Edited Birgitta Sandstrom, "Zorn: I Svart Och Vitt," (Zornmuseet: Mora, Sweden, 2002), page 195, plate A.146."Zorn in America: A Swedish Impressionist of the Gilded Age" (Swedish-American Historical Society, Chicago, 2009), page 142.Image; height: 9 3/4 in x width: 6 1/4 in. Sheet; height: 12 3/4 in x width: 9 3/4 in.Condition:There are no visible rips, losses, or restorations The sheet is unevenly toned. Light wear to the deckled edges. There are two remnants of painter's tape affixed along the upper edge of the verso. The artwork is not framed.
Ellsworth Kelly (American, 1923-2015). Lithograph on Rives/BFK paper titled "Grapefruit (Pampelmousse)" depicting a grapefruit on a stem from the "Suite of Plant Lithographs," 1965-66. Pencil signed and numbered 26/75 along the lower right. This work is executed as a clean contour drawing with no shading, characteristic of his depictions of plants. The volume of the juicy grapefruit and the graceful drape of the leaves is indicated by the precise placement and quality of lines.Reference: Axsom 33Provenance: Dayton's Gallery 12, Minneapolis, MN; The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Unframed; height: 35 in x width: 24 in. Framed; height: 37 1/2 in x width: 26 3/4 in.Condition: The print is in excellent condition. There is a full sheet and it is not adhered to the backing with no signs of previous framing adhesives. There is a pencil inscription along the verso, "#3 Tangerine." There is some slight undulation to the sheet along the right edge. There is a very light handling mark in the white space between the bottom of the right leaf and fruit, only visible under critical light and extreme angles. There is two small handling marks along the center of the bottom edge. Handling mark along the upper edge. The plexi-glass frame has some wear and scuffs.
Sam Gilliam (American, 1933-2022). Lithograph and etching in colors on handmade paper titled "Lattice III" depicting a bloom of bright colors with an overlay of crisscrossing lines in dark blue, 1982. Pencil signed, dated, and titled along the lower edge.Lot Essay:Sam Gilliam was one of America's foremost Black artists and a leader in the color field and lyrical abstraction movements. He was influenced by German Expressionists such as Emil Nolde, Paul Klee, and Nathan Oliveira. He was additionally influenced by Vladimir Tatlin, Frank Stella, Hans Hofmann, Georges Braque, Pablo Picasso, and aul Cezanne. An artist from an early age, he was always interested in art and eventually studied fine arts at the University of Louisville, admitted as the second class of black undergraduate students to the school.Around 1965, he became the first artist to introduce the idea of an unsupported canvas, draping the paintings from ceilings, walls, and floors. These works were immensely popular and led to exhibitions and commissions worldwide including representing the United States at the 36th Venice Biennale. He moved away from this in later years to focus on jazz-inspired works like his Black Paintings, so-named because they are painted in shades of black. His works shifted once more in the 1980s to resemble the African patchwork quilts of his childhood. Though he was largely overlooked throughout the late 1980s and 1990s, his career saw a resurgence following a retrospective at the Corcoran Gallery in 2005.From then until his death in 2022, his works came into the collections of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art among others. He also had successful exhibitions including a second show at the Venice Biennale (2017), a large-scale draped painting titled "Yves Klein Blue" in Giardini's central pavilion for the show "Viva Arte Viva," and his first European retrospective in 2018 hosted by the Kunstmuseum Basel.His honors and awards were plentiful including eight honorary doctorates, several National Endowment for the Arts grants, the Longview Foundation Award, and a Guggenheim Fellowship. In 2015 he was awarded the Medal of Art by the U.S. State Department for his longtime contributions to art in embassies and other diplomatic facilities as well as his cultural diplomacy, which showcased his works in over 20 countries during his career. From 1962 until the 1980s, Gilliam was married to Dorothy Butler, the first African-American female columnist at The Washington Post. They had three daughters together. In 2018, after a 35-year partnership, he married Annie Gawlak, owner of the former G Fine Art gallery in Washington, D.C. On June 25, 2022, Gilliam died in his home at the age of 88 after a long, varied, and ultimately successful career creating the art that he loved.Sight; height: 32 x width: 44 1/4 in. Framed; height: 39 1/2 x width: 50 1/4 in.Condition: The artwork is in good overall condition. There are no areas of restoration visible under UV light. The colors are bold and bright. Due to the nature of the paper, it is difficult to determine whether or not there are minor losses along the edge. The print is hinged with framer's tape. There is wear to the frame.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "I Forgot It Was Sunday." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print. From a suite of five prints.Unframed; height: 17 in x width: 14 3/4 in. Framed; height: 21 1/4 in x width: 18 3/4 in.Condition: There are no visible tears, losses, or restorations when inspected under UV light. There is some undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
Paulosie Sivuak (Inuit, 1930-1987). Serigraph and stencil on paper titled "Otter Fishing" depicting an otter chasing after a fish, 1985-86 Printed by Eliassie Aupaluk, Tania Qumuluk, and Mary Qumaluk. Pencil numbered 35/50 along the lower left; syllabics along the lower center; dated 1985 along the lower right. Inscribed along the verso with artist, title, date, and printers.Sight; height: 13 1/2 x width: 17 1/4 in. Framed; height: 18 1/2 x width: 21 3/4 in.Condition: The print appears to be in good condition with no major rips, creases, losses, or restorations. There is a minute tear along the lower left margin, possibly original to the printing/cutting process. Possible light wear to the deckled edges. The print is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
Esther Brock Bird (American, 1879-1963). Lithograph on paper titled "Diamond Head Waikiki" depicting a rainswept Hawaiian landscape, 1938. From an edition of 70. Pencil signed and dated along the lower right; titled along the lower center; inscribed "70/Prints" along the lower left.Sight; height: 10 1/2 x width: 13 1/2 in. Framed; height: 20 in x width: 21 3/4 in.Condition: There are no visible rips, losses, or restorations. There is a very light stain along the lower center edge. Minute spots of foxing throughout. There is a small blue pen mark along the upper right quadrant. The print is laid down on an illustration board. Light wear to the frame; framed under glass.
Misch Kohn (American, 1916-2003). Intaglio print depicting an abstract form in black and white, 1962. Pencil signed and dated along the lower right; numbered 67100 along the lower left.Sight; height: 15 3/4 in x 10 1/2 in. Framed; height: 28 1/4 in x width: 22 3/4.Condition: There are no visible tears, creases, or losses. There is a minute spot of foxing in the lower left quadrant. There is a minute crease across the corner of the margin of the lower left quadrant. There are faint spots of discoloration along the margin of the lower right quadrant. There is a faint discolored line along the margin of the top right quadrant, measuring approximately an inch. Framed under glass. Wear and losses to the frame. Not examined out of frame.
Tomas B. Lasansky (American, b. 1957). Intaglio print titled "Daniel" depicting a young child in Hulk pajamas seated on a stool surrounded by stenciled letters. Pencil signed along the lower right; titled and numbered 10/75 along the lower left.Provenance: Distinguished Corporate Collection, Minnesota.Sight; height: 41 1/4 in x width: 25 in. Framed; height: 48 1/2 in x width: 31 1/4 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.
After Andy Warhol (American, 1928-1987). Sunday B. Morning silkscreen print depicting Warhol's iconic Campbell's vegetable with beef stock soup can. Blue ink stamp along the verso with “fill in your own signature†and “published by Sunday B. Morning."Sight; height: 35 in x width: 23 in. Framed; height: 38 1/2 in x width: 26 3/4 in.Condition: The print is in great condition with no rips, losses, or restorations. Extremely light undulation. Hinged in three spots along the top edge (center and both corners.) Affixed to an acid-free matboard. Light wear to the frame; framed under plexiglass.
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 1/18 along the bottom right edge. Titled along the top edge of the print.Unframed; height: 17 in x width: 14 1/2 in. Framed; height: 21 in x width: 18 3/4 in.Condition: There are no visible tears, losses, or restorations when inspected under UV light. There is some undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
ARCHIPENKO ALEXANDER: (1887-1964) Ukranian avant-garde Artist and Sculptor. T.L.S., `A. Archipenko´, one page, 4to, Chicago, 7th May 1947, to the Art Gigest Advertising Department in New York. Archipenko states `Will you please print the enclosed layout, one inch advertisement for your June 1st issue. I am enclosing herewith my check in payment for this.´ Folded. Overall foxing stains and minor age wear. About G
SIBELIUS JEAN: (1865-1957) Finnish Composer. Widely considered Finland´s greatest composer, and often credited with having developed a national identity through his music at the time of independence from Russia. A rare and lengthy A.L.S., Jean Sibelius, two pages, folio, Järvenpää, 5th May 1905, to Robert Lienau, in German. Sibelius sends a very interesting letter to his editor about his works, explaining that he is sending him the orchestral musical score of Pelléas & Mélisande and a small Romance for string orchestra, commenting that the Pelléas' piano arrangements will be available very soon. Sibelius asks his correspondent if he will also want the `Lied von Mélisande´ ("aria of Mélisande") because since his score was in Swedish, he crossed out the song. He further confirms that he will send, arranged for piano, the song in French, German and Swedish, and this way Lienau will be able to print it in the way he wishes. Further again Sibelius states `The founder of the National Theatre has left his post due to his advanced age, and a big festival has been organized in his honour. I have been chosen as first composer for the festival. I have composed a Cortège…´ which he says will soon send to Lienau, together with his Violin Concerto, and adds that he will also send `…two choirs, one in Finnish and the other in Swedish; the one in Finnish is taken from the national epic of Kalevala´ Before concluding Sibelius states that all these works are already old and that he will do something new and good for Lienau before the fall. Beneath his signature and as a postscriptum, Sibelius suggests naming Pelléas's music "Entr'acte Musik". Paper with a Handgjord Post Lessebo watermark with crowned monogram. With two binder holes to the left edge, not affecting the text or signature. G to VG
RODIN AUGUSTE: (1840-1917) French sculptor. A fine signed and inscribed sepia 7 x 9.5 photograph (the print on light paper) by Rodin, the image depicting a profile view of his marble sculpture entitled L'Homme et sa Pensee. Photograph by Daniel Freuler of Paris and bearing his (slightly indistinct) credit stamp to the verso. Signed by Rodin in fountain pen ink to a light area at the base of the image, 'A mon jeune ami…….Rodin'. An attractive signed image. Very slightly irregularly trimmed to the right edge and with two very small, minor tears to the left edge, about VG
PEABODY GEORGE: (1795-1869) American financier and philanthropist. Vintage signed sepia carte-de-visite photograph, the albumen print by John Jabez Edwin Mayall of Brighton and London depicting Peabody seated in a three-quarter length pose. Signed by Peabody in dark fountain pen ink to the lower photographer's mount and dated 1866 in his hand. Photographer's imprint to the lower mount (verso blank). About EX
LAWRENCE T. E.: (1888-1935) British army officer, archaeologist, diplomat and writer, renowned for his role in the Arab Revolt (1916-18) and the Sinai and Palestine Campaign (1915-18) against the Ottoman Empire during World War I. An excellent A.L.S., T E Shaw, one page, folio, Karachi, India, 5th January 1927, to an unidentified correspondent (although evidently a writer whom Lawrence held in some esteem). Lawrence announces, 'I have sworn a great oath never to use or countenance the use of the name "Lawrence", as referring to me, again, in public or private', continuing 'So that would settle the question of my introducing your book, I'm afraid' and explaining 'Of course I write, or rather I try to write, occasionally: unsigned articles, or articles signed by virgin names. They are worth two guineas a thousand words, which I am told is a better rate than usual. They cost me more than that, in trouble, even at my R.A.F. rate of 3/6 a day! And no publisher would be moved to publish your work, because it had an unknown man's introduction before it.' Shaw, however, offers his advice and a further clarification of his decision to his correspondent, 'But why should you think an introduction necessary?......Probably the right man will take what you have written on its merits, and that should be much more gratifying than to be helped. I did twice, in the old days, help people by introducing their books: but one, Richard Garnett, was dead, and that pardoned the offence. The other, Doughty, was a special case: I had been trying to persuade all London to reprint him, and at last one beginning-publisher said "I will, if you'll preface it" :- and what could I do? Doughty was very nice about it: but it felt like scratching one's name on Westminster Abbey. Introductions to publishers I will (and do) willingly give. Several people with good stuff have been helped by me into print. It's a matter of knowing the proper tradesmen. Have you tried Cape? He is enterprising, and the best producer of commercial books in London (for format). If you will send me a sample of your stuff I'll see that it reaches his reader (Edward Garnett, a critic of genius) with my opinion. I have no doubt that it's the right stuff: and it should be exactly right for the particular public. If Cape says "NO", I'd suggest Faber and Gwyer for second string: but Cape an easy first. Secker is too difficult: and the big men too staid'. A rare letter of fine content in which Lawrence affirms his desire for anonymity and proves himself to be a good guide in the intricacies behind the scenes of publishing. Some very light creasing and a few minor tape stains to the lower central area of the letter, only very minimally affecting a few words of text and part of the signature, otherwise about VGFollowing his legendary exploits in Arabia, Lawrence had become a household name by the early 1920s and enlisted in the Royal Air Force in August 1922 as an aircraftman under the name John Hume Ross. However, less than a year later, his identity was exposed, and he was forced out of the RAF in February 1923. Changing his name once again, to T. E. Shaw, he repeatedly petitioned to re-join the RAF and was finally readmitted in August 1925. Lawrence's Seven Pillars of Wisdom was published in December 1926 and the renewed publicity it brought resulted in his assignment to bases as Karachi, from where the present letter was written, and Miramshah in British India, where he remained until the end of 1928. Herbert Jonathan Cape (1879-1960) British publisher who founded the London publishing house of Jonathan Cape in 1921, remaining at the head of the firm until 1960. Cape established a reputation for high quality design and production and published a range of English-language authors including Robert Frost, Ian Fleming, James Joyce and T. E. Lawrence.Edward Garnett (1868-1937) English writer, critic and literary editor who was instrumental in the publication of D. H. Lawrence's Sons and Lovers. Edward Garnett was the son of Richard Garnett (1895-1906) English scholar, librarian, biographer and poet, who is also referenced in the present letter.
GIORDANO UMBERTO: (1867-1948) Italian composer. Vintage signed and inscribed 11.5 x 15 photograph, the unusually produced image, reminiscent of a canvas print, depicting the composer in a head and shoulders pose. Photograph by Ernesto Battigelli of Santa Margherita and bearing his signature in the negative of the image and gilt stamp to the lower mount. Signed by Giordano in fountain pen ink to the lower photographer's mount and dated Santa Margherita, August 1931 in his hand. Some light age wear, a few minor stains and corner creases to the mount, otherwise VG
GRAY JOHN EDWARD: (1800-1875) British zoologist and philatelist. A.L.S., J. E. Gray, three pages, 8vo, Brit[ish] Mus[eum], (London), 9th June 1857, to a gentleman. Gray informs his correspondent that he has instructed Mr. Maguire to send him the four proofs he wished to print, adding that he will not be critical of the selection he makes 'for I believe that every one understands his own business better than his neighbours', further commenting that he does not wish to put his friends to any expense on his account and that he hopes to be able to come to Ipswich for a day but cannot at the moment decide if he can come for longer 'until I know when my seniors intend to take their vacation'. With a brief printed biography neatly pasted to the upper edge of the first page. Some very light, extremely minor traces of former mounting to the verso, VG
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