DIEGO RIVERA (Mexican 1886-1957) A GROUP OF TWO PRINTS, FROM "Frescoes of Diego Rivera," MOMA, SIGNED, NEW YORK, 1933, comprising two color calotype prints on heavy paper, each plate signed and dated on plate, respectively in blue and black ink, "Diego Rivera, 1942," "Detail from Day of the Dead (Street Fair)," plate III, signed and dated in blue ink L/R, 10 7/8" x 8 5/8"; "Detail from A Division of the Lands," plate IV, signed and dated in black ink L/L, 11" x 8 3/4"; both in situ at, "The Ministry of Education, Mexico City," color plates printed in Germany by Ganymed, Berlin, for The Museum of Modern Art, New York, "Color Reproductions of Mexican Frescoes by Diego Rivera," exhibition running February 20 - March 12, 1933. Note: The "Detail of Day of the Dead," presented here curiously captures the head of a man with a yellow hat, which unwaveringly favors the artist. The consideration that this is indeed a self-portrait of the artist hidden among the festivities cannot be missed.Original Exhibition press release (facsimile): "Saturday afternoon or Sunday, February 18, 19th, 1933. The Mexican murals of Diego Rivera, in a setting of modern interior architecture will be offered to the public at the Museum of Modern Art, 11 West 53d Street, New York, on Monday, February 20th, when the Museum opens its permanent Architecture Room with a showing of the first color reproductions of the famous murals executed by Diego Rivera in Mexico City, Chapingo, and Cuernavaca. The exhibition marks the publication by the Museum of Modern Art of the Rivera Portfolio which contains 19 color plates printed by the Ganymed Press in Berlin, Germany, selected from the frescoes on the walls of the Ministry of Education and the National Palace in Mexico City, the Agricultural School in Chapingo, and the Palace of Cortez in Cuernavaca. In addition 14 monotone plates, printed by the Plandome Press in New York, show on a smaller scale the entire fresco of which each color reproduction is a part. The portfolio also contains a note on the technique of Rivera's frescoes by Jere Abbott, Director of the Smith College Art Museum. The book has been in preparation for over a year and its publication has been made possible by the generosity of a member of the Advisory Committee of the Museum of Modern Art. The Architecture Room, in which the prints will be shown, will be a permanent feature of the Museum. It has been installed and decorated as an example of modern interior architecture, under the supervision- of Philip Johnson, Director of the Department of Architecture. The furniture is designed by Le Corbusier, Pierre Jeaneret, and Charlotte Perriand. The colors of the room are gray, brown, and blue. Two walls of gray homespun have aluminum base moldings. One wall is covered by navy blue raw silk curtains and the fourth wall is white. Two windows in this wall are of ribbed translucent glass. Curtains of white fishnet cover this entire wall. The floor is dark brown linoleum." The recipient attributed as Beatrice Joyce Kean (1923-1972), of the Joyce Family and Joyce Foundation, which dedicates considerable charitable donations through grants to the Great Lakes region, focusing on "advancing racial equity and economic mobility," since 1948. Printer reference: Malet, Marian, and Sara MacDougall, ed. et al, "Applied Arts in British Exile from 1933: Changing Visual and Material Culture: Yearbook of the Research Center for German and Austrian Exile Studies, Brill, Leiden, 2019, page 154.Copyright by Ray Slater Murphy, noted collector and MoMA Patron. Condition: Very minor surface wear and toning, some small bends at corners of matting, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
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DIEGO RIVERA (Mexican 1886-1957) A GROUP OF TWO PRINTS, FROM "Frescoes of Diego Rivera," MOMA, SIGNED, NEW YORK, 1933, comprising two color calotype prints on heavy paper, each plate signed and dated on plate, in black ink, "Diego Rivera, 1942," "Workers' Meeting," plate I, signed and dated center, in situ at the "Ministry of Education, Mexico City," 6 7/8" x 11 1/8"; "Forces Under the Earth," plate X, signed and dated L/R, in situ at the "Chapel of the Agricultural School, Chapingo," 7 3/4" x 11 1/4"; color plates printed in Germany by Ganymed, Berlin, for The Museum of Modern Art, New York, "Color Reproductions of Mexican Frescoes by Diego Rivera," exhibition running February 20 - March 12, 1933. Note: Original Exhibition press release (facsimile): "Saturday afternoon or Sunday, February 18, 19th, 1933. The Mexican murals of Diego Rivera, in a setting of modern interior architecture, will be offered to the public at the Museum of Modern Art, 11 West 53d Street, New York, on Monday, February 20th, when the Museum opens its permanent Architecture Room with a showing of the first color reproductions of the famous murals executed by Diego Rivera in Mexico City, Chapingo and Cuernavaca. The exhibition marks the publication by the Museum of Modern Art of the Rivera Portfolio which contains 19 color plates printed by the Ganymed Press in Berlin, Germany, selected from the frescoes on the walls of the Ministry of Education and the National Palace in Mexico City, the Agricultural School in Chapingo, and the Palace of Cortez in Cuernavaca. In addition, 14 monotone plates, printed by the Plandome Press in New York, show on a smaller scale the entire fresco of which each color reproduction is a part. The portfolio also contains a note on the technique of Rivera's frescoes by Jere Abbott, Director of the Smith College Art Museum. The book has been in preparation for over a year and its publication has been made possible by the generosity of a member of the Advisory Committee of the Museum of Modern Art. The Architecture Room, in which the prints will be shown, will be a permanent feature of the Museum. It has been installed and decorated as an example of modern interior architecture, under the supervision- of Philip Johnson, Director of the Department of Architecture. The furniture is designed by Le Corbusier, Pierre Jeaneret, and Charlotte Perriand. The colors of the room are gray, brown, and blue. Two walls of gray homespun have aluminum base moldings. One wall is covered by navy blue raw silk curtains and the fourth wall is white. Two windows in this wall are of ribbed translucent glass. Curtains of white fishnet cover this entire wall. The floor is dark brown linoleum." The recipient attributed as Beatrice Joyce Kean (1923-1972), of the Joyce Family and Joyce Foundation, which dedicates considerable charitable donations through grants to the Great Lakes region, focusing on "advancing racial equity and economic mobility," since 1948. Printer reference: Malet, Marian, and Sara MacDougall, ed. et al, "Applied Arts in British Exile from 1933: Changing Visual and Material Culture: Yearbook of the Research Center for German and Austrian Exile Studies, Brill, Leiden, 2019, page 154.Copyright by Ray Slater Murphy, noted collector and MoMA Patron. Condition: Minor surface wear and expected toning, some small bends at corners of matting, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
DIEGO RIVERA (Mexican 1886-1957) A GROUP OF TWO PRINTS, FROM "Frescoes of Diego Rivera," MOMA, SIGNED, NEW YORK, 1933, comprising two color calotype prints on heavy paper, each plate signed and dated on plate in black ink, "Diego Rivera, 1942," "Indians Bathing," plate II, signed and dated L/L, 11" x 8 1/8"; "While the Poor Sleep," plate V, signed and dated C/R, 11" x 8 1/2"; both in situ at the "Ministry of Education, Mexico City," color plates printed in Germany by Ganymed, Berlin, for The Museum of Modern Art, New York, "Color Reproductions of Mexican Frescoes by Diego Rivera," exhibition running February 20 - March 12, 1933. Note: Original Exhibition press release (facsimile): "Saturday afternoon or Sunday, February 18, 19th, 1933. The Mexican murals of Diego Rivera, in a setting of modern interior architecture will be offered to the public at the Museum of Modern Art, 11 West 53d Street, New York, on Monday, February 20th, when the Museum opens its permanent Architecture Room with a showing of the first color reproductions of the famous murals executed by Diego Rivera in Mexico City, Chapingo, and Cuernavaca. The exhibition marks the publication by the Museum of Modern Art of the Rivera Portfolio which contains 19 color plates printed by the Ganymed Press in Berlin, Germany, selected from the frescoes on the walls of the Ministry of Education and the National Palace in Mexico City, the Agricultural School in Chapingo, and the Palace of Cortez in Cuernavaca. In addition, 14 monotone plates, printed by the Plandome Press in New York, show on a smaller scale the entire fresco of which each color reproduction is a part. The portfolio also contains a note on the technique of Rivera's frescoes by Jere Abbott, Director of the Smith College Art Museum. The book has been in preparation for over a year and its publication has been made possible by the generosity of a member of the Advisory Committee of the Museum of Modern Art. The Architecture Room, in which the prints will be shown, will be a permanent feature of the Museum. It has been installed and decorated as an example of modern interior architecture, under the supervision- of Philip Johnson, Director of the Department of Architecture. The furniture is designed by Le Corbusier, Pierre Jeaneret, and Charlotte Perriand. The colors of the room are gray, brown, and blue. Two walls of gray homespun have aluminum base moldings. One wall is covered by navy blue raw silk curtains and the fourth wall is white. Two windows in this wall are of ribbed translucent glass. Curtains of white fishnet cover this entire wall. The floor is dark brown linoleum." The recipient of the dedication is attributed as Beatrice Joyce Kean (1923-1972), of the Joyce Family and Joyce Foundation, which dedicates considerable charitable donations through grants to the Great Lakes region, focusing on "advancing racial equity and economic mobility," since 1948. Printer reference: Malet, Marian, and Sara MacDougall, ed. et al, "Applied Arts in British Exile from 1933: Changing Visual and Material Culture: Yearbook of the Research Center for German and Austrian Exile Studies, Brill, Leiden, 2019, page 154.Copyright by Ray Slater Murphy, noted collector and MoMA Patron. Condition: Some minor toning and surface wear, and some handling and creasing of matting, a small area of moisture exposure at one edge of matting, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
JANNIS KOUNELLIS (Greek/Italian 1936-2017) A PRINT, "Untitled (Image D)," FROM THE SERIES, "Frammenti di Danza," 1982, photo-etching with drypoint in black and blue on wove paper, signed in pencil in margin L/R, numbered 22/75, published by Edition Schellmann and Klser, verso paper tags. 29" x 36" Provenance: Christie's New York, East, Sale 8269, 20th Century Prints, Photographs & Fine Arts - Intl. Corp., lot 287, May 19, 1999, sold; Viart Corporation: Art Management, New York, New York; Jerry Solomon Enterprises, Los Angeles, California. Estate of David E. Brauer, Houston, Texas. Condition: Some smudges in the lower right margin corner, and minor handling and surface wear, but overall in good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
ALLEN JONES (British b. 1937) TWO PRINTS, "Album," AND "Untitled," 1971, comprising two prints, "Album," lithograph and color silkscreen on paper, signed and dated in margin in pencil L/R, "Allen Jones '71," numbered L/L 27/75. 25" x 18 1/2"; and "Untitled," color silkscreen on paper, signed and dated in pencil L/R, "Allen Jones '71," numbered L/L 29/75, 24" x 22". Provenance: Both works Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama, February 7 - November 29, 2020; Estate of David E. Brauer, Houston, Texas. Condition: Both in good condition wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
IAN HAMILTON FINLAY (British 1925-2006) TWO PRINTS, "Battle of Midway I," AND "Battle of Midway II," 1977, comprising two silkscreens on paper, "Midway I, Fourth June 1942"; "Midway II, Battle of Midway.Fourth.June.1942," a collaboration with Ron Costley, not inscribed, published by Wild Hawthorn Press in an edition of 300. 22 1/2" x 27 1/8" Note: "The American defeat of Japan at the Battle of Midway in June 1942 was one of the decisive moments in the war in the Pacific. Finlay represents the aircraft carriers as beehives, fueling their warriors with honey and sending them out to attack the enemy hive. The rosebushes represent the vast distance of ocean that separated the rival fleets, which never came into sight of each other. The accompanying print uses Latin text to commemorate the ships that perished in the battle. Finlay associates Latin with the epic nature of warfare." Tate Gallery label, July 2008 Provenance: Estate of David E. Brauer, Houston, Texas. Condition: "Battle of Midway I" has a slight crease and stain L/L, small tear, and crease along right side, with slight mat stain verso at left rail, has slight crease and stain from apparent pest exposure in margin L/L. "Battle of Midway II" has slight crease along right edge in margin and light mat stain verso left edge, as well as small stains. Generally in good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
IAN HAMILTON FINLAY (Scottish 1925-2006) THREE PRINTS, "Necktank (1918)," "Arcadia," AND "Scottish Zulu," 1970-1973, comprising "Necktank [Collaboration with Michael Harvey]," 1973; "Arcadia [Collaboration with George Oliver]," 1973; "Scottish Zulu [Collaboration with David Button]," 1970, all lithographs on paper, each image: 12" x 16, framed as vertical triptych: 54" x 27". Provenance: Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama. Estate of David E. Brauer, Houston, Texas. Condition: Minimal foxing spots, surface scratches to frame, overall good to excellent condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
IAN HAMILTON FINLAY (British 1925-2006) TWO PRINTS, "Homage to Mozart (Collaboration with Ron Costley)," 1970, comprising two lithographs on paper, "Homage to Mozart," work signed and numbered verso in pencil, "Ian Hamilton Finlay 169/300"; one unsigned, both 13" x 18". Provenance: Estate of David E. Brauer, Houston, Texas. Condition: Both overall good to excellent condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
SIR EDUARDO PAOLOZZI (Italian 1924-2005) A GROUP OF THREE PRINTS FROM, "Universal Electronic Vacuum Series," comprising three silkscreens on paper from the series "Universal Electronic Vacuum," "Memory Matrix/Memory Capacity," signed and numbered Artist's Proof Set No. 9 L/R in pencil, mounted to board, 36" x 24 1/8"; "War Games Revised," numbered 68/75, 34 1/2" x 24"; "Pyramid in form Einer Achteskugel," numbered A/P, 35" x 24". Provenance: Estate of David E. Brauer, Houston, Texas. Condition: "Memory Matrix/Memory Capacity" mounted to matboard, some discoloration, commensurate with age, others in generally good condition. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
BEZALEL SCHATZ (Palestinian 1912-1978) AND HENRY MILLER (American 1891-1980) A GROUP OF TWO PRINTS, FROM "Into the Night Life," FIRST EDITION, UNBOUND, BERKELEY, CALIFORNIA, 1947, color serigraph, one on black paper with introduction and printing details, and the other on translucent paper, signed and dated in plate; the pages with serigraph text reproducing Henry Miller's manuscript, the original text an excerpt from Black Spring used in Into the Night Life, artwork and serigraphy by Bezalel Schatz, unbound, the present published independently by the artists in an original edition of 800. 15 1/4" x 24 1/2" Provenance: Collection of Kasey Rhodes, Houston, Texas. Condition: Some mild surface wear, creases, rubbing, some edge wear, and two tears (1 3/4", 2 3/4") upper left to the thin paper, expected surface wear and tone, and overall in good to very good condition, wear commensurate with historically noted poor storage conditions of the original printings. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
IAN HAMILTON FINLAY (Scottish 1925-2006) FOUR PRINTS, "From Posters from the Little Spartan War," 1982, comprising four linocuts, a complete portfolio from, "Posters from the Little Spartan War 1982" linocuts, not inscribed, titled "Mors Concilio Artium (Death to the Arts Council)"; "Concilium Artium Delendum Est (The Arts Council Must be Utterly Destroyed)"; "Pax Tuguriis Bellum Conc Artium (Peace to the Cottages—War to the Arts Council)"; "Pereant Tyranni Nummar (Let Perish the Money Tyrants)," each 11 3/4" x 17". Note: Posters from the Little Spartan War 1982 printed by Nicholas Sloan at Parrett Press, Martock, and published by the Wild Hawthorn Press in an edition of about 100. Provenance: Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama. Estate of David E. Brauer, Houston, Texas. Condition: Some creasing along right edge of each, some wear, chipping, and scratches on frames, overall good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
GERALD "G. HARVEY" JONES (American 1933-2017) A PAINTING, "The Lone Camper, Starry Night," oil on canvas, signed L/R, verso a hand inscribed paper label with artist name and title, and lower a gilt label, "Meinhard Galleries, Paintings, Prints, Picture Framing." 24" x 30" Provenance: Personal Collection of Brian Burke, Houston, Texas. Condition: Minor expected surface wear, but overall in very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
GERALD LAING (British 1936-2011) A COMPLETE PORTFOLIO OF FIVE PRINTS, "Dragster Series," 1968, comprising five screenprints from the "Dragster" series, including "CT Strokers," numbered 89/150, 23" x 35"; "Swamp Rat IV Dragster Racing," numbered 89/150, 23" x 35"; "Deceleration I," numbered 89/150, 35" x 23"; "Deceleration II," numbered 89/150, 23" x 35"; "AAD," numbered 89/150, 23" x 35". Provenance: Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama February 7 - November 29, 2020. Estate of David E. Brauer, Houston, Texas. Condition: All framed and generally in good condition. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
R.B. KITAJ (American 1932-2007) A GROUP OF FIVE PRINTS, FROM "First Series: Some Poets," 1966-1970, comprising five works on paper from "First Series: Some Poets," a portfolio published by Kelpra Studios. "Ed Dorn," screenprint on paper, signed in image in pencil L/R, "Kitaj," numbered L/L 39/70, stamped verso, 25 5/8" x 20 1/2"; "Star Betelgeuse, Robert Duncan," screenprint and collage on paper, numbered 40/70, 33" x 17 7/8"; "Portrait of W.H. Auden," screenprint and lithograph on paper, numbered 33/70, 18 1/2" x 24 1/2"; "Revolt on the Clyde (Hugh Mac Diarmid)," screenprint and photo-screenprint on blue card, signed and numbered in pencil L/L "Kitaj 52/70," 25 1/2" x 20 1/4"; "Fifties Grad Swank: Morton Feldman," signed and numbered in pencil L/L, "Kitaj 63/70," 31 1/2" x 14 3/4". Provenance: Estate of David E. Brauer, Houston, Texas. Condition: "Ed Dorn" has light marks from creasing along right edge, and is hinged to black matboard. Generally in good to very good condition; "Revolt on the Clyde (Hugh Mac Diarmid)" has slight residue along lower edge, along with some scratching to the frame; "Fifties Grad Swank: Morton Feldman" has slight crease in U/R corner, slight discoloration in L/L corner, along with a small crease in L/R corner, otherwise all in generally good to very good condition. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
R.B. KITAJ (American 1932-2007) SIX PRINTS, FROM THE SERIES "In Our Time: Covers for a Small Library After the Life for the Most Part," 1969-70, comprising six screenprints on paper from a portfolio of fifty, all signed in margin in pencil L/R, "RK." "(7)Der Russische Revolutionsfilm." 15" x 10"; "(28) Wir haben es nicht vergessen-Nous n'avons pas oublie- We Have Not Forgotten." 12 1/4" x 18"; "(34) Vampyr." 18" x 13"; "(35) La Lucha del Pueblo Español por su Libertad." initialed in pencil in margin L/R "RK," 22" x 17 1/2"; "(36) With Scott to the Pole," numbered in margin in pencil L/L 146/150. 19 1/4" x 14 1/2"; "(50), London by Night - Life and Art in Photograph; no. four." 19 1/4" x 15" Note: In Our Time: Covers for a Small Library After the Life for the Most Part, Kitaj’s finest and strangest print projects, and consists of... 50 screenprints...each of which replicates the cover of a single book from the artist’s own library and marked a significant departure from the visual complexity of his earlier work. It was made by [Chris Prater of Kelpra Studios] Prater in London on the basis of detailed instructions sent to him by Kitaj...He produced few paintings during this period, dedicating his energies chiefly to this large-scale project. While each book stands alone in each print, together they map the artist’s pursuit of cultural and artistic identity through literature, poetry, history, Jewish subjects, politics, film, and the human form. Kitaj in our Time: Prints and Obsessions Reference: Catherine Daunt, from Volume 3, Number 4 Provenance: Estate of David E. Brauer, Houston, Texas. Condition: All generally in very good to excellent condition. All have printed stamp verso with "K" along with an identification number. "(36) With Scott to the Pole" is the only print to be numbered in margin in pencil L/L 146/150. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
SIR EDUARDO LUIGI PAOLOZZI, CBE RA (British 1924-2005) A PORTFOLIO OF PRINTS, "Bunk!," 1972, comprising forty-five lithographs and color-screen prints along with title page, text and justification, list of plates, and two leaves of introductory text in a blue card folder, signed, dated in pencil, numbered 40/100 in black ink. Printed by Advanced Graphics, London, for Snail Chemicals Publishing, London, folio: 17 6/8" x 12 1/2". Provenance: Exhibited in "AN ART HISTORIAN COLLECTS: The David E. Brauer Collection" at the Mobile Museum of Art, Mobile, Alabama, February 7 - November 29, 2020; Estate of David E. Brauer, Houston, Texas. Condition: A few prints appear to have lifted from the mounting paper, some prints have been additionally mounted to acid-free paper for exhibition in museum display case. Blue card folder cover appears to have considerable wear commensurate with age, generally in good condition. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
HENRI MÄIK (French 1922-1993) A PAIR OF PRIMITIVE PRINTS, "Festival des Artes Exposition des Peintres en Exclusivité: Lion with flower and Butterfly," PARIS, CIRCA 1964, two color lithographs on paper, attributed to his debut show with "Wally F. Findlay Galleries: New York, Chicago, Palm Beach, Paris," copyright by Mourlot. 28" x 20 1/2" Note: The poster naming the artists, Simbari, Arnal, Sebire, Le Pho, Vu Cao Dam, Viudes, Canjura, Michel-Henry, Adickes, Kluge, Jessup, Cassigneul, Andreoli, Fabien, Gay Le, Ardissone, Palicio, Novoa, Zerolo, Verdier, H. Mäik, Adamoff, Olliv Ary, Poucette, Paul Émile Pissarro, Arthur Pillon, Dal Quadras, Ducaire, and Seguin. Condition: Mild edge wear and expected surface wear, unsigned, handling creases and minor bends but overall in very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
HENRY MILLER (American 1891-1980) AND BEZALEL SCHATZ (Palestinian 1912-1978) A GROUP OF TWO PRINTS, FROM "Into the Night Life," FIRST EDITION, UNBOUND, BERKELEY, CALIFORNIA, 1947, comprising two color serigraph on paper, text by Henry Miller, artworks by Bezalel Schatz, from an unbound edition, the present published independently by the artists in an original edition of 800. 15 1/4" x 24 1/2" Provenance: Collection of Kasey Rhodes, Houston, Texas. Condition: Some expected worm or pest holes, mild expected tone, and some mild bends near edges and corners, the wear though present is desirable and consistent with historically documented poor storage, and overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
Steam Engine and Military Airplane Prints - approximately 24 unframed rolled prints, some limited editions and signed from artists including John Austin, Terence Cuneo, Sean Bolan, Frederick Lea, Trevor Lay, Philip Hawkins, Alan Fearnley, David Shepherd, David Weston together with Two Coulson Mounted Airplane Prints and David Shepherd Print mounted on board
After Madeline Selfe (1910-2005): two limited edition horse racing prints, 'The 200th Derby' and '200th Running of the Oaks Stakes' both signed by the artist and counter signed by the Earl of Derby, both numbered 174/850, each 47 by 65, mounted glazed and framed, 71 by 89cm, both prints have slipped in their mounts. (2)
After Sir William Russell Flint (British, 1880-1969): two limited edition prints, comprising a bridge scene with female figures, numbered 80/650, 48 by 63cm, mounted, glazed and framed, 69 by 84cm, and a reclining lady on a bed, numbered 597/850, 26.5 by 38cm, mounted, glazed and framed, 51 by 62.5cm, together with another Russell Flint print, 19.5 by 25cm, mounted, glazed and framed, 38.5 by 44cm, together with a limited edition print after Ernest Normand (French, 1857-1923): Playthings, numbered 5/850, 34 by 64, mounted, glazed and framed, 64 by 92cm. (4)
After Richard Tuff (British, b. 1965): three screen prints, comprising 'Afternoon Colours' numbered 153/250, 46 by 49cm, mounted, glazed and framed, 65.5 by 67cm, 'Tractors & Trawlers' numbered 32/95, and 'Low Tide' numbered 70/95, both signed and titled, 28.5 by 35cm mounted, glazed and framed, 42.5 by 49.5cm. (3)
A group of six A3 folios of Classic Architecture prints and plans, comprising 'Architecture of the Renaissance in England, by J. Alfred Gotch, pub. B. T. Batsford, 94 High Holborn, London, 1894, Vols I, II, III, IV, and VI, and 'Classic Architecture, a Series of Ten Plates Illustrating Typical Examples of the Grecian and Roman Orders', by Charles F. and George A. Mitchell, pub. B. T. Batsford, 94 High Holborn, London, 1901, each folio approximately 54 by 36cm. (6)Notes: these have not been checked and are assumed to be incomplete, some have been annotated with pencil markings, a/f in well used condition.
Simon Hopkins (British, 20th century): portrait of a hound, watercolour, signed and dated '1990', 36 by 42cm, mounted, glazed and framed, 77 by 84cm, together with two colour prints of a bear and her bear cubs titled 'Peaceful Moments', after Ralph Thompson, and 'Puppy Love', after William Strutt. (3)
Douglas Smith (British, late 20th century): Three limited edition signed prints of Leicester, comprising 'Leicester Town Hall', numbered 7/500, 26.5 by 15.5cm, mounted, glazed and framed, 49.5 by 39cm, 'St Mary de Castro Church', numbered 2/500, 26 by 17cm, mounted, glazed and framed, 47 by 36.5cm, 'Crescent Cottages', numbered 1/200, 17 by 24cm, mounted, glazed and framed, 34 by 39cm. (3)
After Michael (Mike) R. Hoar ARCA (British, 1943-2017): eight artist proof prints of cloud formations and landscapes, including 'Summer Contrail', 'Cumulus Nimbus over Kent', all 61 by 61cm, together with three exhibition posters, 'Michael R. Hoar Spanish Landscapes' featuring an illustration of the 'Bridge at Ronda', 59 by 42cm. (1 portfolio case)
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