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Lot 687
ASSORTED TRADE CARDS including Pascall, `Boy Scout Series`, 1912, variable but generally good (5/48); Fry, `Nursery Rhymes`, 1917, variable but generally good (10/50); Lyons, `Wings of Speed`, 1961, good (24/24); Poster Stamp Association, `Modern Transport`, 1957, generally good (25/25), (albums and loose).
Lot 1024
A Large Collection of Cycling Magazines, Books and Memorabilia, including a complete set of cigarette cards, a thematic stamp collection with covers, old postcards, seven bound volumes of Miroir duCyclisme (1978-86), But Club 1957 Anquetil Tour de France issue, Tour de France books, CTC 1898 British Road Book etc., in six boxes
Lot 371
George Rodrigue (American/Louisiana, 1944-2013), "The Yellow Robe of Texas", 1991, oil and acrylic on canvas, signed lower left, signed, titled and dated in marker en verso, "The Rodrigue Gallery, Royal Street, New Orleans" stamp and Rodrigue Blue Dog wax seal on stretcher, 20 in. x 24 in., framed. Note: As George Rodrigue`s career progressed, the subject matter and media he used evolved. As a young artist on a limited budget, Rodrigue often painted the dark, sweeping oak trees and landscapes of his beloved Cajun country in thinly applied oil. As his fame and commissions increased, he was able to afford painting in thicker impasto, layering paint over time with sprayed coats of varnish. However, in the 1980s, Rodrigue was made aware of health risks from spray varnish and transitioned to acrylic paint, a water soluble, flatter and faster drying medium. It was during these early years using acrylic that Rodrigue also found his new muse, the Blue Dog, a figure based on Cajun folklore and modeled after his family dog, Tiffany. The Yellow Robe of Texas, presented here, represents the early period of the Blue Dog series, as well as the artist`s use of acrylic. This dog, cloaked in yellow, stands out against a flat background, a starkly different scene than the mossy oaks and bayous of Rodrigue`s past. The Blue Dog would become the hallmark of Mr. Rodrigue`s oeuvre, a beloved figure, who traveled to many places and scenes in history. Reference: Rodrigue, Wendy. "Oil Paint or Acrylic?" Musings of An Artist`s Wife. Last modified November 8, 2009. http://www.wendyrodrigue.com
Lot 412
Clarence John Laughlin (American/New Orleans, 1905-1985), "A Haunting Gaze: 1941", printed 1981, silver gelatin print mounted on board, signed lower right, titled and dated lower left, signed, titled, dated, inscribed and artist`s stamp en verso, image 19 1/4 in. x 15 1/2 in., board 28 in. x 20 in., unframed. Provenance: Collection of Artist Charles Fritchie.
Lot 413
Clarence John Laughlin (American/New Orleans, 1905-1985), "Elegy for Moss Land: 1940", printed 1981, silver gelatin print mounted on board, signed lower right, titled and dated lower left, signed, dated, and artist`s stamp en verso, image 15 1/4 in. x 19 1/4 in., board 20 in. x 28 in., unframed. Provenance: Collection of Artist Charles Fritchie.
Lot 415
Clarence John Laughlin (American/New Orleans, 1905-1985), "The Self-Crucified: 1940", printed 1981, silver gelatin print mounted on board, signed lower right, titled and dated lower left, signed, dated, and artist`s stamp en verso, image 13 3/4 in. x 10 3/4 in., broad 20 in. x 15 in., unframed. Provenance: Collection of Artist Charles Fritchie.
Lot 416
Clarence John Laughlin (American/New Orleans, 1905-1985), "Triumph of Black", 1941, silver gelatin print, signed lower right, titled and dated lower left, artist`s stamp and numbered "12/53" en verso, image 13 1/2 in. x 10 1/4 in., unframed. Provenance: Collection of Artist Charles Fritchie.
Lot 737
Gino Mazzotta (Italian, 20th c.), "Mataztzo, Eldorado`s Bird", 1977, oil and mixed media on canvas, signed lower right, titled lower left, signed, titled and dated in marker, artist`s stamp en verso, 27 1/2 in. x 19 3/4 in., unframed. Provenance: With a New Orleans Collector, exhibited at New Orleans Gallery, 226 Decatur Street; purchased in Europe.
Lot 932
Morley Baer (American/ California, 1916-1995), Group of two photographs: "Porch Detail", 1972 and "Molera Barn, Big Sur", 1969, silver gelatin prints, both pencil-signed lower right, titled, dated and artist`s stamp en verso, image 9 1/2 in. x 7 1/2 in; latter 7 1/2 in. x 9 1/2 in.; overall 16 in. x 14 in.; latter 14 in. x 16 in., unframed (2 pcs.) Provenance: Collection of Artist Charles Fritchie.
Lot 938
Lamar Dodd (American/Georgia, 1909-1996), "Monhegan Island, Maine", 1949, watercolor and ink on paper, signed and dated lower right, sheet 15 in. x 22 in.; and "Coastal Landscape", ink and paper, unsigned, estate stamp en verso, sheet 19 in. x 24 in.; both unframed, (2 pcs.) Provenance: Estate of the artist; accompanied by letters of authenticity signed by Annie Laurie Dodd, widow of the artist, dated June 5, 2013.
Lot 9
SOL LEWITT, AMERICAN (1928-2007), paper folded into squares, 1971. Signed to bottom right square `Sol LeWitt London June 15 1971`. Lisson Gallery stamp and label verso, with No.7 written in pencil. PROVENANCE: Acquired from a 1973 Lisson Gallery exhibition, presumably from `Sol LeWitt: Lines through toward and to centre points` , May 1973, though the signature suggests that it was made at an earlier date. A similar example was sold at Christie`s Post-war & Contemporary Art auction on 17th April 2013. Compton visited exhibitions at the Lisson Gallery from its opening in 1967 and later met Sol LeWitt in New York. Sold with a copy of 1973 Lisson Gallery invoice. This lot is part of a single owner collection of 28 lots to include Roy Lichtenstein, Marcel Broodthaers, Terry Frost, Henry Moore, Richard Long, Victor Newsome, Keith Milow, Billy Al Bengston, Ian Stephenson, Sol LeWitt and Joe Tilson. SOL LEWITT (1928-2007): Sol LeWitt was born 1928 in Connecticut to Eastern European immigrants. LeWitt received a BFA from Syracuse University in 1949 (where he made his first prints) and then was drafted in the Korean War in 1951. During his service, he made posters for the Special Services and spent time in Japan. In 1953, he moved to New York , where he studied at the Cartoonists and Illustrators School (now the School of Visual Arts). In 1960, he took an entry-level job at the Museum of Modern Art, where he met Dan Flavin, Robert Ryman, Lucy Lippard and Robert Mangold. Together, through the `Sixteen Americans` exhibition, they were introduced to the work of Jasper Johns and Frank Stella and Robert Rauschenberg. LeWitt was also interested in Russian Constructivism, with its engineering aesthetic and the idea of making utilitarian art in an industrialised age. LeWitt`s three dimensional structural works from the mid to late 1960s - such as Serial Project, Three Part Variations on Three Different Cubes, and hundreds of sculptures made of open white cubes - grew out of this interest in the serial. He applied the same system of permutations and variations in his prints, drawings on paper and drawings on the wall. Sol LeWitt executed his first wall drawing in 1968 at Paula Cooper Gallery in New York. Wall Drawing #1 emphasized the premise of the artwork over the final product. "I wasn`t really that interested in objects. I was interested in ideas." - SOL LEWITT. 21.70 x 4.10in. (55 x 10cm) Possible slight discolouration / sun damage throughout but very minor. Has been out of its frame. Fixed down in all four corners, back is plain. Slight rough edges, various creases around fold lines. Small dot (possible foxing) through the fourth segment top to bottom on the right hand side. Plain oak frame.
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