Auction - phone, mail, email bids accepted until Feb. 24, 2010


PO BOX 849


There is a 10% Buyer's Premium charged


None of the French autographs are translated

500. Marcus Stone (1840-1921), English painter, son of Frank Stone, ARA, was trained by his father and began to exhibit at the Royal Academy before he was eighteen; and a few years later he illustrated with much success books by Charles Dickens, Anthony Trollope, and other writers, friends of his family. He was elected an associate of the Royal Academy in 1877, and academician in 1887. In his earlier pictures he dealt much with historical incidents, but in his later work he occupied himself chiefly with a particular type of dainty sentiment, treated with much charm, refinement and executive skill. One of his canvases is in the National Gallery of British Art. Most of his works have been engraved, and medals were awarded to him at exhibitions in all parts of the world. Clip Signature with sentiment.............20-30

501. Briton Rivière (1840 &endash; 1920), Irish artist, was born in London. His father, William Rivière, was for some years drawing-master at Cheltenham College, and afterwards an art teacher at Oxford . He was educated at Cheltenham College and at Oxford, where he took his degree in 1867. For his art training he was indebted almost entirely to his father, and early in life made for himself a place of importance among the artists of his time. His first pictures appeared at the British Institution, and in 1857 he exhibited three works at the Royal Academy , but it was not until 1863 that he became a regular contributor to the Academy exhibitions. In that year he was represented by "The Eve of the Spanish Armada", and in 1864 by a "Romeo and Juliet ". Subjects of this kind did not, however, attract him long, for in 1865 he began, with a picture of a "Sleeping Deer-hound", a series of paintings of animal-subjects which later occupied him almost exclusively. Signature with sentiment........20-30

502. Eduard Georg Gehbe [1845-1935] German Painter, Illustrator. Signed postcard reproduction of his work "Salzburg," signed on front with notes............35-45

503. Henry Warren [1794-1879] British painter. He spent much of his career in America; from about 1822 to 1860 in Philadelphia where he exhibited at the Pennsylvania Academy. It is possible he was in America as early as 1815 because a view of the Washington Monument was engraved about that time from a drawing by him. CLIP SIGNATURE with little margin.............25-35

504. Sir John Gilbert (1817-1897) British artist. Skilled in several media, he gained the nickname, "the Scott of painting". He was best-known for the illustrations and woodcuts he produced for the Illustrated London News. Signature clipped from letter............20-30

505. Glyn Warren Philpot (1884-1937) English artist, best known for his portraits of contemporary figures such as Siegfried Sassoon, and Vladimir Rosing. Signed postcard reproduction of his work "The Adoration of the Three Kings." .............35-45

506. Sir Francis Grant RA (1803 &endash; 1878) was a notable Scottish artist of the 19th century. He also served as President of the Royal Academy. ALS, no date, written on both sides. 4.5 x 7 in.............40-60

507. James Archer (1823&endash;1904) portrait-painter. He was born in Edinburgh, Scotland . His best-known work includes children and people in costume as its subjects becoming the first Victorian painter to do children's portraits in period costume. He studied at the Trustee's Academy in Edinburgh under Sir William Allan . At Archer painted chalk portraits, but in 1849 he exhibited his first historical picture 'The Last Supper' at the Royal Scottish Academy. His work after that mostly consisted of scenes taken from literature or legends that were popular at the time, such as Shakespeare and King Arthur. About 1859 he began to paint a series of Arthurian subjects, including 'La Morte d'Arthur' and 'Sir Lancelot and Queen Guinevere'. Clip signature. Small amount of mounting residue on front........20-30

508. Erskine Nicol (1825-1904) Irish/Scottish painter. He was made an Associate of the Royal Scottish Academy in 1855 and an Academician in 1859. Nicol exhibited at the Royal Academy and was made an Associate of the Royal Academy in 1866. He also exhibited at the Royal Hibernian Academy and the British Institution. In 1905 the Royal Scottish Academy held a commemorative exhibition. SIGNED 2 1/2 X 4" CDV photo. Fine......50-75

509. Sir William "Hamo" Thornycroft, RA (1850-1925) British sculptor, responsible for several London landmarks. He studied at the Royal Academy of Arts, where his primary influence was the painter-sculptor Frederic Leighton. Hamo won the Gold Medal of the Royal Academy in 1876, with the statue Warrior Bearing a Wounded Youth. He was the leading figure in the movement known as the New Sculpture. His close personal friend, the critic Edmund Gosse, coined the term "The New Sculpture" in 1894 and formulated its early principles from his relationship with Thornycroft. SIGNATURE dated 1910.............35-45

510. Hans Hartung (1904-1989) German-French painter, known for his gestural abstract style. He was also a decorated World War II veteran of the French Foreign Legion. In December 1939, he became a member of the French Foreign Legion. He was closely followed by the Gestapo and arrested for seven months by the French police. After they learned he was a painter, he was put in a red cell in order to wear off his vision. After being released he rejoined the Legion to fight in North Africa, losing a leg in a battle near Belfort. He earned French citizenship in 1945, and was awarded the Croix de Guerre. After 1947 he became a more important French painter. That year he exhibited his works for the first time in Paris. In 1960 he was awarded the International Grand Prix for painting at the Venice Biennale. His freewheeling abstract paintings set influential precedents for many younger American painters of the sixties, making him an important forerunner of American Lyrical Abstraction of the 1960s and 1970's. Offered here is a 1986 bank check made out to Hartung; he signms on the back side. Doesn't not appear to have ever been cashed...............50-75

511. Frederick S. Cozzens [1846-1928] American painter. ALS, no date, 1p.........50-75

512. Edward Linley Sambourne (1844-1910) cartoonist for Punch. In 1901, he became the chief cartoonist for Punch, taking over upon John Tenniel's retirement. ALS, 1897, 2pp.............50-75

513. Tom Wesselmann (1931- 2004) American pop artist. His series Great American Nude (begun 1961) first brought him to the attention of the art world. Signature on 3x5 card............25-35

514. (17TH CENTURY JUDAICA). ORIGINAL Folio engraving from History of the Jew (MOSAIZE HISTORIE DER HEBREEUWSE KERKE DERDE DEEL), by Willem and David Goeree, published in 1700. Attractive engraving inspired "Exod. 32.6." Image is approx. 10-3/4 x 14- 1/4 in. plus margins. Three folds as issued. Extraordinary detail - with more than 100+ people shown. Not signed but likely engraved by Schynyoet. One very small foxing spot but this print is in great condition. Very fresh condition................150-200


515. [ART] José David Alfaro Siqueiros (1896-1974) social realist painter (muralist), and also a Stalinist, known for large murals in fresco that established the Mexican Mural Renaissance together with work Orozco, Diego Rivera and others. SIGNED, INSCRIBED b/w repro. print of self-portrait, 1964, approx. 11 x 14-3/4. ............200-300


516. [ART] William Unger [1837-1932] this artist is important not only as an etcher but as an influential scholar and teacher. Serving as professor of graphic arts at the Vienna Academy he taught etching techniques to many of the finest Austrian, German and French artists of the early twentieth century. He was also a founder of Zeitschrift fur Bildendekunst (1866), an important journal which promoted etching, engraving and lithography. Unger's autobiography, Aus meinen leben, was published in Vienna in 1928. Unger began his formal art studies in 1854 as a student of Joseph Keller, in Dusseldorf. He then finished his studies at the Academy in Leipzig. During his successful career as an etcher Unger received numerous awards including medals from expositions in Paris (1878), Vienna (1888) and Berlin (1891). Unger became most famous for his etchings after the paintings of both old masters and contemporary artists, and these reproductive works occupied most of his career. Original etchings -- that is, those both designed and etched by him -- were limited to only a small number. Offered here is an original etching, done after a painting by P. Molyn, showing people, horses by village house, plate signed, image 5-1/4 x 7-1/8 plus clean margins. Penciled title on verso "Travellers Before An Inn." VG. .........150-200

517. ALEXANDER BROOK [1898-1980] realist painter. He was very successful in his day, winning second prize to Picasso's first prize at the Carnegie Institute International Exhibition of Modern Painting in 1930. ANS, 1943...............25-35

518. [LINCOLN] D.V. [Douglas Volk] TLS, 1914, 1p, 8vo. Volk's retained copy signed with initials in ink. To Fred E. Reed in Oakland, Calif. Says he's leaving "my country place in Maine in a few days." "With regard to your seeing the head of Lincoln, about which you wrote some weeks ago, I will do my best to make possible the fulfillment of the desire you so kindly express. ....I will arrange to have you see the picture...."..............75-100

519. DOUGLAS VOLK [1856-1935] Signed 1923 bank check to the artist Emil Carlsen, with Carlsen's endorsement signature is on the verso. Emil Carlsen (1853 - 1932) A painter of still lifes as well as landscapes, especially noted for his still lifes of humble everyday objects in the tradition of 17th-century Dutch painters. Carlsen was born in Copenhagen, Denmark, and studied architecture at the Danish Royal Academy before emigrating to Chicago at age 19. He worked as an architectural draughtsman, and then traveled in Europe to study the Old Masters and also enrolled at the Academie Julian in Paris. Returning to Chicago, he taught at the newly formed Chicago Art Institute, and this activity was followed by periods of living in Boston and New York, but in 1887, he moved to San Francisco to be Director of the California School of Design. There he introduced his students to the work of his New York associates including Augustus Saint-Gaudens, J Alden Weir, and John LaFarge. He also taught the concept that art, like biological matters, was evolutionary and that America might well be the next center of the art world. His association with Weir and other prominent American impressionists influenced his style of landscape painting and as a result, he "combined traditional representational art with impressionistic approaches to color and light." He shared a studio on Montgomery Street with Arthur Mathews, one of California's leading art teachers and painters. In 1889, penniless and chafing at the long hours required to be a teacher, he resigned in disgust and returned briefly to New York. However, several months later he came back to San Francisco and until 1892 taught at the Art Students League. Then he left for good and returned to New York where he became successful, selling his pictures to major museums, elected to the National Academy of Design, and often referred to as the best still life painter of his time.....................200-300

520. DOUGLAS VOLK [1856-1935] Signed 1923 bank check to the artist Gardner Symons, with Symon's endorsement signature is on the verso. Gardner Symons (1861 - 1930) born in Chicago, Illinois, where he studied at the Art Institute and met his lifelong friend, William Wendt. Further study followed in London, Paris, and Munich. Upon his return to the states, Symons moved west to California, and along with Wendt, built a studio in Laguna Beach where he was able paint en plein air year-round. He remained involved in southern California art, but maintained a primary studio in New York. He is best remembered for his snowy winter landscapes of New England.............100-150

521. Henry DAWSON [1811-1878] English landscape painter; praised as a colorist by Ruskin. ALS, 1866, 2pp. 8vo. Asks permission to bring along a young artist friend. VG.................50-75


522. W (Walt Kuhn) (1877-1949) famous American artist, born in New York City. After studying in many European countries, he helped organize the Armory Show (International Exhibition of Modern Art, New York City, 1913). He is known chiefly for his vigorous paintings of circus performers, chorines, and trapeze athletes. His Blue Clown (1931, Whitney Museum, New York City) is one the most popular examples of his work. Kuhn helped introduce the techniques and theories of modern art to the American public and to many American artists. A major article appeared in ART & AUCTION magazine [Jan. 2002] about Walt Kuhn because one of his paintings brought $1.1 million [Sothebys May 2001]. The article is about the art world taking another look at Walt Kuhn and whether the recent sale will cause a rise in prices. Offered here is a rare AUTOGRAPH LETTER SIGNED W, 1943, [Ogunquit, Maine]. Approx. 8 x 10 in. Included the envelope addressed to his wife so actually he pens his own name in the form of Mrs. Walt Kuhn. Written in ink. Mail folds o/w very good condition. It is practically impossible to own a letter by Walt Kuhn unless you buy one from us. The only other place to even read one is at the Archives of American Art, Smithsonian, Washington DC. Walt Kuhn was nothing if not colorful. Six-feet tall, big-boned and rangy, with a craggy face and rasping voice, no one who felt the full shock of that hawk-like personality, with its fierce independence, will ever forget him. He was a loner with a too-heathy dose of distrust. And he refused to take part in the big annual anthologies of American painting. The only one he regularly supported was the Whitney's. In fact Walt Kuhn avoided most group activities; he considered them alien to the artist's essentially lonely nature. He was a truly singular individual. In 1949, U.S. diplomat and collector W. Averell Harriman bought Kuhn's WHITE CLOWN [1929], from the artist widow for $100,000, it was the highest price ever paid for a contemporary American painting. The painting is now in the collection of the National Gallery of Art in Washington DC. The photo of Kuhn below IS NOT for sale and does not accompany this letter. Guaranteed without a time limit for authenticity.............150-200

Walt Kuhn - front side

Walt Kuhn - back side


523. [ART] Stephen James Ferris [1835-1915] influential Philadelphia painter and etcher. Original etching, "The Old-Clothes Dealer", from a painting by Gerome, in the Collection of Henry C. Gibson, Esq., Philadelphia. Mr. C.H. Hart, the celebrated art writer, describes this painting by one of the greatest ,painters of the age as follows: - "A 'marchant ambulant' plenteously bedecked with old purple and fine linen treads the streets of Cairo, loudly advertising his goods; carrying in one hand a long Arab gun and in the other an old Moorish helmet." Image 9-3/8 x 6-1/2" plus margins which are fairly clean with only the slightest signs of age.............100-150

524. JAMES BROOKS [1906-1992] American abstract painter. SIGNATURE inscribed. Nice example...........35-45

Pennsylvania Academy of Fine Arts

525. [ART BROADSIDE] Circular TO ARTISTS, from Directors of the Pennsylvania Academy of Fine Arts, Philadelphia, July, 1840. Re: exhibition prizes. 8 x 10.5 in...........50-75

526. (ART) ALEXANDER POPE JR. [1849-1924] Born in Dorchester, Massachusetts, near Boston, Alexander Pope became known as a society painter who spent his entire life in the Boston area with a major interest in hunting and fishing and painting and sculpting art objects of those subjects. According to Alfred Frankenstein in his book, The Reality of Appearance, Pope was "of the back-slapping, club-going variety who spent his entire life in and around Boston." Some of his paintings were trompe l'oeil still lifes with hunting themes and iconography that included deer antlers, canteen, gun, game bag, etc. In this same style, he also painted a lot of dead animal subjects and sometimes live animals, usually in crates. As a child he worked at his father's lumber business and carved animals out of wood. He studied briefly with Walter Rimmer, Boston painter and sculptor, but primarily was self taught. In the 1880s, he stopped sculpting and focused on painting still lifes for which he had a strong market. One of his paintings fetched $186,000 at a Maine auction, a record in Maine for a work of art that stood for several years. We purchased his drawings, both childhood and adult, and his scrapbook & some of his photographs of his paintings about 10 years ago. Sheet with original ink sketches done at early age. Unsigned, 8-1/2 x 10-1/2. Recently The Maine Antique Digest [March 1999, page 37A] reported that the Pope painting that brought $186,000 in Maine was resold at Sotheby's, Dec. 3, 1998, for $552,500. ......200-300

527. (ARTISTS) Includes: FRITZ GLARNER - signed color magazine picture of one of his paintings [folds] WILLIAM KIENBUSCH - signed 1p. typescript VINCENT GLINSKY (sculptor) signed biographical brochure, plus envelope with his signature & return address HOBART NICHOLS - clipped signature........................50-75

528. [ART] Original Watercolor of Mt. Vernon, signed G.E. Graves. Signed grisaille [monochromatic] watercolor of Mt. Vernon - home of George Washington. Image approx. 11-1/4 x 16 plus margins. Circa 1910-20. VG...............300-400

529. Grace Hartigan (1922-2008) American artist. She gained her reputation as part of the New York School of artists and painters that emerged in New York City during the 1940s and '50s. She was a lively participant in the vibrant artistic and literary milieu of the times, and her friends included Jackson Pollock, Larry Rivers, Helen Frankenthaler, Willem and Elaine de Kooning, Frank O'Hara, and many other artists, poets, and writers. She was the only woman artist in the Museum of Modern Art's legendary The New American Painting exhibition which toured Europe in the late 1950s. Rare ALS, 1985, 2pp, 8.5 x 11 in. Good content about someone writing a book about her; "I really can't dash off sketches, a small thing is as difficult as a large painting....".............100-150

530. [ART] GASTON LACHAISE (1882-1935) French-American sculptor, born in Paris. He went to the U.S. in 1906 and studied sculpture in Boston until 1912, when he moved to New York City and began the series of monumental figure pieces for which he is noted. Some of these works, more than life size, combine weighty proportions with unusual grace; examples are Floating Woman (1927) and the bronze Standing Woman (1930-33), both in the Lyman Allyn Museum, New London, Conn. In 1931 he executed reliefs for the RCA Building, and in 1934 for the International Building, both at Rockefeller Center, New York City. Among his many portrait busts, that of the American painter John Marin is considered his best. New York City's Museum of Modern Art honored him with a large retrospective exhibition just before his death in 1935. SIGNATURE & ADDRESS [77 Washington Place] on fragment clipped from hotel register. Unidentified signature above and below Lachaise...............50-75


531. [ART] Diego Rivera (1886-1957) world-famous Mexican painter, active communist, and husband of Frida Kahlo. SIGNATURE dated 1957 on lined paper, matted with portrait. Overall 8x10. Scotch tape used to affixed item to mat..............200-300

532. Sir Edwin Landseer, RA (1802-1873) English painter, well known for his paintings of animals - particularly horses, dogs and stags. The best known of Landseer's works, however, are sculptures: the lions in Trafalgar Square, London. ALS, 1868, 1p. "I must have been half drunk. I engaged my self to you on Saturday..." ..............100-150

533. [LINCOLN] LEONARD W. VOLK [1828-1895] American sculptor; founder & president [1867] of Chicago Academy of Design. Among his works are the Douglas monument in Chicago and a Douglas & Lincoln statue at the capitol in Springfield. He made the famous life mask of Lincoln and cast of his hands as well as a bust of the president from life. ADS, Chicago, 1876. A promissory note filled out by Volk, and since he wrote his name in the body we are calling this signed. The man owed the money has signed at bottom. Nautical vignette. Looks like a bank check...............100-150

534. DOUGLAS Volk [1856-1935] writes ALS [1899], Society of American Artists letterhead, 3pp, 8vo. to his wife Marion at Center Lovell, Maine. Apparently Marion's mother is ill and Douglas is encouraging her to visit her mother and telling her not to worry about the house and family - they'll get along while she is away...........50-75

535. DOUGLAS Volk [1856-1935] writes ALS, 1881, to his future wife, Miss Marion Larrabee in Chicago, 23 full pages, 8vo. With cover. Unread for content........100-150

536. [LINCOLN] D.V. [Douglas Volk] retained copy of 1925 TLS signed in ink with initials. To Margaret Davis re: sending one of his portrait paintings of Abraham Lincoln for exhibition at the Minnesota State Fair............75-100

537. [LINCOLN] D.V. [Douglas Volk] retained copy of 1925 TLS signed in pencil with initials. To Henry W. Kent, Secretary, Metropolitan Museum of Art. "Replying to your favor of March 22nd, I appreciate your courtesy in asking if the proposed making of copies by the Museum of my Father's bust of Lincoln would meet with my favor, and will state that as far as I am in any way concerned, you are perfectly at liberty to carry out the plan mentioned." Corner creases and considerable damage to right margin edge. The typed area is very good however. In "as found" condition............50-75

Barbizon Etching

538. [ART] F[elix Augustin] MILIUS [1843-1894] French artist. Original Barbizon landscape etching signed in the plate, 6-3/4 x 9-1/8 in. plus margins. VG..........80-120


18th Century Engraving

539. [OLD MASTER] Boitard - birth date unknown; died circa 1770. ORIGINAL 18th century engraving in very good condition, with center fold as issued, image approx. 6.5 x 15 in. plus very good margins. On laid paper..................50-75


540. [ART] JULES JACQUEMART (1837-1880) ORIGINAL Etching from "Gemmes Et Joyaux," plate signed, circa 1864, published 1886, plate #15. Large plate mark but image [including signature] is approx. 6-1/2 in. high plus margins. Sheet size is 21-1/2 x 14-1/2. Very good condition, clean. Subject is some sort of ornate bowl. 100-150

Early 18th century Portrait

541. (ART) (Vermigli, Pietro Martire) (1500-1562). Florentine religious. Augustinian abbot of St. Peter ad Aram, Naples (1533); met Juan de Valdes and read works of Reformers; fled (1542) to Zürich after accepting Reformed faith; divinity professor, Strasbourg (1542-47, 1553-56). Brought to London by Cranmer; divinity professor, Oxford (1547-53); aided Cranmer in 1552 Book of Common Prayer; his Zwinglian doctrine of the Eucharist began a controversy at Oxford (1549); Hebrew professor, Zürich (1556). Old original mezzotint portrait, cropped & mounted, 7-3/4 x 9. Engraved by R. Houston. Probably early 18th century. VG..........150-200

542. [ART] DANIEL MORDANT - 19th century French artist. Original etching signed in the plate, 7.5 x 8.75 in. plus wide margins. Title of this etching is THE MARRIAGE OF HENRI IV, done after a painting by Isabey. C. 1870s, on Holland paper. One small light spot well away from image. Highly detailed interior scene with many people. A rich image.........................100-150


Bardizon Etching

543. [ART] F. KRATKE - 19th century French artist. Original etching signed in the plate, 5-7/8 X 9 in. plus wide margins. C. 1870s, on Holland paper. VG. A Barbizon etching..................100-150

544. (OLD MASTER) JAN VAN TROYEN - Brussels ( flourished 1650-1660) b. Antwerp. Etching pulled from the original plate, 8 x 12 in. plus margins. On old laid paper. Difficult to date but circa 200-300 years old. Etching most probably from D. Teniers' "Theatre des Peintures"-1660. Old mounting remains on back. All of these are in the margin areas and will not show when properly matted and framed. The image area is in very good condition except for slight creases into the image. .........100-150

545. (ART) P. RAJON (Fr. 19th century) original etching [1884], PORTRAIT OF PAUL JACQUES AIME BAUDRY, 11-1/4 x 8-1/2, plus margins. Fine..........75-100

546. (ART) Arcille Jacquet (Fr.1846-1908) original etching [1884], PORTRAIT OF ALEXANDRE CABANEL, etched from life, 10 x 8 plus margins. Fine................75-100


547. (PHOTOGRAPHY) PHILIPPE HALSMAN (1906-1979). American photographer, b. Riga, Latvia. Fashion photographer in Paris; to U.S. (1940); became a leading portrait photographer; produced 101 cover photographs for Life magazine. Author of Piccoli (1953), Dali' s Mustache (1954), Jump Book (1959). ORIGINAL vintage circa 1950s black/white photograph with Halsman's copyright blindstamp on verso. Approx. 14 x 11 in. including slim margins. Condition is very good. This IS NOT a reprint. Guaranteed authentic! Subject is man in business suit with scowl look on his face..............300-400

Lot 547 back side


548. [OLD MASTER] Coryn Boel II [1622-1660] Flemish. 1660 is the death date given by the San Francisco Art Museum; auction records gives death as 1866. This is an Original etching. Image approx. 6-1/2 x 9 in. plate mark plus margins. Printed on laid paper and in very good condition except 2 small brown spots well away from image. Three mounting traces on outer edge verso. Boel was born about 1620/22 in Antwerp. This print is most likely from TENIERS GALLERY, published in Amsterdam in 1755. This etching was pulled from the original 1600s plate. ...........150-250

William Baziotes Drawings

549. William Baziotes (1912 &endash; 1963) was an American painter influenced by Surrealism and was a contributor to Abstract Expressionism. Born and raised in Pittsburgh, Pennsylvania, Baziotes began his formal art training in 1933 at the National Academy of Design in New York City. He studied with Charles Curran, Ivan Olinsky, Gifford Beal, and Leon Kroll. He was employed by the Federal Art Project in the late 1930s. In the 1940s he became friends with many artists in the emerging Abstract Expressionist group. Although he shared the groups' interest in primitive art and automatism, his work was more in line with European surrealism. Later in his career he taught extensively. He became a founding member of the school on Eighth Street in 1948. He also taught at the Brooklyn Museum Art School, People's Art Center, the Museum of Modern Art, and Hunter College in New York Some of his famous works are Aqautic, Dusk, and The Room, all of which are in the Guggenheim Museum in New York, also in Madagascar! Pencil drawing. Unsigned. From the collection of the late Harry and Constance Baziotes [brother & sister]. Size approx. 18 x 13 in. sheet of drawing paper. Most likely done while in Leon Kroll's life drawing class circa 1935. He makes male nude on one side and female nude on the other.............. 600-800 Reserved at $300

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Click here to see female side

William Baziotes Drawing

550. William Baziotes (1912 &endash; 1963) was an American painter influenced by Surrealism and was a contributor to Abstract Expressionism. Born and raised in Pittsburgh, Pennsylvania, Baziotes began his formal art training in 1933 at the National Academy of Design in New York City. He studied with Charles Curran, Ivan Olinsky, Gifford Beal, and Leon Kroll. He was employed by the Federal Art Project in the late 1930s. In the 1940s he became friends with many artists in the emerging Abstract Expressionist group. Although he shared the groups' interest in primitive art and automatism, his work was more in line with European surrealism. Later in his career he taught extensively. He became a founding member of the school on Eighth Street in 1948. He also taught at the Brooklyn Museum Art School, People's Art Center, the Museum of Modern Art, and Hunter College in New York Some of his famous works are Aqautic, Dusk, and The Room, all of which are in the Guggenheim Museum in New York, also in Madagascar! Ink and pencil drawing. Unsigned. From the collection of the late Harry and Constance Baziotes [brother & sister]. Size approx. 13-3/4 x 10 in. sheet of drawing paper. Most likely done while in Leon Kroll's life drawing class circa 1935. Lightly toned top edge; some edge faults affect little to nothing.............600-800 Reserved at $300

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CARROLL THAYER BERRY (1886-1978) Maine artist known as THE DOWN EAST PRINTMAKER. As an engineer he worked on the Panama Canal before moving to Maine to become an artist. His work is well known and in many important collections, including The Library of Congress. A few years ago a book was published on his life and work, Elwyn Dearborns' CATALOGUE RAISONNE: The Down East Printmaker, Carroll Thayer Berry. Although prints by Berry are not rare, his drawings are. When we are finished selling Berry drawings there will be no more.

551. CARROLL THAYER BERRY - Pencil drawing on paper. Approx. sizes: image 12 x 9.75 in, paper 16 x 12 in. Image very good. Margins have some creases..................100-200

Click for 551

Another view of 551


552. CARROLL THAYER BERRY - Study for Dearborn #52 A Maine Farm . Charcoal drawing on paper. Approx. sizes: image 11 x 12 in, paper 12 x 15 in. Very good condition......................100-200


553.. CARROLL THAYER BERRY - Charcoal drawing on paper. Approx. sizes: image 10 x 12.5 in, paper 12 x 18 in. Two horizontal creases across the top else very good condition..............100-200

554. CARROLL THAYER BERRY - Study for wood engraving Dearborn #73 Fisherman in Camden - Maine Coast. 2 pencil drawings on paper superimposed over the original wood engraving. Approx. sizes: image 9 x 13.5 in, paper 12.5 x 15.5. in. Black mounting tape at corners else in very good condition.........................................................200-300

555. CARROLL THAYER BERRY - . Charcoal drawing, image is approx. 10 x 12 in. plus margins, unsigned but guaranteed authentic without a time limit to the original buyer. Very good condition except for one small hole top margin that runs just into the image [shows in scan below]. This defect would not mat out but could be hidden if a small piece was cut from a margin area and placed on the back of the drawing so that the color matches. ..............150-200