| Lot Number |
Description |
Estimate |
Sale Price |
| 1 |
Russian Icon: Virgin and Child, painted wood panel; 12-3/8 x 10-1/2 x 1 inches |
600 - 1,000 |
353 |
| 3 |
Russian Icon, Peasant Craft Icon: Kazanskaya, St. Nicholas, St. Michael, St. George, 1750-1850, painted wood panel; 16 x 12-5/8 x 5/8 inches; illegible writing on verso |
400 - 800 |
235 |
| 4 |
Russian Icon: Our Lady of Arabia, mid 17th Century, painted wood panel; 12-3/4 x 10-5/8 x 1-1/8 inches; label on verso ''Our Lady of Arabia / Middle of XVII Century in / the manner sometimes called Kostroma Manner'' |
400 - 800 |
382 |
| 5 |
Russian Icon: Our Lady of Tikhvin, late 16th Century, painted wood panel; 12-3/8 x 10-1/4 x 1 inches; label on verso ''Our Lady of Tikhvin / Novgorod School / XVI Century'' (pictured) |
800 - 1,200 |
2,468 |
| 6 |
Icon (Greek/Eastern European/Folk): St. Nicolas in Floral Surround, 19th Century, reverse glass painting; 9-5/8 x 7-1/4 inches (sight); framed (12 x 9-1/2 inches) |
200 - 400 |
118 |
| 7 |
Icon (Middle European School): Reliquary of Saint, 19th Century, paint on paper; silver and gold threads; simulated jewels; 7-1/4 x 5-1/2 inches (image); framed (10-3/4 x 8 inches) |
200 - 400 |
206 |
| 9 |
Russian Icon: Saint Nicholas of Myra the Wonderworker, painted wood panel; 12-1/2 x 9 x 3/4 inches; illegible writing on verso |
200 - 400 |
206 |
| 10 |
Russian Icon: Christ with Apostles, 20th Century, painted wood panel; 9-1/4 x 7-5/8 x 3/8 inches; written on verso ''6463/41'' (pictured) |
200 - 400 |
294 |
| 11 |
Russian Icon: Christ Pantocrator, painted wood panel; 12-3/4 x 10 x 5/8 inches |
300 - 500 |
206 |
| 12 |
Russian Icon: Our Lady of Kazan, painted wood panel; 11 x 9 x 3/4 inches; illegible writing on verso |
200 - 400 |
176 |
| 14 |
Russian Icon, Peasant Craft Icon, ca. 1750-1850, painted wood panel; 15 x 12 x 3/4 inches; label on verso says ''Peasant Craft Icon / Provincial workshops; possibly of the Vladimir Government; 1750-1850'' |
600 - 1,000 |
470 |
| 15 |
Russian Icon: Our Lady of Kazan, late 17th Century, painted wood panel; 12-1/4 x 10-1/8 x 7/8 inches; label on verso ''Our Lady of Kazan / Moscow School / Second Half of XVII Century'' (pictured) |
800 - 1,200 |
646 |
| 16 |
Russian Icon: Pantocrator, painted wood panel; 14 x 12 x 5/8 inches |
200 - 400 |
118 |
| 17 |
Russian Icon, Peasant Craft Icon: Kazanskaya; St. Nicholas; St. George; St. Michael; painted wood panel; 12-3/8 x 9-3/4 x 3/4 inches |
300 - 500 |
235 |
| 18 |
Processional Cross (Italain), 16th Century, copper gilt on wood with green velvet; 24-1/4 x 14-1/4 x 5 inches |
1,500 - 2,500 |
881 |
| 20 |
Icon (Middle European School): Two Angels, reverse painting on glass; 14-1/4 x 12-1/4 inches (sight); framed (18-3/4 x 16-1/2 inches) |
200 - 400 |
118 |
| 22 |
Icon (Middle European School): Man and Woman, Crucifixion/Pieta, 19th Century, reverse painting on glass; 11-1/4 x 15-1/4 inches; framed (14 x 18 inches); label on verso ''Sacred Art / Painted on Glass / Middle Europe; XIX Century''; glass is broken in the lower right corner into three pieces |
200 - 400 |
118 |
| 25 |
Serbian Icon: Christ Figure, reverse painting on glass; 17-3/4 x 15-1/2 inches (sight); framed (21-3/4 x 19-1/2 inches); label on verso ''Three Religious Scenes / Painted on glass / Serbian / XVI Century',paper missing' (pictured) |
600 - 1,000 |
353 |
| 26 |
Russian Icon: Life of the Virgin Surrounded by Saints Icon; painted wood panel; 17-3/4 x 16-3/4 x 1-1/4 inches |
300 - 500 |
646 |
| 27 |
Icon (Middle European School): Virgin & Child, painting on glass; 17 x 15 inches (sight); framed (21-1/2 x 19-1/2 inches) |
200 - 400 |
118 |
| 28 |
Russian Icon: Mother of God; Hodigitria type; painted wood panel; 10-1/4 x 8-3/8 x 5/8 inches; illegible writing on verso |
200 - 400 |
176 |
| 29 |
Russian Icon: St. Nicholas of Myra; painted wood panel; 11-1/4 x 9 x 1-3/8 inches |
200 - 400 |
206 |
| 30 |
Russian Icon, Peasant Craft Icon: 4 Divisions: Our Lady of Kazan; St. Nicholas; St. Michael and St. George; ca. 1750-1850; painted wood panel; 11 x 8-5/8 x 1/2 inches |
300 - 500 |
176 |
| 31 |
Russian Icon: Assumption of the Virgin, painted wood panel; 12-1/4 x 10 x 5/8 inches; label on verso ''U. S. CUSTOMS EXHIBIT Sesqui-Centennial International Exposition / Entry No. 397 / Case No. 16 / Lot No. Icons'' |
300 - 400 |
176 |
| 32 |
Icon (Middle European School): Woman with Chalice, reverse painting on glass; 6-3/4 x 4-3/4 inches (sight); framed (9 x 7 inches); tag on verso ''#3549'' |
100 - 200 |
94 |
| 33 |
Icon (Middle European School): Last Supper, reverse painting on glass; 17-1/4 x 15 inches (sight); framed (21 x 19 inches) |
600 - 1,000 |
353 |
| 34 |
Icon (Middle European School): The Visitation, Annunciation, reverse painting on glass; 12-7/8 x 11 inches (sight); framed (16 x 15-1/4 inches) |
400 - 800 |
499 |
| 36 |
Russian Icon: St. Nicholas Brings the Message from Jesus to the City, 19th Century, painted wood panel; 11-3/8 x 9-1/8 x 3/4 inches; illegible writing on verso |
200 - 400 |
118 |
| 37 |
Russian Icon, Commemoration Icon: Alexander III Patronage, multi-scene icon with inserted Deisis, 18th Century, painted wood panel; 22 x 17-1/4 x 1 inches |
600 - 1,000 |
353 |
| 40 |
Russian Icon: Feasts of Our Lord and Mother of God with Resurrection, Polnitza, painted wood panel; 15 x 12-1/4 x 5/8 inches; illegible writing on verso |
300 - 500 |
353 |
| 41 |
Russian Icon, Peasant Craft Icon: Seven Scenes, ca. 1750-1850, painted wood panel; 12-3/4 x 9-1/2 x 3/4 inches (pictured) |
300 - 500 |
176 |
| 43 |
Russian Icon: Virgin and Child, ''Maesta'' arrangement with saints and prophets, 20th Century, painted wood panel; 14 x 12 x 7/8 inches |
200 - 400 |
147 |
| 45 |
Russian Icon: St. Nicholas the Wonderworker, late 17th Century, painted wood panel; 15-3/4 x 12-1/2 x 3/4 inches; label on verso ''Saint Nicholas / the Wonderworker / Provincial work of late / XVII or Early XVIII Century'' (pictured) |
400 - 800 |
294 |
| 46 |
Russian Icon: St. Vladimir Brought Christianity to Russian, 19th Century, painted wood panel; 15-1/2 x 11-1/2 x 5/8 inches |
250 - 500 |
294 |
| 47 |
Russian Icon: St. Demetrius of Salonica, Great Martyr and Wonderworker, late 18th-early 19th Century, painted wood panel; 15 x 12 x 5/8 inches; note: label on verso says ''St. Demetrius of Salonica / Great Martyr and Wonderworker / Craftsman's Work / XVIII Century or Early XIX Century'' |
300 - 500 |
499 |
| 49 |
Russian Icon, Peasant Craft Icon: Seven Divisions including Our Lady of Kazan, Ascension, Sts. Nicholas and George, and various other saints and bishops, painted wood panel; 14-3/4 x 11-1/4 x 7/8 inches; note: label on verso says ''Peasant Craft Icon / Provincial workshops; possibly of the Vladimir Government; 1750-1850''; label on verso ''U. S. CUSTOMS EXHIBIT Sesqui-Centennial International Exposition / Entry No. 885 / Case No. 1 / Lot No.'' |
200 - 400 |
353 |
| 50 |
Benton Murdoch Spruanc,; Pieta - Friday Evening, 1958, lithograph in colors; 19-3/4 x 25-3/4 inches (sheet); ed. 30; numbered; titled; signed and dated ''ed 30 Pieta-Friday Evening- Spruance 58-'' along the lower margin; corners are torn; tape on recto and verso; slight mat burn |
400 - 600 |
264 |
| 52 |
Julius T. Bloch, Seated Man with Hat, charcoal on paper; 24-3/4 x 19 inches (sheet); signed ''Julius Bloch'' center left recto; matted in four ply rag board; small tear in lower right; tape on verso; pinholes in the corners; slight mat burn |
400 - 600 |
353 |
| 55 |
Moishe Smith, American, La Neve, 1960, etching; 19-3/8 x 26-1/4 inches (sheet); ed. 6/50; titled; numbered; signed and dated ''La Neve 6/50 Moishe '60'' along the lower margin; mold; tape residue on verso; discoloration; mat burn |
100 - 200 |
94 |
| 56 |
Julius T. Bloch, Neopolitan Youth, oil on canvas 24 x 20-1/2 inches; signed ''Julius Bloch'' upper right recto; framed (32-1/4 x 28 inches) (pictured) |
2,000 - 4,000 |
4,994 |
| 57 |
Misch Kohn, Kabuki Samurai, 1954, woodcut; 25-3/4 x 19-1/4 inches (sheet); numbered; titled; signed and dated ''20 imp Kabuki Samurai Misch Kohn 1954'' along the lower margin; water stains; tears along perimeter; blue stains |
200 - 300 |
118 |
| 58 |
John Muench, American, Fisherman's Moon, ca. 1950, lithograph in colors; 17-1/4 x 22 inches (sheet); artist's proof; titled; numbered and signed ''Fisherman's Moon Artist's Proof Muench'' along the lower margin; mat burn; discoloration; tape residue; mold |
100 - 200 |
59 |
| 59 |
Jimmy Ernst, Pursuit, 1951, gouache on paper; 19-3/4 x 14-7/8 inches (sheet); signed and dated ''Jimmy Ernst 51'' lower right recto; slight discoloration (pictured) |
1,500 - 2,500 |
2,233 |
| 60 |
Chaim Gross, Acrobat, 1956, watercolor and graphite on paper; 20 x 13 inches (sheet); signed and dated ''Chaim Gross 56'' lower right recto; taped to backboard |
400 - 600 |
235 |
| 61 |
Gabor Peterdi, Heralds of Awakening, 1952, etching in colors; 22-1/2 x 27-1/2 inches (sheet); ed. 19/35?; Johnson 71; numbered; titled; signed and dated ''19 Heralds of Awakening Peterdi '52'' along the lower margin; foxing throughout; remnants of hinging material |
200 - 300 |
470 |
| 62 |
Edmond Casarella, Rock Image, 1955, screenprint in colors; 20 x 30 inches (image); numbered; titled; signed and dated ''21/24 Rock Image E. Casarella '55'' along the lower margin; framed (31 x 41 inches) |
200 - 300 |
441 |
| 63 |
James Wines, Great Bat, 1958, ink on paper; 26 x 19 inches (sheet); signed and dated ''WINES / S.M. 1958; titled on the verso ''Great Bat''; stamped on verso ''2681''; pinholes; tears along perimeter; large tear upper left into the image; tape on verso |
100 - 200 |
59 |
| 64 |
Misch Kohn, Absolom, 1959, sugar-lift aquatint; 34-1/8 x 25-1/2 inches (sheet); ed. 30; H 217; numbered; titled; signed and dated ''30 imp Absolom Misch Kohn 1959'' along the lower margin; water stain; tape residue along edges |
300 - 500 |
323 |
| 65 |
Gerd Utescher, Ascetic, bronze, 13 x 5 x 5-1/4 inches; 14-1/2 inches high including wood base (pictured) |
800 - 1,200 |
529 |
| 66 |
Martin Jackson, Alone, 1948,gouache on paper; 29 x 21 inches (sight); signed and dated ''Jackson 48'' lower left recto; framed (44-3/4 x 33-1/2 inches) |
600 - 800 |
764 |
| 67 |
Kenneth Callahan, Consuming Elements, oil on canvas; 27 x 44 inches; framed (28 x 45 inches) |
800 - 1,200 |
4,406 |
| 68 |
Helene Stern Rabin, Two Children, 1958, ceramic sculpture; 9 x 9-1/2 x 6-1/2 inches; 10-1/2 inches high including wood base); signed and dated on bottom of base ''Helene Stern Rabin / 1958'' |
200 - 400 |
529 |
| 69 |
Tom Gaughan, Papagena, watercolor on paper; 34 x 24 inches (sight); signed ''gaughan'' lower left recto; titled and signed on the verso of the backing board ''PAPAGENA T. GAUGHAN / 1020 CLINTON ST. / PHILA''; signed on the verso of the frame ''gaughan''; framed (41-1/4 x 31 inches); Exhibition: The Pennsylvania Academy of the Fine Arts; 156th Annual Exhibition of American Water Colors; January 22-February 26; 1961 (label on verso #861) |
300 - 500 |
176 |
| 70 |
Harold Altman, Angels II, ca. 1950, 15 x 21-1/2 on paper etching; artist's proof; numbered; titled and signed ''artist proof Angels II Altman'' along the lower margin; mold; water stains; tape residue |
100 - 200 |
71 |
| 74 |
Rudy Pozzatti, The Harbor, ca. 1950s, ink and watercolor on paper; 23 x 30-3/4 inches (sheet); signed ''Pozzatti 50'' lower left recto; tape residue |
100 - 200 |
82 |
| 75 |
Atkinson Blackburn, Rigging, gouache on paper; 21-1/4 x 30 inches; signed ''Morris Blackburn'' lower left recto; framed (34 x 42 inches); Exhibition: The Pennsylvania Academy of the Fine Arts; 152nd Annual Exhibition of American Water Colors; Prints and Drawings; January 20-February 24; 1957 (label on verso #2252) (pictured) |
1,500 - 2,500 |
2,115 |
| 76 |
Tetsuo Ochikubo, Composition No. 1, 1960, lithograph in colors; 15-1/4 x 20 inches (sheet); ed. 7/11; numbered; signed and dated ''7-11 T. Ochikubo 1960'' lower right margin; tape residue; mold; staining on verso |
100 - 200 |
264 |
| 77 |
Julius T. Bloch, Bust of Black Youth, charcoal on paper; 24-3/4 x 19 inches (sheet); signed ''Julius Bloch'' lower left recto; matted in four ply rag board; mat burn; tape residue on verso |
400 - 600 |
353 |
| 79 |
William Congdon, Nancy, 1954, oil on board; 48 x 54 inches; initialed; titled and dated ''WC / Nancy / 11 2 1954'' lower left recto; framed (49 x 55 inches); label on verso (No. 162) (pictured) |
2,000 - 4,000 |
7,050 |
| 80 |
Misch Kohn, Mountain Climbers, 1951, wood engraving; 33-3/4 x 15-3/8 inches (sheet); ed. 30; H 142; numbered; titled; signed and dated ''30 imp Mountain Climbers Misch Kohn 1950 along the lower margin; water stains; tear in lower right; tape residue |
200 - 300 |
147 |
| 81 |
Gabor Peterdi, Vertical Rock, 1959, etching; 36 x 26-1/4 inches (sheet); ed. 2/45; Johnson 146; numbered; titled; signed and dated ''2-45 Vertical Rock Peterdi '59'' along the lower margin; staple marks along edges; water stains; tape residue; mat burn |
300 - 500 |
646 |
| 82 |
Ben Eisenstat, Manhattan Maporama, gouache on paper; 27 x 36 inches (sight); signed ''Eisenstat'' lower right recto; framed (34-3/4 x 43-3/4 inches) |
600 - 800 |
1,528 |
| 83 |
Leonard Baskin, Head, lithograph; 27 x 34-1/2 inches (sheet); numbered and signed ''80/100 Baskin'' along the lower margin; signed backwards in the plate ''BASKIN''; discoloration along edges |
300 - 500 |
294 |
| 84 |
Irving Amen, Piazza San Marco, Venice, 1956, woodcut in colors; 17-1/2 x 24-1/2 inches (sheet); titled; numbered; signed and dated ''PIAZZA SAN MARCO; VENICE 30/3 Amen '56 along the lower margin; tape in perimeter |
100 - 200 |
176 |
| 85 |
Benton Murdoch Spruance, Lamentations, oil on canvas; initialed ''BS'' lower right recto; 25 x 36 inches; framed (30 x 41 inches) (pictured) |
3,000 - 5,000 |
4,994 |
| 86 |
Helen Siegl, Morning, 1959, color plaster block; 12-1/2 x 24-1/2 inches (sheet); titled; signed and dated ''MORNING Helen Siegl '59'' along the lower margin; large crease in upper left; left edge is torn; mold; tape residue |
25 - 50 |
24 |
| 88 |
Harold Baumbach, Park Bench, oil on canvas; 20 x 26 inches; framed (29-1/2 x 35-1/2 inches); Exhibition: The Pennsylvania Academy of the Fine Arts; 147th Annual Exhibition of American Painting and Sculpture; January 20-February 24; 1952 (label on verso #1232) |
600 - 800 |
529 |
| 89 |
Rita Leff, Dark Form, ca.1950, color woodcut; 18 x 22 inches (sheet); ed. 3/12; titled; numbered and signed ''Dark Form 3/12 Rita Leff'' lower right recto; mold; tape residue; paper is discolored |
100 - 200 |
147 |
| 90 |
Antonio Frasconi, Migration over the Sound, 1958, woodcut in colors; 20-1/2 x 26-3/8 inches (sheet); titled; numbered; signed and dated ''Migration over the Sound artist's proof Frasconi 58'' along the lower margin; discoloration along lower edge of the image |
400 - 600 |
646 |
| 91 |
Romas Viesulas, A Cry, 1959, lithograph; 25-1/2 x 20-3/4 inches (sheet); numbered; titled; signed and dated ''3/15 A CRY Romas Viesulas 59'' along the lower margin; tape residue; discoloration; mat burn |
200 - 300 |
118 |
| 94 |
William Kienbusch, Sound of the Gong Bouy, 1960, gouache on paper; 32 x 45-1/2 inches (sheet); ''Kienbusch 60'' lower left recto; framed (39 x 53-3/4 inches); Provenance: Kraushaar Galleries; New York (label on verso #K 8263); backed with acidic board (pictured) |
2,000 - 3,000 |
4,994 |
| 95 |
Seong Moy, The Night Visitor, 1955, woodcut in colors; 26-3/8 x 19-5/8 inches (sheet); titled; numbered; signed and dated ''The Night Visitor 2/6 S Moy -55''; paper loss; tears along perimeter; tape residue |
100 - 200 |
147 |
| 96 |
Leonard Baskin, Man and Dog, ca. 1955, woodcut; 38-3/8 x 12-3/4 inches (sheet); titled; numbered and signed ''Man and Dog ed. 15. Leonard Baskin'' along the lower margin; mounted to a board; stains; small tear; crimps |
200 - 300 |
294 |
| 97 |
Robert Conover, Black Structure, oil on canvas; 40 x 50 inches; signed and dated ''CONOVER '50'' lower right recto; framed (40-1/2 x 50-1/2 inches) |
600 - 800 |
499 |
| 98 |
Irving Amen, Girl with Flowers, 1956, woodcut; 26 x 17-3/8 inches (sheet); titled; numbered; signed and dated ''Girl with Flowers Trial Proof 4 Amen '56'' along the lower margin; tape residue; water stains |
100 - 200 |
59 |
| 99 |
John Edward Heliker, Italian Landscape, oil on board; 12 x 20-1/2 inches; framed (19-3/4 x 28-1/4 inches); Provenance: Kraushaar Galleries; New York (label on verso #K 6048); Exhibition: The Pennsylvania Academy of the Fine Arts; 148th Annual Exhibition of American Painting and Sculpture; January 25-March 1; 1953 (label on verso #1138) (pictured) |
1,500 - 2,500 |
2,350 |
| 100 |
Josephine Mullen, Pineapple and Decanter, oil on canvas; 21 x 22 inches; signed and dated ''JO MULLEN '52'' lower left recto; framed (29-1/4 x 30-1/2 inches) |
600 - 800 |
558 |
| 101 |
Misch Kohn, Sleeping Soldier, 1951, woodcut; 20-1/2 x 28-1/4 inches (sheet); ed. 30; H 148; numbered; titled; signed and dated ''30 imp Sleeping Soldier Misch Kohn 1951'' along the lower margin; tape residue |
200 - 300 |
470 |
| 102 |
Julius T. Bloch, Seated Black Youth, charcoal on paper; 19-3/4 x 12-3/4 inches (sheet); signed ''Julius Bloch'' lower right recto; matted in four ply rag board; tape on verso (causing stains on the recto); surface dirt |
300 - 500 |
294 |
| 103 |
Leonard Edmondson, Escarpment, ca. 1955, etching in colors; 18-3/8 x 25-1/8 inches (sheet); numbered; titled and signed ''21/50 Escarpment Edmondson'' along the lower margin; tape residue along right and left edges; water stains |
200 - 300 |
176 |
| 104 |
Benton Murdoch Spruance, Manifestation with Wings, 1958, lithograph in colors; 19-3/4 x 25-3/4 inches (sheet); numbered; signed and dated ''ed 30 Spruance 58'' along the lower margin; black tape on margins; tear on left edge; mat burn; tape residue on verso |
300 - 500 |
499 |
| 105 |
Arthur Osver, The Framework, oil on canvas, 42 x 33 inches; signed ''OSVER'' lower left recto; framed (48-1/2 x 39-1/2 inches) (pictured) |
2,000 - 4,000 |
1,175 |
| 107 |
Frank Goodnow, The Market, oil on canvas; 38 x 28 inches; signed ''F. Goodnow'' lower right recto; framed (46-1/2 x 36-3/4 inches); Exhibition: The Pennsylvania Academy of the Fine Arts; 148th Annual Exhibition of American Painting and Sculpture; January 25-March 1; 1953 (label on verso #82) |
400 - 600 |
411 |
| 108 |
George R. Bunker, Spruce Clearing - Ilseford, 1956, woodcut; 21-1/8 x 18 inches (sheet); titled; numbered; signed and dated ''Spruce Clearing - Ilseford 4/25 Bunker 1956'' along the lower margin; mat burn; tape on upper corners; lower right corner is creased |
200 - 300 |
118 |
| 109 |
Worden Day, Prismatic Presences, 1956, hand-colored relief print; 24 x 32-1/2 inches (sheet); ed. 2/7; titled; numbered; signed and dated ''Prismatic Presences-27/7 imp.-Worden Day '56'' along the lower margin; signed in the image ''Worden Day''; tape residue |
400 - 800 |
881 |
| 110 |
Joe Lasker, Little Match Girl, oil on canvas mounted to board; 24 x 36 inches; signed ''Joe Lasker'' lower left recto; framed (33-1/4 x 45-1/4 inches) |
800 - 1,200 |
1,175 |
| 111 |
Rudy Pozzatti, Thicket of Weeds, 1958, ink on paper; 22-1/4 x 30-7/8 inches (sheet); signed and dated ''Pozzatti '58'' lower left recto; water stains and discoloration along the edges |
200 - 300 |
118 |
| 112 |
Gabor Peterdi, Heavy Seas, 1958, etching in colors; 26-1/4 x 34-1/8 inches (sheet); ed. 2/35; Johnson 129; numbered; titled; signed and dated ''2-35 Heavy Seas Peterdi '58'' along the lower margin; tape residue; mat burn; pinholes in the margins |
300 - 500 |
529 |
| 113 |
Mauricio Lasansky, EspaÒa, ca. 1950s, aquatint; 34 x 22-1/2 inches (sheet); ed. 3/80; titled; numbered and signed ''EspaÒa 3/80 Lasansky'' along the lower margin; tape along edges on verso |
400 - 600 |
2,233 |
| 114 |
Howard Cook, The Bridge, oil on canvas; 48 x 30-1/4 inches; signed ''HOWARD COOK.'' lower right recto; written on backing board ''BROOKLYN BRIDGE''; framed (49-1/2 x 32 inches); Provenance: Grand Central Modern; New York (label on verso #D6766); Exhibition: The Pennsylvania Academy of the Fine Arts; 147th Annual Exhibition of American Painting and Sculpture; January 20-February 24; 1952 (label on verso #1347) (pictured) |
3,000 - 5,000 |
32,313 |
| 115 |
Eleanor Coen, Children in the Grass, 1952, lithograph; 10 x 22-3/4 inches (sheet); numbered; titled; signed and dated ''7 imp Children in the Grass Eleanor Coen 52'' along the lower margin; discoloration along left edge; staining; tape on verso |
200 - 300 |
118 |
| 116 |
Max Kahn, Beast on the Shore, ca. 1950, lithograph; 20-1/2 x 26-1/4 inches (sheet); numbered; titled and signed ''4/19 Beast on the Shore Max Kahn'' along the lower margin; water stain upper left |
200 - 300 |
118 |
| 117 |
Gabor Peterdi, Dark Horizon, 1954, etching in colors; 22-1/2 x 28 inches (sheet); ed. 17/35; Johnson 94; numbered; titled; signed and dated ''17-35 Dark Horizon Peterdi '54'' along the lower margin; water stains and tape residue |
200 - 300 |
529 |
| 118 |
Martin Jackson Clock Shop, oil on canvas mounted to board; 25-3/4 x 34 inches; signed ''Martin Jackson'' lower left recto; framed (37-1/2 x 45 inches) (pictured) |
2,000 - 3,000 |
2,585 |
| 119 |
Henry Koerner, Candied Apple, ca. 1954, ink on paper; 12-3/4 x 12-3/8 inches (sheet); titled and signed ''Candied Apple Henry Koerner'' on lower right of the mount; mounted to an acidic board; discoloration; tape residue on verso of board |
200 - 300 |
118 |
| 120 |
May Heiloms, Forever in My Heart, 1952, oil on canvas; 38 x 24 inches; signed and dated ''May Heiloms '52'' lower left recto; framed: (45-1/2 x 31-1/2 inches) |
400 - 600 |
588 |
| 121 |
Arnold Blanch, Florida River, oil on canvas, 30 x 40 inches; signed ''Arnold Blanch'' lower right recto; framed (41-1/4 x 51 inches) (pictured) |
3,000 - 5,000 |
5,875 |
| 122 |
Leon Karp, Portfolio of Five Prints: Head of a Mummer, Mummer and Harlequin, Carnival, Head of Gory and Spanish Lady, 1961, etching and aquatints; 19 x 16-3/4 inches (each sheet); 19-5/8 x 17-1/4 inches (portfolio); numbered ''19/300'' on the portfolio; Printer: Charles Hunsberger; Publisher: Philadelphia Chapter; Artists Equity Association; Inc. (1960) |
200 - 300 |
118 |
| 123 |
Leonard Baskin, The Anatomist, 1952, woodcut; 24 x 15 inches; titled; numbered; signed and dated ''The anatomist 14/15 Leonard Baskin 1952'' along the lower margin; surface dirt |
200 - 300 |
588 |
| 124 |
Misch Kohn, Glass Blower, 1950, wood engraving; 32-1/4 x 14-1/8 inches (sheet); ed. 30; H 143; numbered; titled; signed and dated ''30 imp Glass Blower Misch Kohn 1950'' along the lower margin; tape residue on verso (causing stains on recto); paper loss |
200 - 300 |
470 |
| 125 |
Leon Karp, Adolescence, 1944, oil on canvas under Plexiglas; 40 x 30 inches; signed ''Leon Karp'' lower right recto; framed (51-3/4 x 41-1/4 inches); Exhibition: Woodmere Art Museum ''Leon Karp; The Golden Slippers and the City of Dreams''; March 30-June 29; 2003 (label on verso); two Philadelphia Museum of Art labels on verso; one gives the title ''Seated Boy''; the other gives the title ''Portrait of David as a Boy; 1938'' that is crossed out and then ''Adolescence 1944'' is written in pencil (pictured) |
1,200 - 1,800 |
5,875 |
| 127 |
Jerome Kaplan, Maine, 1958, intaglio; 18 x 23-1/4 inches (sheet); numbered; titled; signed and dated ''Ed. 40 Maine Jerome Kaplan '58'' along the lower margin; stains along lower margin |
200 - 300 |
206 |
| 128 |
Julius T. Bloch, Woman with Hat (Study for ''Girl with a Marigold''), ca. 1944, charcoal on paper; ; 24-3/4 x 19 inches (sheet); signed ''Julius Bloch'' lower left recto; matted in four-ply rag board; mat burn; tape residue on verso |
400 - 600 |
235 |
| 129 |
Leonard Edmondson, Letters Towards Experience, ca. 1955, etching in colors; 18-3/8 x 21-1/2 inches (sheet); numbered; titled and signed ''14/35 Letters Towards Experience Edmondson'' along the lower margin; tape residue along right and left edges; water stains |
200 - 300 |
382 |
| 130 |
Patricia Mangione, Tree, oil on canvas; 24 x 20 inches; signed ''MANGIONE'' lower right recto; framed: (31-1/2 x 27-1/2 inches) |
400 - 600 |
323 |
| 131 |
Larry Day, Dark Laughter, gouache on paper; 37-1/2 x 24-1/2 inches (sight); signed ''Day'' lower left recto; framed (39 x 26 inches); backing board is severely warped; water damage |
400 - 600 |
235 |
| 132 |
Gabor Peterdi, Germination No I, 1951, etching; 22-1/2 x 26-3/4 inches (sheet); artist's proof 5/5; Johnson 54; numbered; titled; signed and dated ''artist's proof 5-5 Germination No I Peterdi 51'' along the lower margin; tape residue |
200 - 300 |
1,998 |
| 133 |
Dennis Byng; Seated Nude; 1957; oil on canvas; 50 x 40 inches; signed and dated ''BYNG 1957'' lower right recto; framed (55-3/4 x 45-3/4 inches) |
600 - 800 |
353 |
| 134 |
Ansei Uchima, Tranquil Garden, 1960, woodcut in colors; 18 x 23-3/4 inches (sheet); ed. 19/50; titled; numbered; signed and dated ''Tranquil Garden 19/50 A. Uchima; 1960'' along the lower margin; mold; discoloration; hinging tape on verso |
100 - 200 |
147 |
| 135 |
Will Barnet, Summer Holiday, 1948, oil on canvas; 34 x 44 inches; signed ''Will Barnet'' upper center recto; inches; framed (42 x 52-1/4 inches); Provenance: Bertha Schaefer Gallery; New York (label on verso); Exhibition: ''Will Barnet: A Timeless World''; The Montclair Art Museum; May 14-August 20; 2000; traveling to Boca Raton Museum of Art; Portland Museum of Art and The Arkansas Art Center (label on verso) (pictured) |
4,000 - 6,000 |
49,938 |
| 136 |
Jean Francksen, Composition, crayon and pastel on paper; 22 x 27-3/4 inches (sheet); signed ''Jean Francksen'' in the plate; mat burn and tape residue; two small tears along top edge; pinholes in corners |
200 - 300 |
147 |
| 138 |
Leonard Baskin, Rooster, ca. 1955, woodcut; 21-3/4 x 14-1/4 inches (sheet); titled; numbered and signed ''Rooster 5/10 Leonard Baskin'' along the lower margin; surface dirt |
200 - 300 |
382 |
| 139 |
George Morrison, Traversal, 1956, oil on canvas; 30 x 43 inches; signed and dated ''GEORGE MORRISON 1956'' lower left recto; framed (32-1/2 x 45-1/2 inches) |
600 - 800 |
14,100 |
| 140 |
Misch Kohn, Tiger, 1949, wood engraving; 21-3/4 x 28 inches (sheet); ed. 21; H 138; numbered; titled; signed and dated ''21 imp Tiger Misch Kohn 1949'' along the lower margin; water stains and tape residue |
200 - 300 |
764 |
| 141 |
Warrington Colescott, Night Rider, 1960, etching in colors; 14-7/8 x 26-1/4 inches (sheet); titled; numbered; signed and dated ''Night Rider 2/20 Warrington Colescott 1960'' along the lower margin; tape residue around entire edge |
300 - 500 |
411 |
| 142 |
Antonio Frasconi, The Sea and the Stars, 1955, woodcut in colors; 23 x 36 inches (sheet); ed. 5/8; numbered; titled; signed and dated ''5/8 The Sea and the Stars Frasconi 55'' along the lower margin; mat burn; tape residue |
400 - 600 |
1,058 |
| 143 |
Leonard Baskin, Self-Portrait as Priest, 1952, woodcut; 25-3/4 x 13 inches (sheet); titled; numbered; signed and dated ''Self-Portrait as a Priest 14/15 Leonard Baskin 1952'' along the lower margin; surface dirt |
200 - 300 |
646 |
| 146 |
Misch Kohn, Warrior Jagatai, 1954, wood engraving; 27-7/8 x 14 inches (sheet); ed. 20; numbered; titled; signed and dated ''20 imp Warrior Jagatai Misch Kohn 1954'' along the lower margin |
200 - 300 |
118 |
| 147 |
Gabor Peterdi, The Big Web, 1951, etching; 22-1/4 x 27 inches (sheet); ed. 3/35; Johnson 51; numbered; titled; signed and dated ''3/35 The Big Web Peterdi '51'' along the lower margin; water stains; tape residue |
200 - 300 |
646 |
| 148 |
Joseph Hirsch, The Game, oil on canvas, signed ''Hirsch'' lower right recto; signed and titled on verso of the stretcher ''J. HIRSCH THE GAME''; 18 x 35-1/2 inches; framed (26 x 44-1/2 inches); Provenance: Galleries of Associated American Artists; New York (label on verso #P 6499); Exhibition: Carnegie Institute; Pittsburgh; The Pennsylvania Academy of the Fine Arts; 148th Annual Exhibition of American Painting and Sculpture; January 25-March 1; 1953 (torn label on verso #1170) (pictured) |
6,000 - 8,000 |
8,225 |
| 149 |
Tang Dynasty (Chinese), Untitled, clay with partial yellow glaze; 9-1/4 inches high |
200 - 300 |
176 |
| 151 |
Artist Unknown, Untitled, 20th century, gouache and gold leaf over pen and ink on paper; 6-1/2 x 4-1/4 inches (sight); framed (9-1/2 x 7-1/2 inches); Provenance: Elden; Istanbul (label on verso); Turkey; SYDA Foundation; South Fallsburg; NY |
50 - 100 |
35 |
| 152 |
(after) Christian Schussele, The Power of the Gospel, 1862, steel engraving (by John Sartain); 17-1/2 x 28 inches (sight); printed in image lower right: C. Schussele / Philada 1862; mounted to an acidic board; stains in center of image; 2 horizontal scratch in upper right quadrant (through the missionarys chin) |
100 - 200 |
59 |
| 153 |
Hubert (Hugh) Mesibov, Untitled, 1937, woodcut; 9-5/8 x 13-1/2 inches (sight); signed and dated lower right recto; framed (20-1/4 x 23-3/4 inches) |
100 - 200 |
264 |
| 154 |
Giovanni Battista Piranesi, Veduta dell interno dell Amfiteatro Flavio detto il Colosseo, etching; 18-3/4 x 28-1/4 inches (sight); in plate lower right recto Cav. Piranesi fece; A 120 and 300- / E05 DH326 in pencil lower right recto; L 30 in pencil lower left verso; St. / 4293 in pencil lower right verso; framed (27-1/8 x 37-7/8); 12 registration holes spaced evenly along left edge of paper; foxing over entire paper surface; vertical fold in center |
200 - 400 |
588 |
| 155 |
Anonymous, Untitled (Battle Scene), oil on canvas (stitched); 47-1/2 x 72-1/4 inches; crackle; repairs; varnish is discolored |
1,500 - 2,500 |
881 |
| 156 |
Richard Segalman, Woman Fixing Hair, 1934, sepia conte crayon on paper; 22 x 13-1/2 inches (sight); signed lower center recto; framed (27-3/4 x 19-1/4 inches); Provenance: Far Gallery; New York (label on verso #30) |
400 - 600 |
235 |
| 157 |
after Kahlil Gibran, Jesus, the Son of Man, 1948, offset lithograph; 5 x 4 inches (image); unknown; framed (10-1/2 x 8-3/4 inches); Provenance: SYDA Foundation; South Fallsburg; NY |
25 - 50 |
71 |
| 160 |
Sophie Marie Arnsburg-Rain, Untitled, watercolor and graphite on paper; 7 x 4-1/2 inches (sight); signed lower left recto; acidic mat (12-1/4 x 9-1/2 inches); pinholes |
200 - 400 |
176 |
| 161 |
Alfredo Zalce, Untitled, 1947, etching in colors; 6-1/4 x 10-1/2 inches (image); signed and dated along lower margin; framed (12-1/2 x 17 inches) |
200 - 400 |
235 |
| 162 |
Alfredo Zalce, Untitled, 1944, pencil on paper; 13-3/4 x 18-1/4 inches (sight); signed and dated lower right recto; framed (14-1/2 x 19 inches) |
800 - 1,200 |
1,116 |
| 163 |
Alfredo Zalce, Untitled, lithograph, 18-1/2 x 24-1/4 inches (sight); 14/20; numbered; signed and dated along lower margin; framed (20 x 26 inches) |
300 - 500 |
264 |
| 164 |
Toussaint Auguste, Market Day, 1951 (July 22), oil on board; 20-1/4 x 24-1/4 inches; signed and dated lower right recto; framed (29-1/2 x 33-1/4 inches); crackle; Provenance: Estate of Millie W. Gardner (pictured) |
1,500 - 3,000 |
1,645 |
| 165 |
Leon Kelly, Bird of Decision, 1949, etching; 3-7/8 x 2-1/2 inches (image); titled; signed and dated along lower margin; framed (13-1/2 x 10-3/4 inches) |
200 - 300 |
118 |
| 166 |
Leon Kelly, Children with a Top, 1944, etching; 3 x 2-1/2 inches (image); titled; signed and dated along lower margin; framed (13-1/2 x 10-3/4 inches) |
200 - 300 |
118 |
| 167 |
Leon Kelly, The Centauress, 1948, pen and ink; 6-1/2 x 9-1/4 inches (sight); signed and dated lower right recto; framed (14 x 16-1/2 inches); Provenance: Newman Galleries; Philadelphia (label on verso) (pictured) |
800 - 1,200 |
470 |
| 168 |
Weston, Untitled, watercolor on paper; 8-1/4 x 10-5/8 inches (sheet); signed lower left recto; framed (15-1/2 x 17-3/4 inches) |
100 - 200 |
82 |
| 169 |
Jean-Louis Forain, Untitled, etching; 6 x 5-5/8 inches (sight); signed in the image; framed (12 x 10 inches); Provenance: Far Gallery; New York (label on verso) |
200 - 300 |
206 |
| 170 |
Adolf Arthur Dehn, Caribbeans, 1961, lithograph in colors; 21 x 17 inches (image); 12/40; numbered; titled; signed and dated along lower margin; framed (29-1/2 x 24-3/4 inches); discoloration |
200 - 300 |
118 |
| 172 |
Adolf Arthur Dehn, Road to Port au Prince, 1952, lithograph; 12 x 15-3/4 inches (image); 10/25; numbered; titled; signed and dated along lower margin; framed (18-3/4 x 22-3/4 inches) |
200 - 300 |
118 |
| 174 |
Seong Moy, Moon Row, oil on Masonite; 6-1/2 x 14 inches (sight); signed lower right recto; framed (8-3/4 x 16 inches); Provenance: the artist (label on verso) |
200 - 300 |
646 |
| 175 |
Seong Moy, The Mystical Planets, oil on canvas; 36 x 30 inches; signed lower right recto; framed (36-1/2 x 31 inches); Provenance: the artist (label on verso #59) |
600 - 800 |
1,998 |
| 176 |
John Wesley Chumley, Two Boys, watercolor on paper; 22 x 21-1/4 inches (sight); signed lower right recto; framed (30-1/2 x 30 inches); Provenance: Hirschl & Adler Galleries; Inc.; New York (label on verso #10445-D) (pictured) |
1,000 - 1,500 |
1,763 |
| 177 |
F. Matsuda, Untitled, oil on canvas; 6-3/4 x 3-3/4 inches; signed lower right recto; framed (13-1/4 x 7-1/2 inches) |
100 - 200 |
176 |
| 178 |
F. Matsuda, Untitled, pastel, gouache and graphite on paper; 14-1/4 x 9-1/4 inches (sight); signed lower left recto; framed (20-1/2 x 15 inches) |
100 - 200 |
94 |
| 179 |
C. Karhu, Untitled, watercolor on paper; 5-1/2 x 3-3/8 inches (sight); signed lower right recto; framed (12-3/4 x 10-3/4 inches) |
200 - 300 |
118 |
| 180 |
Garius, Untitled, pastel and watercolor on paper; 4 x 4-3/8 inches (image); signed lower center recto; framed (13-1/2 x 13-1/2 inches) |
200 - 300 |
235 |
| 183 |
Humbert Howard, Boats at Nyack, oil on canvas; 21 x 31 inches; signed lower right recto; titled on verso; framed (21-1/2 x 31-1/2 inches) (pictured) |
300 - 500 |
470 |
| 184 |
F. Gena, Untitled, etching; 8-1/2 x 6-1/2 inches (image); 14/25; numbered and signed along lower margin; framed (15-1/4 x 13 inches) |
100 - 200 |
59 |
| 185 |
Kathe Kollwitz, Untitled (Head of a Woman), etching; 8-1/2 x 5-1/4 inches (image); signed lower right recto; framed (16-3/4 x 13-1/4 inches) |
300 - 500 |
1,058 |
| 186 |
Benton Murdoch Spruance, Angel with Sword, 1966, lithograph in colors; 17-1/2 x 26 inches (sight); edition of 16; numbered; titled; signed and dated along lower margin; framed (26-1/4 x 34-1/4 inches); Provenance: The Print Club; Philadelphia; PA |
400 - 600 |
353 |
| 187 |
Benton Murdoch Spruance, Annunciation, 1959, lithograph in colors; 16 x 21 inches (image); edition of 25; numbered; titled; signed and dated along lower margin; initialed in the image; framed (25-1/4 x 29 inches); Provenance: The Print Club; Philadelphia; PA (pictured) |
400 - 600 |
705 |
| 188 |
Clifford Wilder, Look Whos Looking, 1957, oil on canvas; 28 x 14-1/4 inches; signed and dated lower right recto; framed (33 1/2 x 19 3/4 inches) |
200 - 400 |
1,528 |
| 189 |
Haines, Untitled, oil on Masonite; 11 x 14-1/2 inches; signed lower right recto; framed (18 x 22 inches) |
200 - 300 |
176 |
| 191 |
Benjamin Kopman, Artist Before Easel, 1963, gouache on paper; 6-5/8 x 5-3/8 inches (sight); signed and dated upper center recto; framed (15 x 13 inches); Provenance: Forum Gallery; New York (label on verso #4236) |
200 - 400 |
206 |
| 192 |
Mary D. Litt, Untitled, watercolor on paper; 14-1/4 x 10-3/4 inches (sight); framed (20-3/4 x 16-3/4 inches) |
200 - 400 |
118 |
| 193 |
Jan M. Ruth, Pastel #1, pastel on paper; 14-5/8 x 11inches (sight); signed lower left recto; framed (19 x 15-3/4 inches) |
200 - 400 |
59 |
| 194 |
Olivier Foss, Untitled, oil on canvas; 21-3/4 x 25-3/4 inches; signed upper right recto; framed (30-1/4 x 34-1/2 inches) (pictured) |
700 - 900 |
411 |
| 195 |
Anonymous, Untitled, watercolor on paper; 8-7/8 x 11-7/8 inches (sight); framed (15-1/2 x 18-1/2 inches) |
100 - 200 |
59 |
| 196 |
Burton Silverman, Woman with Shawl, watercolor on paper; 13 x 8-1/2 inches (sight); signed lower left recto; framed (19-1/2 x 15 inches); Provenance: Far Gallery; New York (label on verso) |
200 - 400 |
764 |
| 198 |
Jack Levine, Careless Love, 1965, etching and aquatint in sepia ink; 17-1/2 x 22 inches (image); Artists Proof; numbered and signed along lower margin; print is adhered to the Plexiglas; Provenance: Dr. and Mrs. Meyer H. Friedman; Trenton; New Jersey; by descent to present owner; Literature: Prescott #35 (pictured) |
400 - 600 |
646 |
| 199 |
Schory, Untitled, graphite on paper; 16-1/2 x 14-1/2 inches (sight); signed lower right recto; framed (23-1/4 x 20-3/4 inches) |
100 - 200 |
106 |
| 201 |
Artist Unknown, Untitled, lithograph; 17 x 10-1/2 inches (image); 18/25; numbered and signed (illegible) along lower margin; framed (30 x 23-1/2 inches) |
100 - 200 |
71 |
| 202 |
Artist Unknown, Untitled, lithograph; 11-1/2 x 14-1/2 inches (sight); signed (illegible) lower right recto; framed (18-1/2 x 21-1/2 inches) |
100 - 200 |
59 |
| 208 |
Norman Kent, Oak Trees, 1951, watercolor; 12-1/2 x 14-3/4 inches (sight); signed and dated lower left recto; framed (19 x 23-1/4 inches; Provenance: Midtown Payson Galleries New York; NY |
200 - 400 |
118 |
| 209 |
Julius Bloch, Negro, lithograph; 13 x 9 inches (image); 14/50; titled; numbered and signed along lower margin; framed (20-1/2 x 15-1/2 inches) |
200 - 300 |
118 |
| 210 |
Noe Canjura, Paysage aux fleurs d'Artichauts, oil on canvas; 18 x 13 inches; signed lower right recto; titled and signed on verso; framed (24-1/2 x 19-1/4 inches) |
400 - 600 |
235 |
| 216 |
Martin Jackson, Reflected Image, oil on canvas mounted to board; 14-1/2 x 18-1/2 inches; signed lower right recto; framed (21 x 25 inches) (pictured) |
700 - 900 |
1,293 |
| 220 |
E. Welsh, Caernarvon, Bay-Wales, 1960, watercolor on paper; 8-3/4 x 12 inches; signed and dated lower right recto; mounted to paper (stained with tears and paper loss) |
200 - 400 |
118 |
| 222 |
John Marin, The Lobster Fisherman, 1948, etching on paper; 8-3/4 x 7 inches (image); titled; signed and dated in the plate; signed in pencil lower right margin; framed (20-3/4 x 18-1/4 inches) (pictured) |
700 - 900 |
1,175 |
| 223 |
Josef Presser, Untitled, pastel and watercolor on paper; 9-5/8 x 7-3/8 inches (sight); signed lower right recto |
300 - 500 |
382 |
| 224 |
Ernest O. Mondorf, Untitled, 1959, oil on canvas; 40 x 22 inches; initialed and dated lower left recto; scratches and paint loss |
100 - 200 |
82 |
| 225 |
Athena, Untitled, 1964, oil on board; 20-1/2 x 11-1/2 inches; signed and dated lower right recto |
50 - 100 |
29 |
| 226 |
Karel Appel, Untitled, lithograph in five colors; 11-1/4 x 15 inches (sheet); 10/40; signed and numbered lower left recto; framed (16 x 19-1/2 inches) |
300 - 500 |
294 |
| 227 |
Karel Appel, Pigeon House, 1971, lithograph in colors; 27-1/2 x 20-1/2 inches (image); 65/100; numbered; signed and dated lower right recto; framed (41 x 28 inches); Provenance: Weil Brothers; Miami Beach; FL |
400 - 600 |
470 |
| 228 |
Karel Appel, Country Boy at Rest, ca. 1970, lithograph in colors; 27 X 19-1/4 inches (sight); 36/120; numbered and signed along lower margin; framed (34-1/2 x 19 inches); Provenance: Weil Brothers Gallery; Miami Beach; FL (pictured) |
400 - 600 |
441 |
| 229 |
Richard Anuskiewicz, Untitled, screenprint in colors; 12 x 14 inches (sheet); signed lower right recto |
200 - 300 |
235 |
| 230 |
Richard Anuszkiewicz, Inward Eye, 1970, screenprint in colors; 25-3/4 x 19-3/4 inches (sheet); 60/100; signed; numbered and dated lower right recto; framed (34-1/2 x 28-1/2 inches); Provenance: Marian Locks Gallery; Philadelphia; PA |
200 - 300 |
294 |
| 231 |
Vincenta M. Aviles, Untitled, 1970, screenprint in colors; 13-3/4 x 17 inches (image); 7/15; numbered; signed and dated along lower margin; framed (20-3/4 x 23-1/2 inches); Provenance: L.C. Rice; New York; NY |
200 - 300 |
118 |
| 232 |
Vincenta M. Aviles, Untitled, 1970, screenprint in colors; 16 x 18-3/4 inches (sight); 3/15; numbered; signed and dated lower recto; framed (23-1/4 x 25-3/4 inches) |
200 - 300 |
118 |
| 234 |
Mino Argento, Labyrinthus II, 1978, oil and acrylic on canvas; 52-1/4 x 68 inches; none; titled; signed and dated on verso; framed (53-3/4 x 69-1/2 inches); Provenance: Betty Parsons Gallery; New York; NY (pictured) |
1,000 - 2,000 |
588 |
| 235 |
Josef Albers, Untitled, lithograph in colors; 16 x 16 inches (image); framed (27-1/4 x 27-1/4 inches); tear in upper right recto slightly into the image; pigment loss in center |
100 - 200 |
71 |
| 236 |
Joe Andoe, Untitled (1 of 5), 1990, etching and aquatint; 17-1/4 x 21-3/4 inches (sheet); 12/50; numbered; signed and dated lower recto; framed (22-1/4 x 26-3/4); Provenance: Pace Editions Inc. New York; NY |
400 - 600 |
323 |
| 237 |
Joe Andoe, Untitled (2 of 5), 1990, etching and aquatint; 17-1/4 x 21-3/4 inches (sheet); 12/50; numbered; signed and dated lower recto; framed (22-1/4 x 26-3/4 inches); Provenance: Pace Editions Inc; New York; NY |
400 - 600 |
264 |
| 238 |
Joe Andoe, Untitled (3 of 5), 1990, etching and aquatint; 17-1/4 x 21-3/4 inches (sheet); 12/50; numbered; signed and dated lower recto; framed (22-1/4 x 26-3/4 inches); Provenance: Pace Editions; Inc; New York; NY |
400 - 600 |
235 |
| 239 |
Joe Andoe, Untitled (4 of 5), 1990, etching and aquatint; 17-1/4 x 21-3/4 inches (sheet); 12/50; numbered; signed and dated lower recto; framed (22-1/4 x 26-3/4 inches); Provenance: Pace Editions Inc; New York; NY |
400 - 600 |
235 |
| 240 |
Joe Andoe, Untitled (5 of 5), 1990, etching and aquatint; 17-1/4 x 21-3/4 inches (sheet); 12/50; numbered; signed and dated lower recto; framed (22-1/4 x 21-3/4 inches); Provenance: Pace Editions Inc; New York; NY |
400 - 600 |
264 |
| 241 |
James Aponovich, Apples, 1989, lithograph; 21-3/4 x 26 inches (image); 74/100; numbered; titled and signed along lower margin; framed (32-1/2 x 36-1/4 inches); Provenance: Mary Ryan Gallery; New York; NY |
500 - 700 |
294 |
| 242 |
Herbert Bayer, At Dusk, 1974, screenprint in colors; 30 x 30 inches (image); 13/50; signed lower right recto; framed (36 x 36 inches); Provenance: Marian Locks Gallery; Philadelphia; PA |
500 - 700 |
294 |
| 243 |
Herbert Bayer, Two Sinking Spheres, 1973, screenprint in colors; 32 x 32 inches (sheet); 14/50; signed lower right recto; framed (38-1/4 x 38-1/4 inches); Provenance: Marlborough Graphics Inc; New York; NY |
500 - 700 |
294 |
| 244 |
Herbert Bayer, Ordered Amassment, pile wool tapestry; 78 x 78 inches; edition of 15; Provenance: Modern Master Tapestries; Inc.; New York; Edward Fields (#109946) (pictured) |
2,000 - 3,000 |
1,763 |
| 245 |
Herbert Bayer, Four Warped Corners, 1973, screenprint in colors; 30 x 30 inches (image); 39/50; numbered and signed lower recto; framed (33-1/2 x 33-1/2 inches) |
500 - 700 |
294 |
| 246 |
Herbert Bayer, Divided into Sections, 1973, screenprint in colors; 30 x 30 inches (image); 31/50; numbered and signed lower recto; framed (33-1/2 x 33-1/2 inches); Provenance: Marian Locks Gallery; Philadelphia; PA |
500 - 700 |
353 |
| 247 |
Herbert Bayer, Weightless Blue, 1975, screenprint in colors; 30 x 30 inches (image); 6/50; numbered and signed lower recto; framed (33-1/2 x 33-1/2 inches) |
500 - 700 |
294 |
| 248 |
Herbert Bayer, Green Star, pile wool tapestry, 66 x 66 inches; edition of 15; Provenance: Modern Master Tapestries; Inc.; New York (pictured) |
2,000 - 3,000 |
1,293 |
| 249 |
Pierre Ambrogiani, Landscape, lithograph in colors; 18-1/2 x 22 inches (sheet); 63/100; numbered and signed along lower margin; framed (25-1/2 x 29 inches); Provenance: Weil Brothers Gallery; Miami Beach; FL |
200 - 300 |
118 |
| 255 |
Mary Bulstra, Autumn in Philadelphia, 1975, lithograph; 19-3/4 x 19 inches (sight); 17/17; titled; numbered; signed and dated along lower margin; framed (28-1/4 x 26-1/4 inches); Provenance: The Print Club; Philadelphia; PA |
200 - 300 |
118 |
| 258 |
Marilyn Baum, Light Evocation I, 1979, mixed media on paper; 21-3/4 x 29-3/4 inches (sheet); signed and dated center recto; framed (24 x 32 inches) |
200 - 300 |
118 |
| 259 |
Eduardo Vasquez Baeza, En Negro, 1980, acrylic on canvas; 31 x 31 inches; framed (32 x 32 inches) |
400 - 600 |
235 |
| 260 |
Moe A. Brooker, Gift of the Spirit, 1987, four part screenprint in colors; 30 x 24 inches (sheet) each; 60 x 48 inches (overall); 10/32; numbered; titled; signed and dated along lower margin; framed (68-1/4 x 52-1/4 inches) (pictured) |
800 - 1,000 |
705 |
| 261 |
Moe A. Brooker, Oop de Doo, 1985, lithograph in colors; 12 x 9 inches (image); 28/100; numbered; titled; signed and dated along lower margin; framed (24-1/2 x 19-1/4 inches); Provenance: Barbara Wallace & Associates; Philadelphia; PA |
200 - 400 |
176 |
| 263 |
John Bellingheri, Fandango, 1989, lithograph; 14-3/4 x 12 inches (image); 69/100; titled; numbered; signed and dated along lower margin; framed (23 x 31 inches); Provenance: Ronbie Editions; Inc; Yardley; PA |
200 - 300 |
176 |
| 264 |
Anthony (Tony) Berlant, August 7, 1944-The Black King, 1990, found metal on plywood with steel brads collage; 18-3/4 x 20 inches; titled upper left verso; Provenance: L.A. Louver; Inc; Venice; CA (label on verso #79-1990) (pictured) |
2,000 - 4,000 |
1,528 |
| 266 |
Beverly Buchanan, Ms. Mary Lou Furcrons House (detail with shoes), 1989, Type C color print; 23-1/2 x 29-1/2 inches (sight); signed lower right recto; framed (35-1/4 x 36-1/4 inches); Provenance: Berenice Steinbaum Gallery; New York; NY (label on verso #BB088) |
600 - 900 |
353 |
| 267 |
Beverly Buchanan, Ms. Mary Lou Furcrons House (sitting), 1989, Type C color print; 34 x 23 inches (sight); signed lower left recto; framed (30 x 41 inches); Provenance: Berenice Steinbaum Gallery; New York; NY (label on verso #BB148) |
600 - 900 |
646 |
| 269 |
Phoebe Beasley, Red Moon Rising, 1989, collage on canvas; 40 x 30 inches; signed lower left recto; Provenance: Cheryl Sutton Art Dealer; Philadelphia; PA |
600 - 900 |
353 |
| 273 |
William Barnett, Jamaican Landscape, oil on canvas; 50 x 44 inches; signed lower right recto; framed (51 x 45 inches); Provenance: Gross McCleaf Gallery; Philadelphia; PA (pictured) |
1,000 - 2,000 |
881 |
| 274 |
Rene Carcan, Untitled, lithograph in colors; 19-1/4 x 23-1/4 inches (image); 49/95; numbered and signed along lower margin; framed (28 x 31-1/2 inches); Provenance: Spectrum Editions; Inc; New York; NY |
200 - 300 |
411 |
| 278 |
Warrington Colescott, History of Printmaking Ben Franklin at Versailles, 1976, intaglio; 13-3/4 x 19-3/4 inches (image); 39/50; numbered; titled; signed and dated along lower margin; framed (22 x 28-1/4 inches); Provenance: The Print Club; Philadelphia; PA |
200 - 300 |
294 |
| 279 |
Christo & Jeanne-Claude, Wrapped Armchair (Project: Light), 1977, lithograph in colors; 21-3/4 x 27-3/4 inches (sheet); 89/100; signed and numbered lower right recto; framed (30-1/4 x 36-1/4 inches); Publisher: Abrams Original Editions (pictured) |
1,500 - 2,500 |
2,115 |
| 281 |
Guillaume (Cornelis Van Beverloo) Corneille, Un Reve Vegetal, 1970, lithograph in colors; 19-3/4 x 25-3/4 inches (sheet); 70/100; numbered; titled; signed and dated along lower margin; framed (25-3/4 x 19-3/4 inches); Provenance: Van Straaten Gallery; Chicago; IL |
400 - 600 |
264 |
| 282 |
Pierre Clerk, Portfolio 73 No. 2, 1971, screenprint; 23 x 23 inches (image); 52/60; numbered; signed and dated along lower margin; framed (32-1/4 x 32-1/4 inches); Provenance: Weil Brothers Gallery; Miami Beach; FL |
200 - 300 |
118 |
| 285 |
Jose Luis Cuevas, Remanentes de Gueora, 1972, lithograph in colors; 22 x 30 inches (sheet); 85/100; numbered; signed and dated lower center recto; framed (25-1/4 x 36-3/4 inches) |
400 - 600 |
353 |
| 286 |
Gordon Cook, Untitled (Near Terminous), 1984, etching in colors; 11-3/8 x 12 inches (image); 28/50; numbered; signed and dated along lower margin; framed (25-1/2 x 25 inches); Provenance: Betsy Senior Gallery; New York; NY |
400 - 600 |
235 |
| 289 |
Donald Judd, Untitled, aquatint; 35-1/4 x 24-1/2 inches (plate); 40-1/2 x 29-3/4 inches (sheet); 26/175; numbered and signed along lower margin; Styria Studios blind stamp (pictured) |
800 - 1,200 |
823 |
| 290 |
Bruce Dorny, Egbelet, screenprint in colors; 23-1/4 x 19-1/4 inches (image); 6/50; numbered; titled and signed along lower margin; framed (31-1/4 x 26-1/2 inches); Provenance: Weil Brothers Gallery; Miami Beach; FL |
200 - 300 |
118 |
| 295 |
Roy Dean De Forest, Untitled, 1978, lithograph in colors; 22 x 30 inches (sheet); 28/40; numbered and signed lower recto; framed (23-3/4 x 31 inches); Provenance: Tamarind Institute; Albuquerque; NM |
400 - 600 |
646 |
| 297 |
Carroll Dunham, Wave, 1988-1989, color etching (intaglio); 40-1/2 X 60-1/4 inches (image); 53 x 73-1/2 inches (sheet); 40/43; signed; numbered and dated along lower margin; framed (45-1/2 x 65-1/4 inches); Publisher: ULAE; Provenance: Dolan/Maxwell; Philadelphia; PA (label on verso #P4383) (pictured) |
1,500 - 2,500 |
2,938 |
| 298 |
T. G. Deleon, Palladio 3, 1973, lithograph; 20-1/4 x 32 inches (sight); signed and dated lower right and upper left recto; framed (28-1/4 x 40 inches) |
200 - 300 |
118 |
| 299 |
Murray Dessner, Untitled, acrylic on canvas; 69 x 88-1/4 inches; framed (69-3/4 x 89 inches); Provenance: Marian Locks Gallery; Philadelphia; PA |
800 - 1,200 |
529 |
| 300 |
Murray Dessner; Untitled; 1975; acrylic on canvas; 72 x 90-1/4 inches; initialed and dated on the verso; framed (72-1/2 x 90-3/4 inches); Provenance: Marian Locks Gallery; Philadelphia; PA |
800 - 1,200 |
705 |
| 301 |
Frank Depascale, View from Croton Dam, 1989, oil on canvas; 56 x 48 inches; signed lower right recto; signed and titled on verso; framed (57 x 49inches); Provenance: Rosenfeld Gallery; Philadelphia |
600 - 900 |
353 |
| 302 |
Victoria Davila, Preening Doves I, 1986, fiberglass reinforced hydrocal; 15 x 41 x 10 inches; signed and dated on the interior; Provenance: Marian Locks Gallery; Philadelphia; PA |
600 - 900 |
353 |
| 303 |
Victoria Davila, Preening Doves II, 1988, fiberglass reinforced hydrocal; 15 x 41 x 10 inches; signed and dated on the interior; Provenance: Marian Locks Gallery; Philadelphia; PA; piece chipped from doves tail |
600 - 900 |
470 |
| 304 |
Helen Escobedo, Untitled, bronze; 26-1/2 x 16 x 9 inches; signed; broke away from square base (pictured) |
3,000 - 5,000 |
1,763 |
| 305 |
Jill Enfield, White Room, 1980, silver gelatin emulsion print; 8 x 12 inches (sight); 30/100; numbered; signed and dated along window of mat; framed (18 x 22 inches); Provenance: Sande Webster Gallery; Philadelphia; PA |
200 - 300 |
147 |
| 309 |
Joann Gail Doneen, Untitled, 1991, oil on canvas; 46 x 48 inches; signed lower right recto; signed on verso; framed (47 x 49 inches); Provenance: PA Academy of Fine Arts; Philadelphia; PA |
400 - 600 |
470 |
| 310 |
Jimmy Ernst, Urban Totem,1971, screenprint in colors; 35-1/4 x 25-1/2 inches (sight); 67/150; numbered; signed and dated along lower margin; framed (42-1/2 x 33 inches); Provenance: NY Graphic Society; Greenwich; CT |
300 - 500 |
206 |
| 311 |
Pedro Friedeberg, Ziggurats and Nogurats, 1980, hand-colored cast paper; 32-1/2 x 30 inches (sheet); P.A. VI/X; numbered and signed lower recto; framed (38 x 30 inches) |
400 - 600 |
294 |
| 312 |
Sam Francis, Untitled, 1968, lithograph in colors; 29 x 21 inches (sheet); 45/144; signed and numbered lower right recto; framed (35-1/4 x 28-1/2 inches) |
800 - 1,200 |
1,116 |
| 313 |
Sam Francis, Untitled (SF #220), 1976, lithograph in colors; 30 x 23 inches (sheet); 4/20; numbered and signed lower recto; framed (31-1/4 x 23-1/4 inches) (pictured) |
1,000 - 1,500 |
1,763 |
| 314 |
Fitreman, Le Petit Prince, etching in colors; 19 x 19 inches (sight); 54/80; numbered; titled and signed along lower margin; framed (27 x 26-1/4 inches); Provenance: Weil Brothers Gallery; Miami Beach; FL |
200 - 300 |
118 |
| 315 |
Avery Faulkner, Concourse, 1979, oil, graphite, crayon and charcoal on paper; 26 x 40 inches (sheet); initialed and dated lower center recto; framed (36 x 50 inches); Provenance: Joyce Hunsaker & Associates; Los Angeles; CA |
400 - 600 |
235 |
| 316 |
Raphael Ferrer, Oro, 1976, embossed etching with gold intaglio; 15 x 11 inches (sheet); 83/100; numbered and signed lower recto; Provenance: Institute of Contemporary Art; University of Pennsylvania (1976) |
200 - 300 |
206 |
| 317 |
Rafael Ferrer, Istoria de la Isla III, Tam #: 74-189, 1974, lithograph in colors; 20 x 27inches (sheet); V/VII; numbered and signed along lower margin; framed (21-1/4 x 28-1/4 inches); Provenance: Tamarind Institute; Albuquerque; NM |
200 - 300 |
294 |
| 318 |
Manuel Felqueras, Esculbura Multiple Signo Connexo, polychromed painted steel; 10 x 12 x 13 inches; 1/10; signed and numbered on the back |
500 - 700 |
881 |
| 322 |
Jesus (Chucho Reyes) Reyes Ferreira, Cock Rooster, acrylic on paper; 29-1/2 x 19-1/4 inches (sheet); signed lower right recto; framed (36 x 25-3/4 inches) |
800 - 1,200 |
499 |
| 323 |
Jesus (Chucho Reyes) Reyes Ferreira, Cock Rooster, 1980, acrylic on paper; 29-1/2 x 19-1/4 inches (sheet); signed lower center rectoframed (36 x 25-3/4 inches) |
800 - 1,200 |
470 |
| 325 |
Donald John Forsythe, The Final Hymn, 1988, collage on hymn pages (gesso, gouache, gold leaf, acrylic); 12 x 20 inches (sheet); framed (23-1/4 x 30-1/4 inches); Provenance: Dolan Maxwell Gallery; Philadelphia; PA (label on verso #P3008) |
300 - 500 |
176 |
| 327 |
Nancy Graves, Medusa, 1989, eight color screenprint; 30 x 30 inches (sheet); 99/170; signed; dated and numbered along lower margin; Provenance: Institute of Contemporary Art; Philadelphia |
400 - 600 |
235 |
| 328 |
Nancy Graves, Lunar Landscape VII: Sabine D Region of the Moon, Lunar Orbiter Site IIP-6 Southwest Mare Tranquilitatis, 1972, lithograph on Arches Cover white paper; 22-1/2 x 30 inches (sheet); 86/100; titled and numbered lower left recto; signed and dated lower right recto; framed (23-3/4 x 31-1/4 inches); Printer: Landfall Press; Chicago; IL; Publisher: Pace Editions Inc; New York; NY; Provenance: Carl Solway Gallery; Cincinnati |
400 - 600 |
235 |
| 329 |
Nancy Graves, Lunar Landscape V, Montes Apenninus Region of the Moon, 1972, lithograph on Arches Cover white paper; 22-1/2 x 30 inches (sheet); 86/100; titled and numbered lower left recto; signed and dated lower right recto; framed (23-3/4 x 31-1/4 inches); Printer: Landfall Press; Chicago; IL; Publisher: Pace Editions Inc; New York; NY; Provenance: Carl Solway Gallery; Cincinnati |
400 - 600 |
235 |
| 330 |
Adolph Gottlieb, Blue Night, 1970, screenprint in colors; 31 x 24 inches (sheet); 133/200; signed; dated and numbered along lower margin; framed (33-1/2 x 27-1/2 inches); Provenance: Marlborough Graphics; New York |
600 - 900 |
1,880 |
| 332 |
Fernando Gonzalez-Gortazar, Cubo, 1981, painted wood with steel rods; 18 x 11 x 11 inches; Literature: Raquel Tibol; FERNANDO GONZALEZ GORTAZAR. Art e Espacio Urbe Communidad. ColecciÛn de Arte; 33. MÈx.; UNAM; 1977; 157p.; black and white and color illustration |
800 - 1,200 |
588 |
| 334 |
Mathias Goeritz, Esculbura-Costodia, 1980, bronze and gold plate; 50 x 29 x 5 inches (pictured) |
2,000 - 3,000 |
14,100 |
| 338 |
Gunther Gerzso, Untitled, screenprint in colors; 30 x 20 inches (sheet); P/A; numbered and signed lower right recto; framed (34 -3/4 x 27 inches) |
600 - 900 |
705 |
| 339 |
Sam Gilliam, For Xavier, 1990, screenprint in colors; 31-1/2 x 39-1/2 inches (sight); 69/99; numbered; titled; signed and dated lower recto; framed (41-1/4 x 49 inches); Provenance: Cheryl Sutton Art Dealer; Philadelphia; PA |
600 - 800 |
823 |
| 340 |
Patrick Heron, Blue and Deep Violet with Orange, 1970, screenprint in colors; 23-1/2 x 31 inches (sheet); 44/100; numbered; signed and dated along lower margin; framed (33-1/2 x 40-1/2 inches) (pictured) |
1,000 - 2,000 |
3,055 |
| 341 |
Charles Hinman, Untitled from Piece Portfolio II, 1973, screenprint in colors; 32-1/2 x 22-1/2 inches (sheet); 17/90; numbered lower left recto; signed lower right recto; framed (39-1/2 x 29-1/4 inches); Provenance: The Print Club; Philadelphia; PA |
300 - 500 |
176 |
| 342 |
Dame Barbara Hepworth, Sun and Moon, 1969, lithograph in colors; 32 x 23 inches (sheet); 29/30; numbered and signed lower recto; framed (35 x 26 inches); Provenance: Van Straaten Gallery; Chicago; IL |
800 - 1,200 |
1,293 |
| 343 |
Howard Hodgkin, In a French Restaurant, 1982, screenprint in colors; 46-3/4 x 56 inches (sight); 500; signed Hodgkin lower right recto; framed (48 x 58 inches); Provenance: Petersburg Press Inc; New York; NY |
600 - 800 |
441 |
| 344 |
James Havard, Peyote Meeting, 1983, lithograph in colors; 35-1/2 x 24 inches (image); 24/40; numbered; titled; signed and dated along lower margin; framed (45-1/4 x 32-1/2 inches); Provenance: Tamarind Institute; Marian Locks Gallery; Philadelphia; PA (label on verso) |
400 - 600 |
764 |
| 345 |
James Havard, Fallen Eagle, 1983, lithograph in colors; 40 x 30 inches (sheet); 5/50; numbered; signed and dated upper right corner; framed (42 x 32 inches); Provenance: Tamarind Institute; Marian Locks Gallery; Philadelphia; PA |
400 - 600 |
764 |
| 346 |
James Havard, New Mexico Fossil Bed, 1990, mixed media (acrylic; cloth; and collage on canvas); 40 x 46 inches; titled lower center recto; signed and dated upper left recto; framed (40-3/4 x 46-1/2 inches); Provenance: Marian Locks Gallery; Philadelphia; PA (pictured) |
3,000 - 4,000 |
4,700 |
| 347 |
Shoichi Hasegawa, Pleine lune, 1972, etching in colors; 24-3/4 x 20-1/2 inches (sight); e.a.; numbered; titled and signed along lower margin; framed (32-1/4 x 28 inches); Provenance: Weil Brothers; Miami Beach; FL |
300 - 500 |
353 |
| 349 |
Channa Horwitz, Composition IX, 1977, pen and ink on paper; 23-1/2 x 18 inches (sheet); titled; signed and dated upper right recto; framed (31-3/4 x 24-3/4 inches) |
400 - 600 |
235 |
| 351 |
Orit Hofshi, The Charred Remains of Mt. Carmel, 1990, woodcut; 71 x 99 inches (sight); 1/4; numbered; signed and dated lower recto; framed (73 x 101 inches); Provenance: Pennsylvania Academy of Fine Arts; Philadelphia; PA |
600 - 900 |
353 |
| 354 |
Stanley William Hayter, Le Pendu, 1983, intaglio in colors; 22-1/2 x 20 inches; 42/50; numbered; titled; signed and dated along lower margin; framed (37-3/4 x 30 inches); Provenance: Dolan Maxwell Gallery; Philadelphia; PA |
800 - 1,200 |
470 |
| 355 |
Stanley William Hayter, Hex, 1981, engraving; 19-1/4 x 19-1/4 inches (image); 12/50; numbered; titled; signed and dated along lower margin; framed (33-1/2 x 29-1/2 inches); Dolan/Maxwell Gallery; Philadelphia; PA |
800 - 1,200 |
529 |
| 356 |
Stanley William Hayter, Downward, 1988, intaglio; 15-1/2 x 11-3/4 inches (image); 6/50; numbered; titled; signed and dated along lower margin; framed (28-1/4 x 24-3/4 inches); Provenance: Dolan Maxwell Gallery; Philadelphia; PA |
600 - 800 |
411 |
| 357 |
David Hockney, Untitled, pen and ink on paper; 14 x 11 inches (sheet) |
1,000 - 1,500 |
1,528 |
| 358 |
David Hockney, Untitled, pen and ink on paper; 14 x 11 inches (sheet) |
1,000 - 1,500 |
1,410 |
| 359 |
David Hockney, A French Triple Bill, 1982, screenprint in colors; 80 x 40 inches (sight); edition 500; framed (81-1/2 x 41-1/2 inches); Printer: Brand X; Provenance: Petersburg Press Inc; New York; NY (pictured) |
1,500 - 2,500 |
1,116 |
| 362 |
Elizabeth Jean Hauser, Navigation II, 1991, mixed media (acrylic on paper mounted on canvas); 41-3/4 x 116-1/2 inches; signed; titled and dated on verso; Provenance: Pennsylvania Academy of Fine Arts; Philadelphia; PA |
400 - 600 |
382 |
| 363 |
Bryan Hunt, Monolith Point 3, 1989, watercolor; graphite and oil stick on paper); 15 x 11-1/4 inches (sheet); dated and signed lower recto; framed (25 x 21-1/4 inches); Provenance: Blum Helman Gallery; Inc; New York; NY (label on verso #BHLA751 BH#189.059) (pictured) |
1,000 - 2,000 |
588 |
| 364 |
Laura Hutton, Cycle, 1995, watercolor on paper; 12 x 12 inches (sheet) ; signed and dated lower right recto; framed (17-1/2 x 17-1/2 inches); pinholes along the edge |
200 - 300 |
118 |
| 366 |
Shoichi Ida, Opening and Closing, Blue and Orange No. 4, 1987, intaglio and chine colle; 22 x 29-1/2 inches (sheet); a/p 2/10; numbered; titled; signed and dated along lower margin; framed (26 x 33-1/2 inches); Provenance: Irene Drori Graphics; Los Angeles; CA; Betsy Senior Gallery; New York; NY |
400 - 600 |
382 |
| 367 |
Brian Shure, Via dei Pettinari, 1995, oil on canvas; 46-1/4 x 30-1/4 inches; signed and dated on upper right verso; framed (42 x 48 inches); Provenance: Katharina Rich Perlow Gallery; New York (label on verso); Albright-Knox Art Gallery; Buffalo; NY (label on verso) |
200 - 400 |
529 |
| 368 |
Margaret Pomfret, Book II, 1995, acrylic on linen; 36 x 48 inches; numbered; dated and signed on verso; Provenance: Albright-Knox Art Gallery; Buffalo; NY (label on verso) |
200 - 400 |
147 |
| 369 |
Paul Jenkins, Suping Circle, 1973, lithograph in colors; 20-1/2 x 26 inches (sheet); edition ea; signed; numbered and dated lower right recto; framed (27 x 32-1/2 inches); Provenance: Van Straaten Gallery; Chicago; IL |
200 - 400 |
235 |
| 370 |
Joe Jones, Beach Scene II, lithograph in colors; 9-3/4 x 33-1/2 inches (sight); 89/100; numbered; titled; and signed along lower margin; framed (15-1/4 x 39-1/4 inches); Provenance: The Print Club; Philadelphia; PA |
200 - 400 |
235 |
| 371 |
Gyorgy Kepes, Untitled #11, 1977, silver gelatin emulsion print; 20 x 16 inches (sheet); unique; signed and dated verso; framed (27-1/2 x 22-3/4 inches) (pictured) |
2,000 - 4,000 |
1,175 |
| 373 |
Nicholas Krushenick, Iron Butterfly, 1968, screenprint in colors; 35-1/2 x 27-1/2 inches (image); 69/125; signed and dated lower right verso; silver metal frame (45-1/2 x 27-1/2 inches) |
200 - 400 |
382 |
| 374 |
David T. Kessler, Water Spiral, 1980, lithograph in colors; 29-1/2 x 40-1/4 inches (sheet); 53/75; numbered; titled; signed and dated along lower margin; framed (31-1/2 x 42-1/2 inches) |
200 - 300 |
118 |
| 375 |
Robert Kipness, Far Fields III, lithograph; 18 x 18-1/2 inches (sheet); 37/120; numbered; titled and signed along lower margin; framed (26 x 25-1/2 inches) |
400 - 600 |
353 |
| 382 |
Duck-Jun Kwak, Untitled, 1990, oil on canvas; 29 x 24 inches; signed and dated lower right recto; framed (34-1/2 x 30-1/4 inches) (pictured) |
1,000 - 2,000 |
764 |
| 383 |
Richard Paul Lohse, Movement Around an Axis, 1971, screenprint in colors; 25 x 24 inches (sight); dated and signed along lower margin; framed (33-1/2 x 32-1/2 inches); Provenance: Weil Brothers Gallery; Miami Beach; FL |
200 - 300 |
118 |
| 384 |
Roberto Lauro, Composition, 1972, screenprint in colors; 23 x 17-1/2 inches (sight); 4/50; numbered; signed and dated along lower margin; framed (31-1/4 x 25-1/2 inches) |
200 - 300 |
235 |
| 385 |
Alexander Liberman, Ischia 2, 1978, etching and aquatint in colors; 38-1/2 x 28-1/4 inches (sheet); 31/39; numbered; signed and dated lower recto; framed (40 x 29 inches) |
400 - 600 |
235 |
| 386 |
Alexander Liberman, Untitled, 1978, etching and aquatint in colors; 38-1/2 x 27-1/4 inches (sheet); 37/40; numbered; signed and dated lower recto; framed (40-1/4 x 29 inches) |
400 - 600 |
235 |
| 388 |
David Ligare, SDX #41, 1974, pencil, acrylic, aluminum powder on paper; 20-3/4 x 29 inches (image); framed (28-3/4 x 36-1/2 inches); Provenance: Andrew Crispo Gallery; Inc.; New York; NY (label on verso #74DL-15) |
1,000 - 2,000 |
1,998 |
| 389 |
David Ligare, SDX #50, 1975, acrylic; graphite; aluminum powder on canvas; 60 x 107-1/4 inches; signed and dated upper center verso; framed (60-3/4 x 108 inches); Provenance: Esther Bear (pictured) |
2,000 - 4,000 |
1,175 |
| 392 |
Leonard Lehrer, St. Basils Cathedral, 1974, lithograph; 27 x 36 inches (sight); 8/40; numbered; titled; signed and dated along upper margin; framed (27-1/4 x 36-1/4 inches); Provenance: Marian Locks Gallery; Philadelphia; PA |
300 - 500 |
176 |
| 393 |
Leonard Lehrer, Twenty-two Gardens, 1973, lithograph; 16-1/2 x 21 inches (sight); 8/30; numbered; titled; signed and dated along lower margin; framed (24 x 27 inches); Provenance: Marian Locks Gallery; Philadelphia; PA |
200 - 300 |
118 |
| 394 |
Leonard Lehrer, Archangelskaye Park, 1973, oil on canvas; 48-1/4 x 72 inches; signed and dated lower right recto; framed (50 x 73 inches); Provenance: Marian Locks Gallery; Philadelphia; PA (pictured) |
1,000 - 2,000 |
588 |
| 396 |
Jimmy C. Lueders, Composition III, acrylic on canvas; 30 x 32; signed lower left recto; framed (30-3/4 x 33 inches); Provenance: Gallery 1015; Philadelphia; PA |
800 - 1,200 |
646 |
| 398 |
Peter Lister, Four Seasons - 2 of 4, 1974, screenprint in colors; 21-3/4 x 26-3/4 inches (sheet); 15/90; numbered and signed lower recto; framed (6-1/4 X 31 inches); Provenance: The Print Club; Philadelphia; PA |
200 - 300 |
118 |
| 400 |
Willy Muller-Brittnau, Se 18, 1968, screenprint in colors; 23-1/2 x 23-1/2 inches (image); 97/100; titled; numbered; signed and dated along lower margin; framed (33-1/4 x 30-1/4 inches); Provenance: Weil Brothers Gallery; Miami Beach; FL |
200 - 300 |
118 |
|
