Two Day Auction Fine Art, Asian Art, Watches

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Locally Featured
  • Address The address for this sale in Saint Paul, MN 55114 will no longer be shown since it has already ended.
Dates
Fri
Sep 28
10am to 6pm
2018
Sat
Sep 29
10am
2018

Terms

The following Conditions of Sale and Terms of Guarantee constitute the entire agreement with the purchaser relative to the property listed by Revere Auctions LLC. Hereinafter, Revere Auctions LLC is referred to Revere Auctions.

Revere Auctions acts as owner or as an agent for various owners and consignors. Revere Auctions reserves the right to change the terms of sale by oral announcement. Any such change shall become part of the Condition of Sale. By bidding at auction (whether present in person, by agent, by telephone, by absentee bid instruction, or though a live internet bidding platform) you agree to be bound by these terms.

Before the Sale
Prospective buyers are strongly advised to personally examine any property in which they are interested before the auction takes place. Condition reports are usually available on request, on lots with a low estimate of $500 and above.

All lots are sold 'AS IS' and without recourse and neither Revere Auctions, nor its consignor(s) makes any warranties or representations, express or implied with respect to such lots. Revere Auctions makes a limited warranty only to the original buyer of record concerning the authenticity of each lot for a period of 14 days after bidder's receipt of the purchased lot. If a buyer is not satisfied that the lot purchased is genuine, the buyer may, at his or her own expense, obtain the opinion of two mutually agreed upon recognized experts in the field of the disputed lot. If these experts determine that the item is not genuine, the buyer's sole and exclusive remedy shall be the rescission of the sale and refund of the amount paid for the item. It is specifically understood and agreed that the rescission of the sale and refund is exclusive and in lieu of any other remedy which might otherwise be available as a matter of law or in equity, and such remedy is conditioned upon the buyer returning the property in the same condition as at the time of sale. Revere Auctions shall not be liable for any incidental or consequential damages. All sales are final, with no returns or refunds except as provided in this limited warranty. The limited warrantee does not extend to the lots identified as attributions, school, circle, manner, or after.

Reserves
Some of the lots in this sale are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. A reserve shall not be greater than the low estimate of the lot. A representative of Revere Auctions will execute such reserves by bidding on behalf of the consignor.

Withdrawl
Revere Auctions in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer.

Buyers Premium
A buyer's premium will be added to the hammer price and is payable by the purchaser as part of the total purchase price. The buyer's premium is 25% of the hammer price. An additional fee will be charged on any purchase made using live online bidding. Those bidding live online or leaving absentee bids on Invaluable.com, liveauctioneers.com or any related site will pay an additional fee of 3% on the total hammer price of successful purchases. All purchases regardless of bidding method are subject to the Buyer's Premium and appropriate Sales Tax.

Bidding
The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Revere Auction sale record shall be conclusive in all respects. 7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

Hammer
Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer's Premium, therefore or such part, upon such terms as Revere Auctions may require. Title in a purchased lot will not pass until Revere Auctions has received in full the total purchase price in cleared funds. Unless exempted by law, the purchaser will be required to pay Minnesota state sales tax as applicable, any applicable local sales tax, and any applicable compensating use tax of another state. Sale tax will not be collected on any lot that is shipped out of state.

Payment
Revere Auctions accepts checks (personal or business check in US dollars certified by a US bank, a cashier's/banker's check drawn on a US bank or US money order), cash (US currency not to exceed $10,000 in a single or multiple related payments). Visa, Discover, American Express or MasterCard may be used and are subject to a 2.5% convenience fee. The purchaser's obligation to pay immediately the full purchase price is absolute and unconditional and is not subject to any defenses, setoffs or counterclaims of any kind whatsoever. Revere Auctions is not obligated to release a lot to the purchaser until title to the lot has passed. The purchaser agrees to pay Revere Auctions handling charge of $30 for any check dishonored by the drawee.

Bitcoin
For lots with an associated “(Bitcoin Accepted)” descriptor or "₿" symbol, Revere Auctions will accept Bitcoin as a form of payment. If the lot does not have an associated icon underneath a lot, the company will not accept payment in the form of Bitcoin for said lot. No other forms of cryptocurrency will be accepted, and if you wish to pay using a digital coin, you must transfer your holdings into Bitcoin before processing your payment. Revere Auctions still requires that you register individually with the company for the auction, and no payment will be accepted without such registration. All transactions will be expected to be fulfilled in U.S. Dollars, and any payment via Bitcoin must meet the sell price of the lot in USD. If a transfer of Bitcoin occurs, and the amount received by Revere Auctions does not meet said sell price, Revere Auctions retains the right to withhold the lot until the correct amount has been accounted for.

Removal
Property purchased from Revere Auctions by a successful bidder will not be released to such bidder until the full payment of the total purchase price (including the buyer's premium and online bidding service fee, and all applicable sales taxes) have been made. In addition to other remedies available to us by law, we reserve the right to impose from the date of sale a late charge of 1.5% per month of the total purchase price if payment is not made in accordance with these conditions. Please note that Revere Auctions reserves the right to refuse to accept payment form a source other than the buyer of record. The purchaser must remove all property from the auction premises at his/her expense the day following the auction. If the property is not picked up within 10 days of the auction, Revere Auctions reserves the right to charge a minimum storage and handling charge of $20 per lot per day. Revere Auctions also reserves the right to send the property to a public warehouse for the account and at the risk and expense of the purchaser, to be released only after payment in full of all removal, storage, handling, insurance and any other costs incurred, together with payment of all other amounts due to us. It is the purchaser's sole responsibility to arrange to collect or ship the property and to identify and obtain any necessary export, import, firearm, endangered species or other permit for the lot. Revere Auctions and the consignor make no representations or warranties as to whether any lot is or is not subject to export or import restrictions or embargoes. Purchasers are reminded that Revere Auctions liability for loss or damage to sold property shall cease no later than 10 days after the date of the auction.

Shipping
As a convenience to the Buyer, Revere Auctions will make a referral for packing and shipping. This is at the request, expense, and risk of the Buyer, and Revere Auctions assumes no responsibility for the items or the timing of delivery. Insurance for in transit items is the responsibility of the buyer

Remedies
If the purchaser fails to fulfill or comply with any of the conditions herein, the purchaser shall be in default and, in addition to all legal remedies available to the Revere Auctions and the consignor by law, including, without limitation, the right to hold the purchaser liable for the total purchase price, including all fees, charges and expenses more fully set forth herein, Revere Auctions, at its option, may: a) cancel the sale of that, or any other lot or lots sold to the defaulting purchaser at the same auction or any other auction, and retain all payments made by the purchaser as liquidated damages; b) resell the purchased property whether at public auction or by private sale, for the account of the purchaser, in which case the purchaser shall be liable to Revere Auctions for all its costs and damages, including the commissions for both auctions; c) remove the property to a public warehouse for the account and at the risk and expense of the purchaser; d) charge interest at such rate as we shall reasonably select, or e) effect any combination thereof. In any case, the purchaser will be liable for any deficiency and any and all costs, handling charges, late charges, expenses of both sales, our commissions on both sales at our regular rates, legal fees and expenses, collection fees and incidental damages. Payment will not be deemed to have been made in full until we have collected good funds. In the event that purchaser fails to pay any or all of the total purchase price for any lot and Revere Auctions nonetheless elects to pay the consignor any portion of the sale proceeds, the purchaser acknowledges that Revere Auctions shall have all of the rights of the consignor to pursue the purchaser for any amounts paid to the consignor, whether at law, in equity, or under these conditions of sale. In addition, defaulting purchaser will be deemed to have granted and assigned to Revere Auctions a continuing security interest of first priority in any property or money of or owing to such purchaser in our possession, custody or control, in each case whether at the time of the auction, the default or if acquired at any time thereafter, and we may retain and apply such property or money as collateral security for the obligations due to us.

Limited Liability
In no event will our liability to a purchaser with respect to an item of property exceed the purchase price actually paid by such purchaser for such item. If any part of these

Copyright
The copyright in all images, illustrations and written material produced by or for Revere Auctions relating to a lot, including the contents of this catalogue, is, and shall remain at all times, the property of Revere Auctions and shall not be used by the buyer nor by anyone else, without our prior written consent. Revere Auctions reserves the right to reproduce any image of the lots sold in this catalogue.

The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of the jurisdiction in Minnesota. If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

Revere Auctions is proud to present our two day sale featuring Fine Art, Sculpture, and prints along with some incredible Asian art and antiques, midcentury ceramics, jewelry, and much more. Some highlights include a single owner collection of 10 Dale Chihuly glass sculptures, a Walasse Ting abstract painting, and an Edouard Detaille French military painting. The day two sale will be posted soon and you can bid on our website (revereauctions.com), liveauctioneers, and invaluable. We have moved to a larger space at Vandalia Towers in St. Paul.

 

Revere Auctions

550 Vandalia St

Suite 304

St. Paul, MN 55114

Day One Sale: September 28 at 10AM

Day Two Sale: September 29 at 10AM

Preview: September 24-28 from 10AM to 4PM

 

Day One Sale, September 28th at 10AM CST

Lot Number

Title

LowEst

HighEst

1 Ada Wolfe Spring Oil on Canvas $1,000 $1,500
2 Nicholas Brewer Winter Landscape Oil on Canvas $1,000 $1,500
3 Carl Rawson St. Croix River Valley Oil on Canvas $1,000 $1,500
4 Carl Rawson Landscape Oil on Canvas-laid Board $1,000 $1,500
5 Knute Heldner Gloucester Cityscape Oil on Board $1,000 $2,000
6 Dewey Albinson Tierney Mills Oil on Canvas $2,000 $3,000
7 John Fery Oil on Canvas $7,000 $9,000
8 H.H. Cross Long Feather Oil on Canvas $5,000 $7,000
9 Sheldon Parsons Santa Fe Foothills Oil on Masonite $2,000 $3,000
10 Marjorie Reed Night Herd Oil on Canvas-laid Board $1,000 $1,500
11 Marjorie Reed Pioneers--Westward Ho! Oil on Canvas-laid $800 $1,000
12 Ace Powell Indian Rider Oil on Canvas $600 $800
13 Gustave Baumann Taos Color Woodcut $3,000 $3,700
14 Gustave Baumann Summer Rain Color Woodcut $3,000 $3,700
15 Gustave Baumann Pines--Grand Canyon Color Woodcut $4,000 $4,700
16 Harry Jackson Bronze Cowboy $3,000 $4,000
17 Group of 3 Leonard Reedy Watercolors $1,000 $1,500
18 Patrick DesJarlait Sr Watercolor on Paper $600 $800
19 Jose Belloni La Carreta Bronze Sculpture $2,000 $3,000
20 Jose Belloni Jineteando Bronze Sculpture $2,000 $3,000
21 Gary Schildt Boy with Travois Bronze Sculpture $800 $1,000
22 John Costigan The Barns, Winter Oil on Canvas $10,000 $12,000
23 Ernest David Roth The Lake Central Park Oil Painting $1,500 $2,000
24 Le Pho Flowers Oil on Canvas $2,000 $3,000
25 Paul Resika August Moon Oil on Canvas $4,000 $6,000
26 Huldah Jeffe Oil on Canvas $1,000 $1,500
27 Hugh Kappel Collage $1,000 $1,500
28 Hugh Kappel Watercolor $1,000 $1,500
29 James Twitty Regulus Acrylic on Canvas $1,000 $1,500
30 Clea van der Grijn Jeopardy Mixed Media $1,000 $1,500
31 James Suzuki Blue Goose Oil on Canvas $3,000 $4,000
32 Philip Pearlstein Watercolor on Paper $3,000 $4,000
33 Zao Wou-Ki Untitled Lithograph $1,200 $1,500
34 Walasse Ting All My Life is a Spring Acrylic on Canvas $50,000 $60,000
35 William Scott Theme Blue and Green no. 1 $30,000 $40,000
36 Steichen In the Studio: 12 Photographs $15,000 $20,000
37 Steichen Juxtapositions: 12 Photographs $15,000 $20,000
38 Steichen Blue Sky: 12 Photographs $15,000 $20,000
39 Steichen: 25 Photographs $10,000 $15,000
40 Dale Chihuly 9 Piece Basket Set $13,000 $15,000
41 Chihuly Soft Cylinder Vase $4,000 $6,000
42 Chihuly 2 Piece Seaform Set $4,000 $6,000
43 Chihuly 4 Piece Basket Set $4,000 $6,000
44 Chihuly 2 Piece Basket Set $3,000 $4,000
45 Chihuly Haystack Bowl $3,000 $4,000
46 Chihuly Art Glass Bowl $3,000 $4,000
47 Chihuly Macchia Bowl $3,000 $4,000
48 Chihuly Macchia Bowl $3,000 $4,000
49 Chihuly Pilchuck Bowl $2,000 $3,000
50 Chihuly Pilchuck Bowl $2,000 $3,000
51 Chihuly 2 Piece Seaform Set $1,500 $2,000
52 Mary Ann Toots Zynsky Glass Bowl $600 $800
53 Mark Kobasz Glass 4 Leg Vase and Candle Holder $600 $800
54 Fritz Dreisbach Glass Vase $400 $600
55 Benjamin Moore Glass Charger $400 $600
56 Lino Tagliapietra Glass Vase $500 $700
57 Picasso Petit Carre au Soleil Ceramic Tile $1,000 $1,500
58 David Barr Structurist Relief no. 166 $2,000 $3,000
59 Large Polychrome Charger After Picasso $6,000 $8,000
60 Salvador Dali 11 Song of Songs Suite Etchings $8,000 $10,000
61 Antoine Bouvard Venice Oil on Canvas $5,000 $7,000
62 Roberto Matta Minded Mind Suite of Lithographs $1,000 $1,500
63 Edward Seago Oil on Canvas $4,000 $6,000
64 Louise Nevelson Essences 5 Etching $1,000 $1,500
65 Daniel Ridgway Knight Watercolor $4,000 $5,000
66 Edouard Detaille Oil on Canvas $30,000 $40,000
67 Mariano Fortuny Watercolor $2,000 $3,000
68 Jehan Georges Vibert Jester Watercolor $1,000 $2,000
69 Henri-Joseph Harpignies Watercolor $800 $1,200
70 Konstantin Visotsky #13 Foxes Watercolor $800 $1,000
71 Raffaele Mainella Watercolor on Paper $800 $1,200
72 Louis Valtat Sanguine on Paper $1,000 $1,500
73 Jack Levine Facing East Mixed Media on Paper $1,500 $2,000
74 Alexandre Vibert Napoleon on Horseback Bronze Sculpture $2,000 $3,000
75 Style of David Cox the Elder The Coming Storm Oil on $2,000 $3,000
76 18th Century Landscape Oil on Panel $1,200 $1,400
77 George Washington Oil on Board $1,000 $2,000
78 Old Master Still Life Oil on Panel $1,500 $2,000
79 After Hans Holbein Margaret Roper Oil on Panel $15,000 $20,000
80 John Berkey Al Hirt Oil on Board $500 $700
81 Daniel Newman Marble Sculpture $1,000 $1,500
82 Hisao Domoto Solution de Continuite II Acrylic on Paper $2,000 $3,000

 

Day Two Sale, September 29th at 10AM CST

Lot Number

Title

LowEst

HighEst

1 18th to 19th century Chinese Gilt Bronze Censer $300 $400
2 Chinese Republic Period Silver and Copper Inlaid $600 $800
3 Chinese Bronze Han Dynasty Tripod Cooking Vessel $600 $800
4 18th c. Chinese Silver-Inlaid Iron Saddle-fitting $200 $300
5 Late 19th/Early 20th c. Chinese Silver and Gold Gilt $700 $800
6 Large Collection of Chinese Gilt Bronze Robe Buttons $400 $600
7 Chinese turn-of-the-century Ceremonial Robe $600 $750
8 Fine 18th century Chinese Kossu or Kessi Embroidered $800 $1,200
9 Group of Chinese Silk Embroidery Rank Badges Kossu $500 $600
10 Chinese Embroidered Censor Xiezhi Rank Badge $400 $600
11 Large Chinese Blue Rug $1,000 $1,500
12 Tibetan Thangka Shakyamuni $100 $200
13 Chinese Qing Dynasty and Republic Period brushwork $800 $900
14 Alison Cameron Miniature Screen Painting $400 $600
15 Chinese Qing Dynasty and Republic Period brushwork $800 $900
16 Chinese Early 19th Century Scroll Painting of $400 $600
17 Group of Chinese Scroll Paintings Calligraphy $200 $300
18 Pair of 19th Century Chinese Pith Paper Paintings $200 $400
19 Group of Chinese Buddhist Temple Rubbings $600 $800
20 Large Chinese Jade Buddhist Prayer Wheel with Moving $400 $600
21 Mid-Qing Dynasty Chinese pale green-white Jade Cicada $300 $400
22 Chinese early Qing Soapstone Carving of a Red Monkey $200 $300
23 Large Group of Chinese Instruments and Silver Objects $200 $300
24 Large group of Chinese Jades, Bronze, Silver Beads and $400 $600
25 Gold and Coral Ring $100 $200
26 Chinese Gilt Bronze Sapphire and Glass Buckle - 18th $400 $600
27 Gold Hairpin with Apple-Green Jade Bird $400 $600
28 Chinese Carved Jade Monkey Pendant $400 $600
29 2 Jade Pendants $200 $300
30 2 Chinese Guangxu Period Jade Objects $400 $600
31 Fine Set of 19th Century White and Moss Jade Gilt $300 $400
32 Carved Jade Covered Vase $2,000 $3,000
33 Chinese Qing Pebble-formed Snuff Bottle $200 $300
34 2 Chinese Hard Stone and Jade Snuff Bottles $300 $500
35 Agate Peach with Stand and Lapis Brush Pot $600 $800
36 2 Chinese Hard Stone Carvings on Stands $600 $800
37 Very Fine Japanese Burl Wood Jita for Bonsai $100 $200
38 Fine Chinese or Japanese Hongmu Bonsai Stand $400 $600
39 Group of 19th c. Chinese Wooden Stands $100 $200
40 Chinese Burl and Rosewood Late Qing Altar Table $400 $600
41 19th c. Chinese Rosewood Stand Cabinet $500 $600
42 Early 19th century Chinese Cinnabar Lacquer Planter on $400 $600
43 Chinese Beijing Enamel Vase Yellow-Ground $200 $300
44 Chinese Porcelain Boy Lamp $1,000 $1,200
45 Yongshi Ceramic Teapot $300 $400
46 19th c. Chinese Oxblood or Sang de Boeuf Porcelain vase $200 $300
47 3 Early 19th Century Chinese Vases Turquoise and $100 $200
48 Pair of 19th Chinese Turquoise Porcelain Vases as Lamps $400 $600
49 Pair of Chinese Blue Bowls with Yellow Flowers $200 $300
50 Chinese Yellow-Ground Biscuit Porcelain Dragon Bowl $800 $1,000
51 18th/19th c. Chinese Blanc De Chine Porcelain $100 $200
52 Mocha Famille Verte Chinese Kangxi Porcelain Bowl $200 $300
53 5 Guangxu Mark and Period bowls with Dragon and Phoenix $600 $800
54 12 Chinese Guangxu Period Porcelain Spoons Marked and $200 $300
55 Fine Chinese 18th Century Kangxi Famille Verte $400 $600
56 Chinese Porcelain Famille Rose Pillow Guangxu Period $200 $300
57 Fine and Rare Chinese Doucai Porcelain Vase in an $1,000 $12,000
58 17th c. Wucai Porcelain Famille Verte Vase on Wooden $600 $800
59 Fine Chinese Famille-Rose Porcelain Snuff Bottle with $600 $800
60 Green Chinese Famille Rose Porcelain Vase $600 $800
61 Chinese Hexagonal Famille Rose Porcelain Cache-Pot $600 $800
62 Pair of Chinese Famille Rose Cups with Boy and Chickens $1,000 $1,200
63 Pair Chinese Republic Period Famille Rose Octagonal $800 $1,000
64 Pair of Chinese Republic Period Baluster Vases with $500 $600
65 Yellow Chinese Brush Pot and Wooden Stand $400 $600
66 Joseon Dynasty Korean Dragon Vase $1,000 $2,000
67 Korean Joseon Dynasty Inlaid Stool $300 $400
68 Chinese Thai Market Bencharong Bowl $200 $300
69 Group of Chinese-Style Thai Teak Furniture and Bronze $100 $200
70 Thai Garuda Bird Bronze Sculpture $400 $600
71 Large Thai/Burmese Buddha Gilt Wood $1,000 $1,200
72 Large Thai/Burmese Offering Container $1,000 $1,200
73 Japanese Showa Bronze Lion $400 $600
74 Japanese Silver-Inlaid Iron Stirrup Edo Period $120 $140
75 Japanese Bronze Bonsai Planter $75 $100
76 Japanese Meiji Bronze Censer Crane on Lilly Pad $200 $300
77 Japanese Edo Period Hammered Copper Bonsai Planter $300 $400
78 Sterling Silver Jewelry Box $200 $300
79 19th c. Japanese Go Set $200 $300
80 Japanese Meiji Period Tansu with Iron fittings $300 $500
81 Japanese Boxwood Toad Netsuke and Porcelain Manju $150 $200
82 Japanes Meiji or Edo Gold Lacquer Box $400 $500
83 Carved and Lacquered Japanese Hibachi along with other $600 $800
84 16 Japanese 18th/19th Century Imari Plates and Bowls $200 $300
85 Japanese Painted 6 Panel Screen Early Edo Period $600 $800
86 Japanese Meiji Gouache Painting Woodcutter $160 $200
87 Japanese 19th Century Edo Woodblock Triptych By Utagawa $75 $100
88 Hiroshi Yoshida Cryptomeria Avenue Woodblock Print $300 $400
89 Hiroshi Yoshida Bamboo Wood Woodblock Print $300 $400
90 Hiroshi Yoshida Sacred Bridge Woodblock Print $300 $400
91 Hiroshi Yoshida Hirosaki Castle Woodblock Print $300 $400
92 Hiroshi Yoshida Yoshikawa Woodblock Print $300 $400
93 Hiroshi Yoshida Woodblock Print $300 $400
94 Hiroshi Yoshida In a Temple Yard Woodblock Print $300 $400
95 Pair of Kiyoshi Saito Haniwa 1 and 2 Woodblock Prints $400 $600
96 Michi Fukui Woodblock Print with Girl and Cat $80 $150
97 Foujita Jeune Fille Assise avec un Chat 1956 Color $600 $800
98 Dali Suite Papillons Anciennes $4,000 $5,000
99 Dali Normandie Color Lithograph $1,500 $2,000
100 Eyes of the Home Skies Civil Air Patrol Poster 1943 $600 $800
101 Group of 3 Wildlife Etchings Kouba $400 $600
102 Adolf Dehn Suite Original Lithographs $800 $1,000
103 Adolf Dehn Innocence in Venice Lithograph $200 $300
104 Jacques Villon Rainbow $200 $300
105 Leonardo Lasansky Tomas $200 $300
106 Leonardo Lasansky Somnium $200 $300
107 Giovanni Battista Piranesi Three Etchings $400 $600
108 2 Cameron Booth Prints $400 $600
109 Jasper Johns Signed and Numbered Print $2,000 $3,000
110 John Savastio Drawing $200 $300
111 George Morrison Wood Collage Fragment-Rubbing MXVII $1,000 $1,200
112 Cyrus Merrill Palm Tree $200 $300
113 Baby Pastel on Paper $200 $300
114 Maud Tousey Fangel Baby $200 $300
115 Dorothy Hope Smith Gerber Baby Oil on Canvas $200 $300
116 Gerard Rigot Child at Table Oil on Canvas $200 $300
117 William Maynard Escape Oil on Masonite $300 $500
118 Janos Laszlo Aldor Painting $600 $800
119 Glen Ranney Arriving at the Bluffs Oil on Canvas $600 $800
120 Petrocelli Pair of Oil Paintings $400 $600
121 Still Life Painting with Ornate Frame $800 $1,000
122 Mark Feldstein Hard Edge Oil Painting $400 $600
123 Rene Genis Rue Vers de la Mer Oil on Canvas $400 $600
124 Jos Rovers Oil on Canvas $200 $300
125 Seascape Oil on Board $200 $300
126 Glen Ranney Frank's Farm Oil on Canvas $600 $800
127 Alice Blair Thomas Sheep Oil on Canvas $300 $400
128 Ken Zylla Native Pioneers Oil on Canvas $2,000 $3,000
129 Patrick Dupre Embossed Foil $200 $300
130 Leonard Titzer Drawing and Sculpture $200 $300
131 Five Thomas Arndt Photographs $200 $300
132 Jerome Liebling Rally (DFL) St. Paul MN $400 $600
133 Jerome Liebling Humphrey-McCarthy $400 $600
134 Terry Gydesen Covenant Baptist Church $200 $300
135 Terry Gydesen En Route to Atlanta $200 $300
136 Jerry Ott Self Portrait Lithograph $200 $300
137 One Puccini Signed Postcard $300 $400
138 One Andrew Jackson Signed Document $1,500 $2,000
139 One Verdi Signed Letter $500 $700
140 Embroidered Silk Pennsylvania State American Flag $600 $800
141 Large Oval Ornate Frame $600 $800
142 Large Oval Ornate Frame with Medallions $600 $800
143 Large Gilt Ornate Frame $600 $800
144 Joel Edwards Seated Figure Sculpture $300 $400
145 6 Pieces Joel Edwards Pottery $400 $500
146 Joel Edwards Nun Figurines $300 $400
147 Joel Edwards Globe with Faces $400 $500
148 Joel Edwards Triple-Mouthed Vase $300 $400
149 Three Joel Edwards Trays $300 $400
150 Group of Two Hoshiko Kusudo Ceramic Sculptures $150 $200
151 Bennett Bean Small Cup $400 $600
152 Bennett Bean Large Cup $400 $600
153 4 Pieces Douglas Johnson $500 $700
154 Large Douglas Johnson $200 $300
155 Unsigned Abstract Brutalist Metal Sculpture $400 $500
156 Curtis Jere Metal Tree Sculpture $400 $500
157 Curtis Jere-style Brutalist Wall Hanging $400 $500
158 Group of Arts and Crafts Onondaga Copper Pieces $400 $500
159 Frederick Prescott Kinetic Metal Sculpture $700 $900
160 Dino Rosin Glass Sculpture $1,500 $2,000
161 Vistosi Italian Glass Lamp $300 $400
162 Golay 18K Gold Pocket Watch Enamel $500 $700
163 Bell and Ross watch $1,000 $1,500
164 Bell and Ross 10th Anniversary Ed. $1,000 $1,500
165 Fine Edwardian English Bracket Clock $1,750 $2,000
166 Gold Ingot $1,000 $1,200
167 K. Uyeda 6 Piece Sterling Silver Tea Set $2,000 $3,000
Lot #40 Dale Chihuly (b. 1941). Nine amber glass baskets of varying sizes and shapes. Largest signed and dated 1980 along the base.
Provenance: Private collection, Chicago, Illinois.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered the colLot #1 Ada Wolfe (1878 - 1945). Oil on canvas titled "Spring," depicting a landscape with trees, a river, and a village. Signed and dated 1941 along the lower left. Further signed and dated on the verso, and inscribed with the title and artist's address. 
Provenance: Private collection, Minnesota. 
Dimensions: Unframed; height: 34 1/4 in x width: 42 in. Framed; height: 38 1/2 x width: 46 3/4 in.Lot #2 Nicholas Brewer (1857-1949). Oil on canvas depicting a winter landscape of a snowy river and trees. Signed along the lower left. 
Provenance: Private collection, Minnesota.
Dimensions: Unframed; height: 21 in x width: 24 in. Framed; height: 24 1/2 in x width: 28 1/2 in.Lot #3 Carl Rawson (1884 - 1970). Oil on canvas depicting a vista of the St. Croix river through autumn trees, c. 1935. Signed along the lower right. 
Provenance: Private collection, Minnesota.
Dimensions: Unframed; height: 25 in x width: 32 in. Framed; height: 30 3/4 in x width: 37 3/4 in.Lot #4 Carl Rawson (1884 - 1970). Oil on canvas-laid board depicting a landscape of autumn trees, corn shocks, and fields. Signed along the lower right and dated '20. 
Provenance: Private collection, Minnesota. 
Dimensions: Unframed; height: 15 3/4 in x width: 19 3/4 in. Framed; height: 21 1/4 in x width: 25 1/2 in.Lot #5 Knute Heldner (1877 - 1952). Oil on board with thickly painted impasto depicting a cityscape of Gloucester. Painting is signed along the lower right.
Knute Heldner was a Swedish immigrant to the United States, working primarily in Duluth, Minnesota and New Orleans, painting the landscapes and people in these places. His work won high acclaim, with one painting even being hung in the White House. His wife, Colette Pope Heldner, was also an artist.
Provenance: Private collection, Minnesota. 
Dimensions: Sight; height: 15 in x width: 17 1/2 in. Framed; height: 21 1/4 in x width: 23 3/4 in.Lot #6 Dewey Albinson (1898 - 1971). Oil on canvas titled Tierney Mills depicting a grain mill. Signed along the lower left. 
Provenance: Private collection, Minnesota. 
Literature: Dave Kenney, The Grain Merchants: an Illustrated History of the Minneapolis Grain Exchange, 2006, p. 121. 
Dimensions: Unframed; height: 30 1/4 in x width: 40 in. Framed; height: 36 in x width: 45 1/2 in.Lot #7 John Fery (1859 - 1934). Oil on canvas depicting an autumnal landscape with trees overlooking a river at sunset. Painting is signed along the lower right.
Provenance: Private collection, Minnesota. 
Dimensions: Unframed; height: 18 in x width: 30 in. Framed; height: 24 in x width: 36 in.Lot #8 Henry H. Cross (1837 - 1918). Oil on canvas portrait titled Scout Long Feather Sioux. Painting is signed and titled along the upper left.
Provenance: Private collection, Minnesota.
Dimensions: Unframed; height: 30 in x width: 24 1/2 in. Framed; height: 31 in x width: 29 in.Lot #9 Sheldon Parsons (1866 - 1943). Oil on board depicting the Santa Fe foothills. Signed along the lower left. The verso bears a Nedra Matteucci Galleries label, as well as an Artists' Crossroads label. 
Provenance: Nedra Matteucci Galleries
                      Collection of Judith Balderson, Minnesota. 
Dimensions: Unframed; height: 9 in x width: 12 in. Framed; height: 15 1/2 in x width: 18 1/2 in.Lot #10 Marjorie Reed (1915 - 1996). Oil on canvas-laid board titled Night Herd depicting a cowboy with his herd in a mountainous landscape. Painting is signed along the lower left. Painting is titled on the verso. 
Provenance: Private collection, Minnesota. 
Dimensions: Unframed; height: 16 in x width: 20 in. Framed; height: 24 1/2 in x width: 28 1/4 in.Lot #11 Marjorie Reed (1915 - 1996). Oil on canvas-laid board titled Pioneers--Westward Ho! Painting is signed along the lower left, and further signed and titled along the verso. 
Provenance: Private collection, Minnesota. 
Dimensions: Unframed; height: 9 1/4 in x width: 12 in. Framed; height: 17 1/2 in x width: 20 1/4 in.Lot #12 Ace Powell (1912-1978). Oil on canvas titled Indian Rider depicting a man on horseback in the snow. Signed along the lower left.
Provenance: Distinguished corporate collection, Minnesota.
Dimensions: Unframed; height: 6 in x width: 12 in. Framed; height: 9 in x width: 15 in.Lot #13 Gustave Baumann (1881 - 1971). Color woodblock print titled Taos. Print is hand signed along the lower left and titled along the lower right, and is numbered no. 33 of 100. 
Provenance: Albert Roullier Art Galleries, Chicago, Illinois. 
                      Private collection, Minnesota. 
Biography: Gustave Baumann was born in Germany in 1881. He immigrated to the United States with his family at the age of ten, ending up in Chicago. In Chicago, he apprenticed at an engraving company while studying at the Art Institute of Chicago by night. Following his studies, he began to work in advertising, opening his own firm in 1903. However, his true interest was always in art, so after saving enough money, he traveled to Germany to study at the  Kunstgewerbe Schule, or School of Arts and Crafts. The meticulous craftsmanship taught at this school became a defining feature of Baumann’s art throughout his career. 
When he returned to Chicago, he immersed himself in his art, quickly gainiLot #14 Gustave Baumann (1881 - 1971). Color woodblock print titled Summer Rain. Print is hand signed along the lower right and titled along the lower left. Number 26 out of 100.
Provenance: Albert Roullier Art Galleries, Chicago, Illinois. 
                      Private collection, Minnesota. 
Biography: Gustave Baumann was born in Germany in 1881. He immigrated to the United States with his family at the age of ten, ending up in Chicago. In Chicago, he apprenticed at an engraving company while studying at the Art Institute of Chicago by night. Following his studies, he began to work in advertising, opening his own firm in 1903. However, his true interest was always in art, so after saving enough money, he traveled to Germany to study at the  Kunstgewerbe Schule, or School of Arts and Crafts. The meticulous craftsmanship taught at this school became a defining feature of Baumann’s art throughout his career. 
When he returned to Chicago, he immersed himself in his art, quickly gaining Lot #15 Gustave Baumann (1881 - 1971). Color woodblock print titled Pines--Grand Canyon (Cañon). Print is hand signed and marked along the lower right, and titled along the lower left. Numbered 41.
Provenance: Albert Roullier Art Galleries, Chicago, Illinois. 
                      Private collection, Minnesota. 
Literature: Acton, Krause and Yurtseven, Gustave Baumann: Nearer to Art, 1993, p. 47.
Biography: Gustave Baumann was born in Germany in 1881. He immigrated to the United States with his family at the age of ten, ending up in Chicago. In Chicago, he apprenticed at an engraving company while studying at the Art Institute of Chicago by night. Following his studies, he began to work in advertising, opening his own firm in 1903. However, his true interest was always in art, so after saving enough money, he traveled to Germany to study at the  Kunstgewerbe Schule, or School of Arts and Crafts. The meticulous craftsmanship taught at this school became a defining feature of Baumann’s Lot #16 Harry Jackson (1924 - 2011). Bronze sculpture of cowboy on horseback. Signed and dated '59 along the base. 
Provenance: Graham Gallery, New York.
Dimensions: Height: 15 in x width: 11 in x depth: 6 in.
Lot #17 Leonard Reedy (1899 - 1956). Three watercolors on paper depicting Western scenes with horses and cowboys. Two are signed along the lower left; one is signed along the lower right. Two are dated 1935. 
Provenance: Private collection, Minnesota. 
Dimensions: Sight; height: 7 3/4 in x width: 11 in. Framed; height: 14 1/2 in x width: 17 in.
Lot #18 Patrick DesJarlait Sr. (1921 - 1972). Modernist watercolor of a Native American family in profile. Signed along the lower right. 
Provenance: Private collection, Minnesota. 
Biography: Patrick DesJarlait was a successful Ojibwe artist devoted to painting scenes of his traditional culture.  He grew up on the Red Lake Reservation in Minnesota, and later made his home in the Twin Cities.  Throughout his career he painted iconic scenes of Ojibwe life, such as wild rice harvesting, walleye fishing, and dancers in traditional costumes.  DesJarlait explained: “I felt compelled to tell the story of my people through my paintings.”
DesJarlait grew up in a cozy log cabin in the woods near Red Lake, with his parents and 6 brothers and sisters.  Like other Ojibwe families of the 1920s, they didn’t have a lot of money, and lived off the land as much as they could.  The climate could be harsh up in northern Minnesota, but each season brought new opportunities.  In the spring, many families mLot #19 Jose Belloni (1882-1965). Bronze sculpture titled La Carreta of a team of oxen pulling a wagon. Sculpture is signed along the base. 
Provenance: Distinguished corporate collection, Minnesota.
Dimensions: Height: 10 in x width: 41 in x depth: 13 in.Lot #20 Jose Belloni (1882-1965). Bronze sculpture titled Jineteando of a man riding a bucking horse. Sculpture is signed along the base. 
Provenance: Distinguished corporate collection, Minnesota.
Dimensions: Height: 26 in x width: 18 in x depth: 13 1/2 in.Lot #21 Gary Schildt (b. 1938). Bronze sculpture titled Boy with Travois. Sculpture is signed and dated 1975 along the base.
Provenance: Distinguished corporate collection, Minnesota.
Dimensions: Height: 17 1/2 in x width: 23 in x depth: 12 1/2.
Lot #22 John Costigan (1888-1972). Oil on canvas titled The Barns, Winter. Signed along the lower right. 
Provenance: Radio City Theater, Minneapolis, Minnesota.
                      Private collection, Minnesota.
Dimensions: Unframed; height: 25 1/4 in x width: 30 1/2 in. Framed; height: 29 1/4 in x width: 34 in.Lot #23 Ernest Roth (1879 - 1964). Oil on masonite titled The Lake, Central Park. The verso bears two tags from the Vincent Price Collection, and the title and inventory number from that collection are inscribed on the verso. 
Provenance: Vincent Price Collection. 
                      Private collection, Minnesota. 
Dimensions: Unframed; height: 30 1/4 in x width: 26 in. Framed; height: 35 in x width: 30 3/4 in.Lot #24 Le Pho (1907-2001). Oil on canvas depicting flowers. Signed along the lower left.
Provenance: Wally Findlay Galleries, Chicago.
                      Private collection, Minnesota.
Biography: Le Pho was born in Vietnam in 1907. As a child, he was constantly finding opportunities to make art. As the son of the Viceroy of Tonkin, he had the opportunity to study art at the newly established Ecole des Beaux-Arts in Hanoi under Victor Tardieu (1870-1937), a well-respected French painter. In 1931, he traveled to France with Tardieu, where he studied at the Ecole des Beaux-Arts in Paris on a scholarship. He then traveled to Italy to do research, also visiting the Netherlands and Belgium in his tour of Europe. 
After returning to Vietnam, Le Pho became a professor at the Ecole des Beaux-Arts in Hanoi. During his professorship, he decided to continue his education by making trips to China to study and make art. While in China, he studied traditional Chinese sculpture, visited museums, aLot #25 Paul Resika (b. 1928). Oil on canvas titled "August Moon," depicting a moonlit beach scene. Signed along the lower right. Graham Modern tag attached along the verso which dates the piece to 1984. 
Provenance: Graham Gallery, New York.

Dimensions: Unframed; height: 24 in x width: 32 in. Framed; height: 25 in x width: 33 3/4 in.Lot #26 Huldah Jeffe (1901 - 2001). Oil on canvas depicting a two girls with a dog near a rowboat. Signed along the lower left. 
Provenance: Wally Findlay Galleries, Chicago.
                      Private collection, Minnesota.
Dimensions: Unframed; height: 25 1/2 in x width: 31 in. Framed; height: 35 in x width: 40 1/2 in.Lot #27 Hugh Kappel (1910-1988). Collage on paper in black and gold. Signed along the lower right. 
Provenance: Estate of the artist.
Dimensions: Sheet; height: 16 1/2 in x width: 13 3/4 in. Framed; height: 26 1/2 in x width: 23 1/4 in.Lot #28 Hugh Kappel (1910-1982). Abstract watercolor on paper. 
Provenance: Estate of the artist.
Dimensions: Sheet; height: 11 in x width: 14 1/2. Framed; height: 24 in x width: 26 1/2 in.
Lot #29 
James Twitty (1911 - 1994). Acrylic on canvas titled Regulus. Painting is signed along the lower right. 
Provenance: Distinguished corporate collection, Minnesota. 
Dimensions: Unframed; height: 60 in x width: 60 in. Framed; height: 61 ½ in x width: 61 ½ inLot #30 
Clea van der Grijn (b. 1967). Mixed media on canvas titled Jeopardy. Signed and titled along the verso, and dated 2002. Additionally inscribed along the back "For Jamie Becker. Mixed media on linen-oil, wax, pva, gold leaf/powder on linen. 2002." Also inscribed along the verso is the artist's email address. 
Provenance: Macy's Collection, Minnesota. 
Private collection, Minnesota. 
Dimensions: Height: 36 1/4 in x width: 36 1/4 in.Lot #31 
James Suzuki (b. 1933). Oil on canvas titled Blue Goose. Painting is signed and dated '67 along the lower right. 
Provenance: Graham Gallery, New York. 
Dimensions: Unframed; height: 17 in x width: 21 in. Framed; height: 18 in x width: 21 3/4 in.Lot #32 
Philip Pearlstein (b. 1924). Sepia watercolor on paper depicting a pair of nude models. Signed and dated 1978 along the lower right. 
Provenance: Donald Morris Gallery, Michigan.
Private collection, Chicago, Illinois. 
Dimensions: Sheet; height: 39 1/2 in x width: 58 in. Framed; height: 43 1/4 in x width: 63 in.Lot #33 
Zao Wou-Ki (1920-2013). Untitled color lithograph on Rives paper. Printer's mark embossed. Print is hand signed along the lower right and numbered 116/125.
Provenance: From an important New York City collection.
Dimensions: Sheet; height: 25 3/4 in x width: 19 3/4 in. Matted; height: 28 in x width: 25 in.Lot #34 
Walasse Ting (1929-2010). Abstract acrylic on canvas titled All My Life is a Spring. Painting is signed, titled, and dated '71 along the verso. Labels from the Lefevre Gallery and the Minneapolis Institute of Art are attached to the verso. 
Provenance: Lefevre Gallery, New York, New York.
Minneapolis Institute of Art, Minneapolis, Minnesota.
Dayton family collection, Minneapolis, Minnesota.
Acquired by the present owner from above. 
Biography: 
Today in 1967 A.D.
In our time life more comfortable and complicated
People more busy and nervous
More money and more war
Everybody want more and more expensive living
If you talk about nature, she running into flower shop or go to country for weekend
If anybody melancholy please take an aspirin
A poem is nothing
Not bigger than a banana not worth three cents
Sometimes after big dinner I wish you
Take a look little star
See yourself
without
a
mirror
-Walasse Ting, preface to Chinese Moonlight. 
Walasse Ting was a painter and a poet, a pLot #35 William Scott (1913-1989). Gouache on paper titled Theme Blue and Green no. 1. Painting is signed along the lower left and dated '68, and titled in pencil along the verso. 
Provenance: Private Collection, Minnesota.
Biography: William Scott was born in Scotland in 1913. He shortly afterward moved to Northern Ireland with his family, where he began his artistic education with Kathleen Bridle, a local art teacher. He went on to study at the Belfast School of Art, and then later at the Royal Academy in London, where he initially studied sculpture before switching to painting. 
After his graduation, he and his wife Mary Lucas, who he had met in art school, moved to France to open an art school with Geoffrey Nelson, a fellow painter. This school allowed Scott to pursue his artistic career in France while also focusing on teaching, a lifelong passion of his. During this time, Scott began to achieve artistic success, displaying his paintings--at this point, primarily still lifes--at tLot #36 Edward Steichen (1879-1973). Portfolio of 12 silver gelatin photographs, each mounted, the portfolio label, signed by George Tice and Joanna Steichen, on the reverse, 1926-1935; introduction by Joanna Steichen, and colophon, with edition 6/100 in ink. Folio, black buckram clamshell box. 
Provenance: Private collection, Minnesota.
Biography: Edward Steichen was one of the fathers of American photography, both artistic and commercial. Born in Luxembourg, SteichenÂ’s family immigrated to the United States when he was two years old. Eventually, the family ended up in Milwaukee, where the young Steichen was an apprentice with a lithographic firm. He soon turned his interests to painting and photography, deciding in 1900 to travel to Paris to study and immerse himself in art. He stopped in New York on his way to Europe, where he sought out Alfred Stieglitz, the vice-president of the Camera Club of New York and a leading figure in American art photography. Stieglitz was impressed withLot #37 Edward Steichen (1879-1973). Portfolio of 12 silver gelatin photographs, each mounted, the portfolio label, signed by George Tice and Joanna Steichen, on the reverse, 1920-1954; introduction by Joanna Steichen, and colophon, with edition 6/100 in ink. Folio, brown buckram clamshell box. 
Provenance: Private collection, Minnesota.
Biography: Edward Steichen was one of the fathers of American photography, both artistic and commercial. Born in Luxembourg, SteichenÂ’s family immigrated to the United States when he was two years old. Eventually, the family ended up in Milwaukee, where the young Steichen was an apprentice with a lithographic firm. He soon turned his interests to painting and photography, deciding in 1900 to travel to Paris to study and immerse himself in art. He stopped in New York on his way to Europe, where he sought out Alfred Stieglitz, the vice-president of the Camera Club of New York and a leading figure in American art photography. Stieglitz was impressed withLot #38 Edward Steichen (1879-1973). Portfolio of 12 silver gelatin photographs, each mounted, the portfolio label, signed by George Tice and Joanna Steichen, on the reverse, 1920-1933; introduction by Joanna Steichen, and colophon, with edition 28/100 in pencil. Folio, maroon buckram clamshell box. 
Provenance: Private collection, Minnesota.
Biography: Edward Steichen was one of the fathers of American photography, both artistic and commercial. Born in Luxembourg, SteichenÂ’s family immigrated to the United States when he was two years old. Eventually, the family ended up in Milwaukee, where the young Steichen was an apprentice with a lithographic firm. He soon turned his interests to painting and photography, deciding in 1900 to travel to Paris to study and immerse himself in art. He stopped in New York on his way to Europe, where he sought out Alfred Stieglitz, the vice-president of the Camera Club of New York and a leading figure in American art photography. Stieglitz was impressedLot #39 Edward Steichen (1879-1973). Portfolio of 25 silver gelatin photographs, each mounted, the portfolio label, signed by George Tice and Joanna Steichen, on the reverse, 1903-36; introduction by Joanna Steichen, and colophon, with edition 11/100 in ink. Folio, gray buckram clamshell box. 
Provenance: Private collection, Minnesota.
Biography: Edward Steichen was one of the fathers of American photography, both artistic and commercial. Born in Luxembourg, SteichenÂ’s family immigrated to the United States when he was two years old. Eventually, the family ended up in Milwaukee, where the young Steichen was an apprentice with a lithographic firm. He soon turned his interests to painting and photography, deciding in 1900 to travel to Paris to study and immerse himself in art. He stopped in New York on his way to Europe, where he sought out Alfred Stieglitz, the vice-president of the Camera Club of New York and a leading figure in American art photography. Stieglitz was impressed with hLot #41 Dale Chihuly (b. 1941). Cylindrical glass vase with rippled sides. Signed and dated 1981 along the base. 
Provenance: Directly from artist.
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered the collaboLot #42 Dale Chihuly (b. 1941). Two white seaform vessels with tan and red spots and curling edges. 
Provenance: Directly from artist.
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered the collaborative methodLot #43 Dale Chihuly (b. 1941). Four pink and white glass baskets with globular forms and striped designs. 
Provenance: Directly from artist
Collection of Edward Claycomb
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered the collaborative mLot #44 Dale Chihuly (b. 1941). Two glass baskets in white with teal and brown rims. Larger basket is signed and dated 1980. 
Provenance: Directly from artist
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fostered Lot #45 
Dale Chihuly (b. 1941). Deep red glass bowl with a tan interior and radiating designs along exterior ridges. Signed and dated 1981 along the bottom, and inscribed "Haystack."
Provenance: Directly from artist
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and procesLot #46 Dale Chihuly (b. 1941). Blue and orange glass bowl with wavy form and greenish interior. Signed and dated 1981 under the base. Provenance: Directly from artist
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first Lot #47 Dale Chihuly (b. 1941). Red glass bowl with iridescent stripes from Chihuly's Macchia series. Signed and dated 1982 under the base. 
Provenance: Directly from artist
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly Lot #48 Dale Chihuly (b. 1941). Green and blue speckled vessel from Chihuly's Macchia series. Signed and dated 1982 under the base. Provenance: Directly from artist
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly first fosLot #49 Dale Chihuly (b. 1941). Pink ridged glass vessel with a white ringed star radiating along the ridges. Signed, dated 1981, and inscribed Pilchuck under the base. 
Provenance: Directly from artist
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flouriLot #50 Dale Chihuly (b. 1941). Globular pink glass vessel with white rings. Signed and dated 1981 under the base and inscribed Pilchuck. 
Provenance: Directly from artist
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, Chihuly fiLot #51 Dale Chihuly (b. 1941). Two glass vessels in an amber color with radiating rings. Larger vessel is signed and dated 1984 under the base. 
Provenance: Directly from artist
Collection of Edward Claycomb.
Biography: Dale Chihuly first encountered glass art as an interior design student at the University of Washington. Immediately fascinated, he went on to study glass at the University of Wisconsin, which was the first university in the United States to teach glassblowing. From there, he went on to the Rhode Island School of Design, where he continued to learn about glass and eventually ended up teaching. His education continued with a Fulbright Fellowship to go to the famous glassblowing studios of Venice. After his time in Italy, he returned to his home state of Washington to found his own glass school, the Pilchuck Glass School, with Ann and John Hauberg, influential supporters of the arts in Seattle. At this school, his art style and process truly flourished. In particular, ChiLot #52 Mary Ann Toots Zynsky (b. 1951) Teal glass bowl with round bottom and raised orange stringy band around the center. Orange interior. Signed and dated '82 under the base. 
Provenance: Directly from artist
Collection of Edward Claycomb
Dimensions: Height: 5 1/4 in x diameter: 5 1/2 in.Lot #53 
Mark Kobasz. Four-legged glass vase with a bumpy texture and similarly textured candle holder.
Provenance: Directly from artist
Colletion of Edward Claycomb. 
Dimensions: Largest; Height: 7 in x diameter: 4 1/2 in.Lot #54 Fritz Dreisbach (b. 1941). Large orange glass vase. 
Provenance: Directly from artist
Collection of Edward Claycomb
Dimensions: Height: 13 in x width: 7 ½ in x depth: 5 ¾ in.Lot #55 Benjamin Moore. Large purple and gray glass charger with rings.
Provenance: Directly from artist
Collection of Edward Claycomb
Dimensions: Height: 2 3/4 in x diameter: 18 1/2 in.Lot #56 Lino Tagliapietra (b. 1934). Squat baluster glass vase with ribbed body. Transparent glass with thin purple filaments forming a checked pattern. 
Provenance: Directly from artist
Collection of Edward Claycomb. 
Dimensions: Height: 7 1/2 in x diameter: 6 in.Lot #58 Pablo Picasso (1881-1973). Terra cotta tile titled Petit Carre au Soleil.
Provenance: Private collection, Chicago, Illinois.
Literature: Alain Ramie, Picasso: Catalogue of the Edited Ceramic Works, 1947-1971, 631. 
Dimensions: Height: 5 7/8 in x width: 5 3/4 in x depth: 1/4 in.Lot #58 
David Barr (1940-2015). Wood sculpture titled Structurist Relief no. 166. Brightly colored wood squares in a three-dimensional wall hanging. Signed and titled along the verso, and dated May 1972. 
Provenance: Private Collection, Chicago, Illinois. 
Dimensions: Height: 34 in x width: 34 in x depth: 6 in.Lot #59 Large polychrome painted stoneware charger after Pablo Picasso. 
Provenance: Sweatt Estate, Wayzata, Minnesota.
Acquired from above.
Dimensions: Height: 4 3/4 in x diameter: 32 1/2 in.Lot #60 Salvador Dali (1904 - 1989). Hand-colored drypoint etchings with gold dust. 11 prints from Dali's 1972 series Song of Songs of Solomon, including Universal Man, Bareback Rider or Horseman, Shepherd of the Roses, Deux Visages, Universal Woman, The King, Peace, Valley of the Kings, Reclining Nude, Two Nudes, and Grapes. All are pencil signed along the lower right; Grapes, Two Nudes, Reclining Nude, Peace, The King, Bareback Rider or Horseman, and Universal Man are inscribed E.A. along the lower left for Eprueve d'Art (artist's proof). The rest are numbered in pencil along the lower left: Universal Woman is numbered 150/250; Deux Visages is numbered 117/250; Shepherd of the Roses is numbered 147/250; and Valley of the Kings is numbered 39/250.
Provenance: Private collection, Minnesota.
Dimensions: Sheet; height: 22 1/2 in x width: 15 in. Plate; height: 16 in x 9 1/2 in.Lot #61 
Antoine Bouvard Jr (1913 - 1972). Oil on canvas depicting a Venice harborscape. Painting is signed along the lower right. Provenance: Private collection, Minnesota.
Dimensions: Unframed; height: 24 in x width: 32 in. Framed; height: 29 1/2 in x 37 3/4 in.Lot #62 Roberto Matta (1911-2002). Suite of six lithographs titled Minded Mind. 
Provenance: Private collection, Minnesota. 
Dimensions: Portfolio; height: 31 1/4 x width: 22 1/4 in. Sheet; height: 31 in x width: 22 in.Lot #63 
Edward Seago (1910 - 1974). Oil on canvas depicting a dancing archer in front of an encampment of tents. Signed and dated '38 along the lower right. 
Provenance: Private collection, Minnesota.
Dimensions: Unframed; height: 16 in x width: 20 in. Framed; height: 18 1/4 in x width: 22 Lot #64 Louise Nevelson (1899 - 1988). Soft-ground etching on paper titled Essences Five. Print is signed and dated '77 along the lower right, inscribed P.P. along the lower left, and titled along the lower center. 
Provenance: Private collection, Minnesota. 
Dimensions: Sight; height: 37 1/2 in x width: 25 3/4 in. Framed; height: 45 3/4 in x width: 33 1/2 in.Lot #65 
Daniel Ridgway Knight (1839-1924). Watercolor on paper depicting a peasant woman with a basket looking out to sea. Painting is signed along the lower left and inscribed "Paris." 
Provenance: Graham Gallery, New York. 
Dimensions: Sight; height: 14 in x width: 10 in. Framed; height: 21 1/4 in x width: 17 in.Lot #66 Edouard Detaille (1848 - 1912). Oil on canvas depicting a scene of dragoons interacting with Alsatian villagers during the Napoleonic Wars. Painting is signed and dated 1895 along the lower right.
Provenance: Graham Gallery, New York, New York.
Biography: Edouard Detaille is known as one of the greatest French military painters. His paintings possess the heroic, romantic spirit favored by his contemporaries, but are also known for their accuracy and detail, aided by both his artistic training and his actual military experience. 
Born in Paris in 1848, Detaille showed an early talent for art. After completing a standard education, he went to work with Ernest Meissonier. Meissonier (1815-1891) was a well-respected French military painter, known particularly for his detailed approach to painting, a method he had learned from studying the work of the 17th century Dutch masters. Detaille learned this detail-oriented approach to painting from Meissonier, a characteristic that would dLot #67Mariano Fortuny (1838 - 1874.) Watercolor on paper depicting two 18th century ladies reading the paper. Painting is signed along the lower right and dated '70. 
Provenance: Graham Gallery, New York.
Dimensions: Sight; height: 15 1/4 in x width: 12 in. Framed; height: 17 1/4 in x width: 14 1/4 in.Lot #68 Jehan Georges Vibert (1840-1902). Watercolor on paper depicting a jester gesturing with a stick while holding a puppet. 
Provenance: Graham Gallery, New York. 
Dimensions: Sight; height: 15 1/4 in x width: 9 1/2 in. Framed; height: 25 3/4 in x width: 19 3/4 in.Lot #69 Henri-Joseph Harpignies (1819-1916). Watercolor on paper depicting a landscape with a house and cart. Signed and dated 1871 along the lower left. 
Provenance: Graham Gallery, New York. 
Dimensions: Unframed; height: 6 1/2 in x width: 10 in. Framed; height: 11 1/2 in x width: 14 1/4 in.Lot #70 Konstantin Vystosky (1864 - 1938). Watercolor on paper depicting four foxes in the snow. Signed along the lower right.
Provenance: Distinguished corporate collection, Minnesota.
Dimensions: Unframed; height: 6 1/4 in x width: 10 in. Framed; height: 13 1/2 in x width: 16 1/2 in.Lot #71Raffaele Mainella (1856-1941). Watercolor on paper depicting a man on a camel overlooking a body of water. Signed along the lower left.
Provenance: Private collection, Minnesota. 
Dimensions: Sight; height: 16 1/4 in x width: 8 3/4 in. Framed; height: 25 in x width: 17 1/4 in.Lot #72Louis Valtat (1869-1952). Drawing in sanguine on paper depicting the profile of a person wearing a hat. 
Provenance: Wally Findlay Galleries, Chicago. 
Dimensions: Sight; height: 10 1/2 in x width: 7 1/4 in. Framed; height: 19 in x width: 15 1/2 in.
Lot #73 Jack Levine (1915-2010). Pencil and colored pencil on paper titled "Facing East." Drawing is inscribed "At Amelio's, San Francisco" along the lower right. 
Provenance: Private collection, Minnesota. 
Note: Portion of proceeds from this lot will be donated to the Salvation Army. 
Dimensions: Sight; height: 10 3/4 in x width: 14 in. Framed; height: 21 3/4 in x width: 23 1/2 in.
Lot #74 
Alexandre Vibert (1847 - 1909). Bronze sculpture of Napoleon on horseback. Signed along the base. Provenance: Graham Gallery, New York. 
Dimensions: Height: 17 in x width: 15 1/2 in x depth: 6 1/2 in.Lot #75 Style of David Cox the Elder (1783-1859). Oil on canvas titled The Coming Storm, depicting a carriage and windblown trees. Provenance: Private collection, Minnesota.
Dimensions: Unframed; height: 11 in x width: 16 1/4 in. Framed; height: 22 in x width: 27 3/4 in.Lot #76 Oil on panel. Continental School landscape painting depicting women doing laundry by a river next to a building. Ca. 18th century.
Provenance: Private collection, Minnesota.
Dimensions: Sight; height: 17 1/2 in x width: 25 in. Framed; height: 23 1/2 in x width: 30 in.Lot #77 
Unsigned oil on board portrait of George Washington, c. 19th century. 
Provenance: Private collection, Minnesota. 
Dimensions: Unframed; height: 27 1/4 in x width: 23 1/4 in. Framed; height: 35 1/2 in x width: 29 1/2 in.
Lot #78 Old Master, Dutch School. Oil painting on panel depicting fruit and bread, c. 17th century. 
Provenance: Distinguished corporate collection, Minnesota.
Dimensions: Unframed; height: 27 1/2 in x width: 35 in. Framed; height: 35 1/2 in x width: 42 in.
Lot #79 After Hans Holbein. Oil on panel portrait of Margaret Roper. Inscribed "Margaret Rooper (sic), Daughter unto Sir Thomas More" along the upper right.
Provenance: Possibly Galerie Moderne, Brussels, Belgium in the 1970s
Private Collection, Minnesota
Biography: Margaret Roper (1505-1544) was the eldest and favorite daughter of Sir Thomas More. Extremely well educated for a woman of her time, she was particularly well-known for her knowledge of Latin and Greek. Her translation into English of Precatio Dominica by the Dutch humanist Desiderius Erasmus, a close family friend, was one of the earliest translations ever published by a British woman, and was very well-received. She was her fatherÂ’s closest confidante in his later years, and his writings about her make it clear that he saw her as an intellectual equal. After his execution in 1535 for his refusal to accept Henry VIIIÂ’s departure from Catholicism, she and her lawyer husband, William Roper, were the people who ensured thatLot #80 John Berkey (1932-2008). Oil on board portrait of Al Hirt playing the trumpet. Painting is signed along the trumpeter's sleeve. 
Provenance: Private collection, Minnesota.
Dimensions: Sight; height: 17 1/4 in x width: 17 1/4 in. Framed; height: 20 1/2 in x width: 20 1/2 in.Lot #81 Daniel Newman (1929 - 1994). White marble sculpture of two figures embracing. Mounted on round black marble stand. Signed along the base.
Provenance: Private collection, Minnesota. 
Dimensions: Height: 26 in x width: 8 in x depth: 5 1/2 in.Lot #82 Hisao Domoto (1928-2013). Acrylic on paper titled Solution de Continuite II, dating to 1970. Signed along the lower right. Verso has a tag from Martha Jackson Galleries, New York City. 
Provenance: Martha Jackson Galleries, New York, New York. 
                      Collection of Helen and Otto Silha, Minneapolis, MN 
Biography: Hisao Domoto was born in Kyoto to a family of artists. His uncle, Insho Domoto, was a well-respected member of the Japanese art scene, known for his works in the traditional Japanese Nihonga style, particularly his temple screens. Domoto began his art education by studying Nihonga painting at the Kyoto Municipal School of Arts and Crafts. He achieved early critical success while still in school there, exhibiting at the Japan Fine Arts Exhibition, where his work was met with high acclaim. In 1952, he traveled to Paris to study oil painting. He soon became associated with the Art Informel movement, which was flourishing in Europe at the time with its sponSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale PictureSale Picture

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