Modern + Design Auction | April 11, 2024

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Modern + Design
Modern + Design BrunkAuctions.com 117 Tunnel Road Asheville, NC 28805 828-254-6846 info@brunkauctions.com April 11, 2024 10:00 am

501

Marc Chagall, The Wedding (French/Russian, 1887-1985)

Hochzeit, from Mein Leben, 1922, edition 50/110, signed lower right in pencil “Marc Chagall”, Paul Cassirer, Berlin, 1923, publisher, etching on cream laid paper, sheet 8-5/8 x 11-1/2 in.; gilt wood frame, silk mat, 15-3/8 x 17-5/8 x 1-1/8 in.10-3/8 x 13-3/4 in., hinged in, light foxing and toning, margins with some surface abrasion to paper; frame with abrasions

Provenance: Private Collection, Kansas City

Estimate: $1,000 - $2,000

502

Marc Chagall, Man with a Basket (French/Russian, 1887-1985)

Der Mann mit dem Korb, from Mein Leben, 1922, edition 102/110, signed lower right in pencil “Marc Chagall”, Paul Cassirer, Berlin, 1923, publisher, etching on cream paper, sheet 13-7/8 x 10-5/8 in.; gilt wood frame, silk mat,17-7/8 x 14-3/8 x 1-1/8 in., hinged in, full margins, pencil inscription verso; frame with abrasions

Provenance: Private Collection, Kansas City

Estimate: $1,000 - $2,000

505

Marc Chagall, An Old Jew (French/Russian, 1887-1985)

Ein alter Jude, from Mein Leben, 1922, edition 53/110, signed lower right in pencil “Marc Chagall”, Paul Cassirer, Berlin, 1923, publisher, etching on cream paper, sheet 13-7/8 x 10-5/8 in.; gilt wood frame, silk mat,17-7/8 x 14-3/8 x 1-1/8 in., hinged in, toning and foxing, pencil inscription lower right margin; frame with abrasions

Provenance: Private Collection, Kansas City

Estimate: $1,000 - $2,000

503

Marc Chagall, My Father’s Grave (French/Russian, 1887-1985)

Grab des Vaters, from Mein Leben, 1922, edition 70/110, signed lower right in pencil “Marc Chagall”, Paul Cassirer, Berlin, 1923, publisher, etching on cream paper, sheet 8-5/8 x 11-1/2 in.; gilt wood frame, silk mat, 15-7/8 x 17-3/8 x 1-1/8 in., hinged in, some toning from at edge, folds in all four margins with a 1/2 tease at top left in crease, paper tape residue in margins, one small hole in bottom margin; frame with abrasions

Provenance: Private Collection, Kansas City

Estimate: $1,000 - $2,000

504

Marc Chagall, Lovers on a Bench (French/Russian, 1887-1985)

Liebende auf der Bank, from Mein Leben, 1922, edition 25/110, signed lower right in pencil “Marc Chagall”, Paul Cassirer, Berlin, 1923, publisher, etching on cream laid paper, sheet 13-1/4 x 16-5/8 in.; gilt wood frame, silk mat, 17-3/8 x 20-3/4 x 1-1/8 in., hinged in, full sheet, good condition; frame with abrasions

Provenance: Private Collection, Kansas City

Estimate: $2,000 - $3,000

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506

Early Malvina Cornell Hoffman Wood Sculpture (New York, 1887-1966)

Rabbi of Djerba, 1927, signed “MH”, carved applewood, 18-3/4 x 9 x 8-1/4 in., some splitting, with butterfly repair underside, some abrasions, accession number verso

Provenance: Conner - Rosenkranz, New York (label underside); Christie’s New York, September 7, 2005, Lot 94, sold for $3,360 with premium (label underside); Private Collection, Kansas City

Estimate: $2,000 - $3,000

507

Malvina Hoffman, The Cap Sculpture (New York, 1887-1966)

The Cap, signed on edge “M. Hoffman”, bronze with verdigris patination, with base 7-1/8 x 3-1/2 x 3-1/2 in., abrasions to proper right cheek

Provenance: Christie’s New York, November 29, 2005, Lot 741, sold for $5,760 USD with premium (label underside); Private Collection, Kansas City

Estimate: $2,000 - $3,000

508

Malvina Cornell Hoffman Bronze (New York, 1887-1966)

Dying Bull, signed and dated on bronze base “1952 Malvina Hoffman”, patinated bronze 8 x 13 x 5-1/4 in. in., on a stepped, painted wood plinth, 2-1/8 x 13-1/4 x 6-1/4 in., dark brown to black patina, small dents and abrasions, rubbing on horns; wear to wood plinth

Provenance: Private Collection, Kansas City

Estimate: $1,000 - $1,500

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509

Malvina Cornell Hoffman, Matador Sculpture (New York, 1887-1966)

Matador Muleta, 1953, signed in bronze base “Malvina Hoffman 1953”, Stamped “Roman Bronze Works, Inc. N.Y.”, bronze with brown, verdigris and golden patination, 12 x 9 x 6 in., with slate veneer and wood plinth, 3/4 x 5-1/2 x 3-1/2 in., bronze in good condition; base lacking a side of veneer

Provenance: Christie’s New York, November 29, 2005, Lot 737, sold for $5,400 with premium; Private Collection, Kansas City

Estimate: $1,000 - $1,500

510

Malvina Cornell Hoffman Bronze (New York, 1887-1966)

Charging Bull, 1953, edition 3/4, signed and dated on bronze base “Malvina Hoffman/1953”, Bedi-Rassy Foundry (unmarked), patinated bronze, 7-3/4 x 15-3/4 x 6 in., good condition, some tape accretion on base

Provenance: Conner - Rosenkranz, New York (label underside); Christie’s New York: November 29, 2005, lot 738, sold for $5,040 with premium (label underside); Private Collection, Kansas City

Estimate: $1,000 - $1,500

511

Malvina Cornell Hoffman, Matador Sculpture (New York, 1887-1966)

Matador, 1953, signed on base “M. Hoffman 1953”, with foundry stamp “Cire Perdue Valsuani”, patinated bronze, 12-1/4 x 7 x 5-1/4 in., on a stepped, painted wood plinth, 1-1/4 x 5 x 4 in., gold patina, wear to wood plinth

Provenance: Christie’s New York, September 7, 2005, lot 90, sold for $2,880 with premium; Private Collection, Kansas City

Estimate: $1,000 - $1,500

512

Malvina Cornell Hoffman, Cat Sculpture (New York, 1887-1966)

Kiki the Cat, signed “Malvina Hoffman MPI”, painted plaster, 3-5/8 x 9-3/4 x 8 in., some abrasions and small losses

Provenance: Private Collection, Kansas City

Estimate: $600 - $900

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513

Amedeo Modigliani, Portrait de Poete Baranowski (Italian, 1884-1920)

Pierre-Edouard Baranowski, circa 1913, signed upper right “Modigliani”, pencil on paper, 10-1/4 x 8-1/4 in.; fluted and gilt Whistler type frame, 18-1/2 x 16-1/8 x 1 in., paper toned, taped with archival tape to verso of mat

Provenance: The Zwemmer Gallery, London (typed label verso with title on original wood frame backing), purchased circa 1937 for 18 guineas by Eric Alston Mott before it closed at the onset of WWII; His son, Michael Motte; by descent in family

Estimate: $20,000 - $25,000

Exhibited: The Zwemmer Gallery, London, Modigliani: Exhibition on Fifty Drawings, March 4-27, 1937, No. 7, accompanied by an original exhibition brochure

This lot is also accompanied by email correspondence with Darragh O’Donoghue, Archive Curator of the Tate Archive and Library, Tate, Britain, which The Tate holds the Zwemmer archives. O’Donoghue mentions the lack of records prior to 1950 and the fact there is not a stock book or a record of the sale of this exhibited drawing. *While the provenance is tied to a reputable gallery that exhibited many important artists of the 20th century including Modigliani, Picasso and others, and the fact the drawing has been in the same family since the early 1940s or late 30s, it is important to state that this drawing does not appear in the catalogue raisonne by the accepted expert, Ambrosio Ceroni (1965). Two portraits exist in oil by Modigliani of the poet Baranowski, one of which is held by the de Young Museum, Fine Arts Museums of San Francisco (https://www.famsf.org/artworks/portrait-of-pierreedouard-baranowski). The other is “No. 7” from the Zwemmer exhibition, a pencil sketch.

Eric Mott was born 7 October 1902 in Stanmore, England, UK and died 28 September 1990 in Wearne Langport Somerset, UK. He collected the contemporary art of his day. This was purchased from the Zwemmer Gallery either during the exhibition or shortly after. Michael and his two brothers were sent to live in the United States during the war. It is possible that Michael may have been aware or attended the exhibition with his parents. He was ten years old in May of 1941. He mentions that this drawing was purchased shortly before the Blitz.

Eric Mott decided to consign the piece to JPL Fine Arts then learned that his son Michael wanted it. So, it was brought back to the States by one of the daughters and repatriated into the family.

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514

Art Deco Red Leather Upholstered Club Chair first half 20th century, bright red leather with black piping, pedestal base, 28 x 22 x 20 in., one side of chair back is somewhat loose from base, scattered scratches and surface wear to leather

Provenance: Brunk Auctions, May 15, 2015, lot 91; Private Collection

Estimate: $200 - $400

517

Erte Bronze (Romain de Tirtoff, Russian, 1892-1990)

Femme de luxe, 1990, edition 62/500, signed “Erte”, Finale Collection, Dyansen Corp., publisher, foundry mark for The Sevenarts Ltd., London, polychromed bronze, 17-7/8 x 8-3/8 x 12 in., good condition

Provenance: Purchased directly from the Dyansen Corporation, New York, 1990, for $8,500 (accompanied by the original brochure, certificate, and correspondence); Private Collection

Estimate: $1,500 - $2,500

515

Pair Genet et Michon Wall Sconces

early 20th century, not apparently stamped, pair of gilt metal mounted pebbled glass sconces, wired for electricity, with bulbs, 26-5/8 x 5-1/4 x 6 in., not tested for functionality, some discoloration to metal, shades with small chips to edges, wires cut

Provenance: Christie’s New York, June 13, 2002 (lot 94); Private Collection, New York

Estimate: $1,200 - $1,800

516

French Art Deco Patinated Wrought Iron Octagonal Mirror circa 1920-1930, manner of Edgar Brandt, octagonal frame surmounting a scrolled base with reticulated center panel, beveled mirror plate, 37-3/4 x 44-1/4 x 1 in., in generally good condition, later backboard, patination likely later, minor wear from age and usage

Provenance: Macklowe Gallery & Modernism, 1988; Private Collection, New York

Estimate: $600 - $900

518

Erte Bronze (Romain de Tirtoff, Russian, 1892-1990)

L’Amour de vin, 1990, edition 194/500, signed “Erte”, Finale Collection, Dyansen Corp., publisher, foundry mark for The Sevenarts Ltd., London, polychromed bronze, 18-3/4 x 12 x 10 in., good condition

Provenance: Purchased directly from the Dyansen Corporation, New York, 1990, for $8,500 (accompanied by the original brochure, facsimile receipt, certificate, and correspondence); Private Collection

Estimate: $2,000 - $3,000

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519

Prenez Garde A La Peinture (Be Careful of the Paint), signed lower right and verso “Van Dongen”, ink, graphite on wove cream paper, 14-3/8 x 11-1/2 in; modern black frame, 20-1/4 x 16-5/8 x 1-1/4 in., hinges in, some toning, handling grime at edges, small tears at left edge, small stains possibly watercolor

Provenance: Private Collection, Kansas City

Estimate: $8,000 - $12,000

One might suggest that Kees Van Dongen, founder of the Fauvist movement, is poking fun at the important exhibitions of the day and artist’s work that was “accepted” for exhibition. He was championed by Ambroise Vollard who invited him to participate in the controversial 1904 Salon des Independants. He exhibited the following year at the Salon d’Automne along with Matisse, Derain, and Vlaminck.

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Kees Van Dongen, Les Salons (Dutch/French, 1877-1968)

520

Maximillien Luce, Le Peintre Terrus (French, 1858-1941)

Portrait of the painter Etienne Terrus, circa 1905, signed lower left “Luce”, oil on canvas, 32 x 25-7/8 in.; gilt wood and composition frame, 41 x 35 x 3-3/4 in., original stretcher and tacking edge, minor areas of crackle; frame with abrasions

Provenance: Montgomery Gallery, San Francisco, No. 148 (label verso); Private Collection, United Kingdom; Sotheby’s New York, February 23, 2006, Lot 31, sold for $72,000; Private Collection, Kansas City

Estimate: $30,000 - $50,000

“Four days after arriving in Collioure in the Pyrenees-Orientales region of the south of France, in May 1905, Henri Matisse described in a letter to a friend how he had met a local artist, “un peintre des indépendants, ami de [Maximilien] Luce, qui s’appelle Terrus et qui est très agréable de compagnie”.

Etienne Terrus (1857-1922) was born in Elne, near Perpignan; apart from a brief period spent studying art in Paris in the 1880s, he remained in the town all his life, never achieving the fame of the artists who knew him, including not only Matisse and Luce, but Picasso, Derain, Maillol and Vlaminck. Matisse freely admitted to having been influenced by Terrus, through an exchange of correspondence which began that summer and continued until 1917; the impact of this obscure painter on all the Fauves may have been critical to the formulation of their breakthrough innovations in 1905.”

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521

Herbert Bayer (Colorado/California/Austria, 1900-1985)

Wings Over Mountain Valley, 1947, signed lower right “Bayer 47”, signed and titled on stretcher verso with date “1947/3”, oil on canvas, 32 x 46-1/4 in.; parcel gilt lattice type frame, 33 x 47-1/4 x 1-1/2 in., original stretcher and tacking edge indention with gilt residue lower left canvas; frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $15,000 - $20,000

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523

522

Will Henry Stevens (American, 1881/87-1949)

Untitled, Country Road, signed lower right “Stevens”, pastel on paper, sight 12-1/4 x 16-1/2 in.; modern gilt wood frame, 25 x 28 in., surface is very good, not examined out of archival framing; frame with minor wear

Provenance: Acquired directly from John Cram, The Estate of Will Henry Stevens; Estate of Sara Graham Peacock

Estimate: $4,000 - $6,000

Will Henry Stevens (American, 1881/87-1949)

Untitled, Church Steeple, signed lower right “Stevens”, pastel on paper, sight 16-1/2 x 13-1/2 in.; modern gilt wood frame, 25 x 211/2 in., surface is very good, not examined out of archival framing; frame with minor wear

Provenance: Acquired directly from John Cram, The Estate of Will Henry Stevens; Estate of Sara Graham Peacock

Estimate: $4,000 - $6,000

524

Will Henry Stevens (American/North Carolina/Louisiana, 1881-1949)

Tree Trio, 1942, signed lower right ”Stevens”, pastel on paper, 16 x 14 in.; wood frame, 23-1/2 x 21 in., surface is very good, tape residue verso, light wear under mat; frame with light wear original exhibition label on frame backing

Provenance: Private Collection

Estimate: $1,000 - $1,500

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525

Alonzo C. Webb

(New York/Nashville, Tennessee, 1888-1975)

Cyprus Trees with Red Doorway, unsigned, oil on paperboard, 13-5/8 x 10-5/8 in.; gilt wood frame, 18-3/4 x 15-5/8 x 1-5/8 in., some wear at edges; frame with abrasions

Provenance: Gift of Helena Webb Douglas; Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

526

Alonzo C. Webb

(New York/Nashville, Tennessee, 1888-1975)

Shadows on a Narrow Street, unsigned, oil on paperboard, 16 x 13 in.; giltwood frame, 21 x 17-7/8 x 1-3/4 in., surface dirt, good condition; frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

527

Alonzo C. Webb

(New York/Nashville, Tennessee, 1888-1975)

Walled City with Boats in Harbor, unsigned, oil on paperboard, 141/2 x 18 in.; gilt wood frame, linen liner, 20 x 23-1/8 x 1-1/2 in., some surface dirt, abrasions at edges

Provenance: Gift of Helena Webb Douglas; Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $300 - $500

528

Gordon Onslow-Ford

(California/England, 1912-2003)

Fair Ground, 2003, signed verso linen “G. Onslow Ford”, inscribed bottom middle “2.03”, Parles paint on linen, 72 x 38-1/2 in., canvas size for stretching 94 x 54 in.; unframed, some surface dirt

Provenance: Collection of the artist’s sister, Elisabeth Onslow-Ford; By descent in family

Estimate: $4,000 - $6,000 Note (link to prior story)

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531

Alonzo C. Webb (New York/Nashville, Tennessee, 1888-1975)

529

Gordon Onslow-Ford (California/England, 1912-2003)

Sketch for Interatom (CR 1939-086), 1939, unsigned, acrylic on canvas, 18 x 22 in.; black stained gallery frame, 22-1/8 x 26-1/4 x 2-5/8 in., lined and restretched on original stretcher, slight surface dirt, retouch

Provenance: Collection of the artist’s sister, Elisabeth Onslow-Ford; By descent in family

Estimate: $6,000 - $9,000

In the summer of 1938, Gordon Onslow Ford and Roberto Matta developed an artistic partnership in Brittany, painting together and refining their automatic processes. As part of his ongoing search for methods of making spontaneous imagery, Onslow Ford invented coulage (the term based on couler, meaning “to flow” in French), a technique that anticipated the work of Hans Hofmann and Jackson Pollock. He joined the Parisian Surrealist group in 1938, and through his influence and that of Matta, the Surrealist circle became increasingly interested in an abstract visual lexicon linked to metaphysics and mystical philosophy. - Guggenheim Museum. For more information: https:// brunkauctions.com/line-circle%e2%97%8b-dot-%e2%97%8f-thepaintings-of-gordon-onslow-fordseptember-29-2023/

530

Gordon Onslow-Ford (California/England, 1912-2003)

Laughter’s Leap (CR 1978-020), 1979, inscribed verso “Laughter’s Leap/For Elisabeth/6th April 1979”, Parle’s paint on brown paper, 23-1/8 x 31-1/4 in.; unframed, some handling creases, staple holes at edges, slight discoloration at holes

Provenance: Collection of the artist’s sister, Elisabeth Onslow-Ford; By descent in family

Estimate: $2,000 - $3,000

For more information: https://brunkauctions.com/linecircle-%e2%97%8b-dot-%e2%97%8f-the-paintings-ofgordon-onslow-ford-september-29-2023/

Figures Looking into Spotlight, unsigned, oil on canvas, 16-1/8 x 10-5/8 in.; gilt wood frame, 21-1/8 x 15-5/8 x 1-3/8 in., original European stretcher and tacking edge, surface dirt; frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

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533

532

Alonzo C. Webb (New York/Nashville, Tennessee, 1888-1975)

Lantern, abstract. unsigned, oil on canvas, 24 x 19-3/4 in; pickled wood frame, 25-1/4 x 20-3/4 x 1-1/2 in., some abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

Alonzo C. Webb (New York/Nashville, Tennessee, 1888-1975)

Untitled, Figures bowing to a machine, unsigned, oil on canvas board, sight 30 x 22 in.; pickled wood frame, 37-1/2 x 29-3/8 x 1-7/8 in., abrasions, not examined out of frame

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

535

E.E. (Edward Estlin) Cummings (American, 1894-1962)

Untitled, abstract composition, 1943, unsigned, dated verso canvas “May 2 ‘’43”, label verso “From E.E. Cummings Collection donated to Luethi-Peterson Camps in 1969”, oil on canvas, 20 x 16 in.; Heydenryk distressed chip carved wood frame, 28 x 23-1/2 x 2 in., some crackle and cupping with minor flaking

Provenance: Estate of the artist to his daughter; Gift from daughter to LuethiPeterson Camp, New Hampshire; Private Collection, New Hampshire; Property of The Boston Art Club; Shannon’s Fine Art Auction, October 27, 2016, lot 203, sold for $3,125; Property from a Prominent Sewickley, Pennsylvania Family Estimate: $1,500 - $2,500

534

Alonzo C. Webb (New York/Nashville, Tennessee, 1888-1975)

Flame-like Spikes and Filigree Design, unsigned, oil on paperboard, sight 25 x 18-7/8 in.; pickled oak frame, 33 x 26-3/8 x 1-3/4 in., not examined out of frame, good condition; frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $300 - $500

536 Carl Sublett (American/Tennessee, 1919-2008)

Crucifix, 1959, signed lower left ”Sublett”, inscribed verso “Carl Sublett Knoxville”, oil on canvas, 50-1/2 x 40 in.; wood frame, 53-1/2 x 43-1/4 in., surface with areas of heavy but stable impasto, some light crackle; frame with wear especially at corners Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $1,000 - $1,500

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537

Amedee Ozenfant (New York/French, 1886-1966)

Ships at Port, 1947, signed lower right “Ozenfant “, inscribed verso canvas “KG/47”, oil on canvas, 39-3/4 x 321/2 in.; black frame floated within a parcel gilt wood frame, overall 44 x 36-3/4 x 2-3/8 in., original stretcher and tacking edge, some points of flaking at right side, abrasions at edges; frame with abrasions,

Provenance: M. Knoedler Gallery, New York; Private Collection, United Kingdom; Trinity House, London, No. 4832; Private Nashville Collection

Estimate: $10,000 - $15,000

Ozenfant and Le Courbusier were the main proponents of a movement they would call Purism. Between 1918 through 1925, they sought to influence art and architecture away from Cubism and the fractured interpretation of objects and to use simplified forms. Fernand Leger was another proponent of Purism. After this period Ozenfant toured and taught throughout the United States, In 1947, Ozenfant was a visiting summertime teacher at Black Mountain College, Black Mountain, North Carolina.

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538

Kai Kristiansen Teak Desk

Danish, circa 1960s, Feldballes Mobelfabrik, floating top over two compartments fitted with three drawers, opposing open compartments, tapered legs, 28-3/4 x 59-1/2 x 30-1/2 in., in very good overall condition, one lower drawer with partial loss to pull, one drawer with tape residue in interior, scattered minor surface wear as expected with age and use

Provenance: To Benefit WNC Bridge Foundation

Estimate: $1,000 - $1,500

539

Finn Juhl “Judas” Silvered Metal

Inlaid Teak Dining Table mid 20th century, design by Niels Vodder, oval top with two extension leaves, serpentine apron, tapered legs, 28 x 121 x 54-3/4 in., structurally sound and in good overall condition, one piece of circular silvered metal inlay is detached and taped to table top, inlays with minor wear and abrasions, scattered minor surface wear and abrasions from age and use

Provenance: To Benefit WNC Bridge Foundation

Estimate: $7,000 - $10,000

540

Danish Modern Walnut Wall Unit 20th century, labeled “Made in Denmark”, includes two cabinets, one fitted with drawers, bookshelf, extension desk, and wall shelves, approximately 80 x 100 x 47 in., depending on configuration, all components structurally sound and in generally good condition, scattered surface wear and abrasions throughout from usage

Provenance: From an Important Antique Collector, Charleston, South Carolina

Estimate: $1,500 - $2,500

541

Pair of Danish Modern Rosewood Bar Stools 20th century, with “Made in Denmark” labels, each with black leather seat and splayed base with footrest, 33 x 15-1/2 x 17-1/2 in., both structurally sound and in good overall condition with minor surface wear from previous use, frames with minor accretions, leather seats appear to be original with some tiny breaks

Provenance: Private Collection, Asheville, North Carolina

Estimate: $500 - $700

◉This lot contains animal or plant material that may be restricted under federal, state and/or local law. Prospective bidders should check all applicable government wildlife restrictions prior to placing a bid. The buyer is solely responsible for obtaining any necessary licenses or permits from federal, state and/or local authorities applicable to their purchase or transport of the object. Please note that bidders in New Jersey may not bid on any lots containing elephant ivory, mammoth ivory, or rhinoceros horn.

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543

542

Four Ib Kofod Larsen “Penguin” Chairs

Denmark, circa 1950, laminated wood seatback, upholstered seat, painted iron frame, 30 x 20-1/2 x 24 in., all four chairs structurally sound, tweed upholstered seats with wear and losses, red upholstered seats with discoloration, all chairs with surface wear and paint loss to chair frames, seatbacks with craquelure and abrasions, one seatback with small losses and discoloration, other wear from age and usage

Provenance: Estate of Bob Moog, Asheville, North Carolina

Estimate: $800 - $1,200

Charles Eames Leather Upholstered and Laminated Rosewood “670” Lounge Chair and “671” Ottoman mid 20th century, chair with Herman Miller labels, each with original tufted leather upholstery and patinated metal base, chair 38 x 31-1/2 x 29; ottoman 15 x 25-1/4 x 21 in., both structurally sound, chair leather with splitting at front of seat, at one arm, and at headrest seam, later name plate adhered to back of headrest, one arm joint with later nails added near screws, some minor veneer lifting at arm joints, both with scattered wear to leather, minor abrasions and surface wear to wood and metal surfaces

Provenance: Private Collection

Estimate: $3,000 - $5,000

◉This lot contains animal or plant material that may be restricted under federal, state and/or local law. Prospective bidders should check all applicable government wildlife restrictions prior to placing a bid. The buyer is solely responsible for obtaining any necessary licenses or permits from federal, state and/or local authorities applicable to their purchase or transport of the object. Please note that bidders in New Jersey may not bid on any lots containing elephant ivory, mammoth ivory, or rhinoceros horn.

544

Mid Century Modern Style Painted Metal and Upholstered Bench, 20th/21st century, manner of Richard Schultz, blue cloth upholstered seat, 20-3/4 x 45 x 16 in., overall good condition, frame with minor abrasions and surface wear from use

Provenance: Private Collection, New York

Estimate: $200 - $400

545

Mid Century Modern Articulating Floor Lamp sticker “Underwriter Laboratories/ Portable Lamp/Issue BB-9381”, adjustable swiveling arm with 360 degree rotation, approximately 58-1/2 x 37-1/2 in., 11 in. diameter at base, working at time of inspection, some surface dust, scattered scratches to frame

Provenance: Private Collection

Estimate: $200 - $400

546

Underwriters Laboratories Painted Metal Hanging Light Fixture 20th century, cross hatched configured tubes with bulb fittings, wired for electricity, 48-1/2 x 24 x 12 in., structurally sound, scattered abrasions and surface wear throughout, wire attached, not tested for functionality

Provenance: From an Important Antique Collector, Charleston, South Carolina

Estimate: $600 - $900

547

Joseph W. Gilliard (Alabama/Virginia, 1914-2004)

Comma Bowl, comma-shaped footed ironstone bowl, glossy green/cream, blue/black glaze, base marked “J.W. Gilliard”, 5 x 16 x 12-1/2 in., excellent condition.

Provenance: Brunk Auctions; Private Collection

Estimate: $800 - $1,000

Joseph Gilliard was an influential African-American ceramicist who taught at Hampton University, Virginia. Over the course of Joseph Gilliard’s five decades at Hampton, he explored and invented many ceramic techniques that would earn him and the Institute many honors, including a Carnegie Research Grant in 1947. He participated in the restoration of Colonial Williamsburg.

https://www.legacy.com/us/obituaries/dailypress/name/joseph-gilliard-obituary?id=15495657

https://live.brunkauctions.com/auctions/brunk/moderndesign-auction-april-11-2024-13770 18 Modern + Design

548

Sterling Strauser (American, 1907-1995)

Flower Arrangement, 1968, signed lower left “Strauser”, oil on Masonite, 36 x 48 in., floating in silver faced wood frame, 55 x 43 x 2 in., surface is very good; frame with minor abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $2,000 - $3,000

549

Sterling Strauser (American, 1907-1995)

Church Supper, 1959, signed lower right “Strauser”, oil on board, 36 x 48 in., floating in distressed wood frame, 55 x 43 in., some abrasions and surface dirt; frame is distressed (as made) linen liner appears to have some water damage lower left

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $1,000 - $1,500

550

Cleve Gray (Connecticut/New York, 1918-2004)

The Sea Near Pontevedra, 1958, signed lower right “Gray - ‘58”, titled and dated

original stretcher and tacking edge, surface dirt, canvas slightly loose, some crackle; frame with abrasions

Provenance: Jacques Seligmann Galleries, New York (label verso);Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $3,000 - $5,000

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verso canvas, oil on canvas, 18-1/8 x 27-7/8 in.; lattice type frame, 18-5/8 x 28-3/8 x 2 in.,

551

Four Color Etchings by Christopher Castle (California/British, born 1946)

Megalithic Mounds II, 1977, 3/20, 30-3/8 x 20-3/8 in.; Megalithic Mounds Metamorphosis, 1976, 3/70, 30-5/8 x 20-3/8 in.; Glendalough I, 1976, 13/20, The Round Tower, 30-1/2 x 20-3/8 in.; Glendalough Twilight Textures, 30-3/8 x 20-3/8 in., all signed “Christopher Castle”, inscribed and titled; unframed, in acid free mats, all held by corners to mounts, good condition

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $700 - $900

552

Claes Oldenburg (New York, 1929-2022)

Fagends Carved in Rock, 1972, edition L.P.6, signed bottom middle “Oldenburg”, Landfall Press, Chicago, printer, Multiples, Inc., New York, publisher, offset lithograph printed in colors on Hammermill Antique

Cover paper, 38 x 22-1/4 in.; modern wood frame, 44-3/4 x 28-1/2 x 1-1/2 in., good condition, floated, not removed out of archival framing

Provenance: Estate of Sara Graham Peacock

Estimate: $600 - $900

554

Eli Karpel Sculpture (New York, 1916-1998)

Untitled, abstract reclining figure, 1985, edition 15/20, signed on base, “Karpel 1985”, polished bronze on integral rotating base, 7 x 7 x 7 in., some abrasions

Provenance: Private Nashville Collection

Estimate: $800 - $1,200

553

Jack Tworkov (New York/Massachusetts,1900-1982)

KTL #1, 1982, edition 43/150, signed and dated lower right “Tworkov/82”, Tyler Graphics, Ltd. (original justification certificate verso), blindstamp lower right, lithograph in colors, image 24 x 24 in., sheet 27-1/2 x 27-1/2 in. (69.9 x 69.9 cm); modern wood frame, 32-5/8 x 32-1/2 x 1-1/4 in., floated, good condition, not removed from archival framing

Provenance: Estate of Sara Graham Peacock

Estimate: $300 - $500

Reference: https://www.blackmountaincollege.org/jacktworkov/

555

Maryon Kantaroff Sculpture (Canadian, born 1933)

Prometheus,1977, edition 3/8, signed on integral base “M. Kantaroff 1977”, label with title and original price of $4,500 taped underside, foundry stamp underside “Ary Foundry/Toronto”, bronze, 9-3/4 x 11 x 10 in., light brown patina with uneven areas

Provenance: Private Nashville Collection

Estimate: $800 - $1,200

https://live.brunkauctions.com/auctions/brunk/moderndesign-auction-april-11-2024-13770 20 Modern + Design

556

Louise Nevelson (New York/Ukraine, 1899-1988)

The King and Queen, 1953-1955, printed in 1965-66, edition 7/20, signed lower right “Louise Nevelson”, titled, soft ground etching, etching, aquatint, and drypoint on paper, plate 21-11/16 x 27-3/8 in.; modern frame, 36-5/8 x 42-1/8 x 1-3/4 in., good condition, not apparently laid down, not removed from frame; frame with abrasions

Provenance: Private Collection, Frankfort, Kentucky

Estimate: $500 - $700

557

Leon Albert Golub, Head XXIV (New York/Illinois, 1922-2004)

Head XXIV, 1958, signed lower right “Golub” and titled and signed verso with encircled number “516”, oil on canvas, 57-1/2 x 35-1/4 in.; parcel gilt wood frame, 58-1/2 x 35-7/8 x 1-1/2 in., original strainer and tacking edge, surface dirt, canvas slightly loose, crackle and cupping in areas of impasto; frame with wear and abrasions

Provenance: Collection of Ora Mary Lannan (19011984) gifted to a Southern Museum sold to benefit the Acquisition Fund

Estimate: $15,000 - $20,000

https://live.brunkauctions.com/auctions/brunk/modern-designauction-april-11-2024-13770 21 Click here to view lots and detail photos.

558

Georges Noel (French, 1924-2010)

Pur Palimpseste, 1961, signed lower left “Georges Noel 61”, signed, titled, dated verso canvas, mixed media including powdered pigments, sand, and glue on canvas, 45-7/8 x 28-3/4 in.; unframed, some deterioration at top tacking edge, some surface dirt

Provenance: Galerie Paul Facchetti, Paris (label verso); Waddington and Tooth Galleries, London, WGB3263 (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $8,000 - $12,000

https://live.brunkauctions.com/auctions/brunk/moderndesign-auction-april-11-2024-13770 22 Modern + Design

559

Stephen Greene

(New York, 1917-1999)

Saul and David, 1954, signed lower left “greene”, signed verso on stretcher “S. Greene” and titled, oil on canvas, 33 x 27-7/8 in.; original parcel gilt and distressed wood frame, 39-3/4 x 34-3/8 x 1-3/4 in., original stretcher and tacking edge, canvas slightly loose, surface dirt; frame with some wear and loss to gilt surface

Provenance: Gift from Grace Borgenicht-Brandt (remnant label verso frame as “Lender”); Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $2,000 - $3,000

560

Amano Kazumi

(New York/Japanese, 1927-2001)

Untitled, 1966, edition 15/30, signed in Japanese “尼野和三”and “Kusami Amano ‘66”, embossed woodblock in colors, sight 33-1/4 x 19-1/4 in.; modern frame, 38-7/8 x 24-1/8 x 1 in., not removed from archival framing,

Provenance: Estate of Sara Graham Peacock

Estimate: $300 - $500

561

Calvin Waller Burnett, Freedom Fighter (Massachusetts, 1921-2007) for Operation Exodus, 1969, edition 33/100, signed lower right “Calvin Burnett”, titled, annotated, lithograph on ivory paper, 35-5/8 x 25-3/8 in.; modern black frame, 41-3/8 x 31-1/4 x 1-1/4 in., some faint waviness to paper, not examined out of frame

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $800 - $1,200

The title of this print, Freedom Fighter, for Operation Exodus, refers to the communityled program that was established in the mid-1960s by concerned parents looking to bus African American children from lower income neighborhoods to recently desegregated, predominantly white schools in the Boston area. By 1969, Operation Exodus provided a higher quality education to nearly 1,000 students, which also included access to tutoring, textbooks, counseling services, and vocational training programs within the community. Burnett, an African American artist and educator, made this print to raise funds in support of the initiative. At the time he made this lithograph he was an art professor at his alma mater, the Massachusetts College of Art. His teachings and theories on color can often be read as a poignant social commentary of the times: ‘...there is no such thing as a good color or bad color or a correct color combination; it’s only what you’re trying to express with the color and what it’s all about.’” -The Madison Museum of Contemporary Art

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562

Meyer R. Wolfe

(New York/California, 1897-1985)

Black Women in an Interior, 1948, signed lower right “Wolfe”, dated verso, oil on Masonite, 20-1/8 x 16-1/8 in.; unframed, wear at corners, some surface dirt

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $900

563

Meyer R. Wolfe (New York/California, 1897-1985)

The Widow, 1947, signed 24-1/4 x 38-1/4 in; original wood frame, 30-1/4 x 44-3/4 x 1-1/2 in., abrasions, surface dirt, losses at edges; frame with losses and wear, instability in holding painting in

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $500 - $700

Exhibited, Syracuse Museum of Fine Arts, Syracuse, New York, Paintings of the Year, March 13-April 13, 1947

564

Meyer R. Wolfe

(New York/California, 1897-1985)

Montparnasse, 1968, signed lower right “Wolfe”, oil on board, 27-7/8 x 25 in.; original wood frame, 31-1/4 x 28-1/4 x 1-1/2 in., surface dirt, some flaking in sky; frame with wear

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

565

After Marc Chagall (French/Russian, 1887-1985)

Romeo et Juliet, Paris L’Opera: Le Plafond de Chagall, edition 65/42, signed lower right in pencil “Marc Chagall”, commissioned by the Commissariat Générale au Tourisme, Charles Sorlier, engraver, Mourlot, Paris, printer, color lithograph poster, sheet 25 x 39 in.; wood frame, 33 x 47-1/2 in., bright vibrant color, hinged in at top, some toning evident verso

Provenance: By descent in the Gassenheimer family; Property from a Private Collector

Estimate: $600 - $900

https://live.brunkauctions.com/auctions/brunk/moderndesign-auction-april-11-2024-13770

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566

Roger Bezombes (French, 1913-1994)

Les Modistes, signed upper left “roger bezombes.”, oil on board, 32 x 39-3/8 in.; painted wood frame, 41 x 48 x 2 in., uneven edges to board as made, some light surface dirt; frame with abrasions

Provenance: Private Collection

Estimate: $3,000 - $5,000

567

Salvador Dali, Les Amoureux Portfolio (Spanish, 1904-1989)

Les Amoureux (F. 79-7), 1979, edition I 8/350, 1979, Duall Graphics, Inc, publisher; includes: I. The Garden of Eden, II. Anthony and Cleopatra, III, Lancelot and Guinevere, each signed lower right “Dali”, color lithographs on Arches paper, with framed Certificate of Authenticity on embossed paper, includes justification page, text, portfolio cover, sheets 29-3/8 x 21-1/2 in.; matching gilt wood frames (4), 39 x 30-3/4 x 2 in., good, strong color, some slipping from mounts, not examined out of frames; frames with abrasions; some scuffing of foil and light smudges on portfolio

Provenance: Private Collection

Estimate: $1,500 - $2,500

568

Werner Wildner (German/American/Tennessee, 1925-2004)

Fantastic Figure with Brass Half of the Devil, signed lower right “W.”, oil on board, 8 x 9-1/2 in.; carved and gilded wood frame, 12 x 14-1/2 in., minor surface abrasions, small pin points of retouch in the background and possibly left ear; frame with some wear and minor losses

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund Estimate: $1,500 - $2,000

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569

Meyer R. Wolfe (New York/California, 1897-1985)

Untitled, acrobats, 1950, signed lower right “Wolfe”, oil on Masonite, 25 x 30 in.; original frame, 33 x 38 x 1-1/2 in., large voids, cupping, cleavage, surface dirt; frame with wear

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $500 - $700

570

Meyer R. Wolfe (New York/California, 1897-1985)

Mirage, 1973, signed lower right “Wolfe”, signed and dated verso, oil on board, 24 x 36 in.; original wood frame, 29-1/4 x 49-1/8 x 1-1/4 in., some abrasions at edges, surface dirt; frame with some wear

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $500 - $700

571

Meyer R. Wolfe (New York/California, 1897-1985)

Beach Cabanas, 1944, signed lower right “Meyer Wolfe 1944”, oil on Masonite, 25 x 30 in.; wood frame, possibly Heydenryk, 30-3/4 x 35-3/4 x 2 in., surface dirt; frame with some wear

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $1,000 - $2,000

572

Meyer R. Wolfe

(New York/California, 1897-1985)

Artist and Model, 1972, signed lower right “Wolfe”, oil on board, 20 x 24 in.; Heydenryk wood frame, 26-1/8 x 30-1/8 x 1-1/4 in., good condition; frame with some wear

Provenance: Gift of the Estate of the Artist; Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $300 - $500

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573

Gabriel Godard (French, born 1933)

Personnages et Voiliers (People and Sailboats), 1961, signed lower right ”G. Godard. 61.”, oil on canvas, 32 x 39-1/2 in.; gilt wood frame, 37-1/8 x 44-5/8 x 1-3/4 in., original stretcher and tacking edge, good condition; frame with abrasions and losses to gilt surface

Estimate: $3,000 - $5,000

This lot is accompanied by two booklets.

574

Hans Hofmann Drawing (American, 1880-1966)

Portrait, signed lower right “H.Hofmann”, inscribed left corner “13/I.”, ink over black crayon on paper, 13 x 10-1/8 in.; modern gilt frame, 20-3/4 x 17-3/8 in., cellophane tape stains and residue at corners, floated, some crackle and minute flaking of heavy ink, not removed from archival framing; frame with abrasions

Provenance: Private Collection

Estimate: $3,000 - $5,000

577

Robert Moore Kulicke, Abstract (New York/Pennsylvania, 1924-2007)

Untitled,1959, stamped “RMK”, mixed media on sketch paper, 8-5/8 x 8-1/4 in.; black frame, 15-3/4 x 12-3/4 in., smudging, tape tacked at top two corners to mount

Provenance: Acquired from Michael Kulicke, son of the artist

Estimate: $400 - $600

578

Robert Moore Kulicke, Modern Flowers (New York/Pennsylvania, 1924-2007)

Still Life with Orange Flowers in a Vase, stamped bottom right “RMK”, oil on fine weave fabric, possibly silk and laid on card, 8-1/4 x 8-1/4 in.; gilt wood frame, 9-5/8 x 9-1/2 x 1-1/4 in., surface dirt

Provenance: Acquired from Michael Kulicke, son of the artist

Estimate: $2,000 - $3,000

https://live.brunkauctions.com/auctions/brunk/modern-designauction-april-11-2024-13770 27 Click here to view lots and detail photos.

580

Lamar Dodd (American/Georgia, 1909-1996)

Forest Monhegan Island, 1953, signed lower right “Lamar Dodd”, oil on canvas, 24 x 16 in.; silver gilt wood frame, 32 x 24 in., surface is very good; frame with light wear

Provenance: Property from a Private Collection sold to benefit the University of Georgia Foundation

Estimate: $2,000 - $4,000

579

Milton Avery (American, 1885-1965)

Trees (A.F. A37521), 1951, signed right middle “Milton Avery 51”, gouache monotype, 16-7/8 x 21-3/4 in.; wood frame, 24-1/8 x 29 x 1-3/8 in., floated, restoration of tears right

Provenance: Nardin FIne Arts, New York (labels verso); Wixon & Wixon Fine Art, Massachusetts (label verso); A Beacon Hill Estate, Boston, Massachusetts

Estimate: $7,000 - $10,000

581

Lamar Dodd (American/Georgia, 1909-1996)

Aspiring, 1953, signed lower right “Lamar Dodd”, oil on canvas, 30 x 16 in.; silver gilt wood frame, 35 x 21 in., good clean surface, some crackle; frame with minor abrasions

Provenance: Property from a Private Collection sold to benefit the University of Georgia Foundation

Estimate: $2,000 - $3,000

https://live.brunkauctions.com/auctions/brunk/moderndesign-auction-april-11-2024-13770

28 Modern + Design

582

Monumental Wolf Kahn Painting (Vermont/German, 1927-2020)

Copse, 1980, No. 33, oil on linen, 53 x 72-1/4 in.; wood frame, 54-3/4 x 73 x 2 in., stretched on complex tension bar stretcher, good condition

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $50,000 - $70,000

”this is my primary interest. I am always trying to get to the danger point, where color either becomes too sweet or too harsh; too noisy or too quiet.” - Wolf Kahn

Wolf Kahn is a dynamic colorist, applying, in the case of this monumental landscape, the “quiet” side of his explorations with color, abstraction, and particular luminosity. He studied with Hans Hofmann, taking valuable lessons with him but not yielding his unique take on the American landscape.

References: Jerald Melberg, friend of the artist and gallerist (See: https://www.jeraldmelberg.com/wolf-kahn/)

https://live.brunkauctions.com/auctions/brunk/modern-designauction-april-11-2024-13770 29 Click here to view lots and detail photos.

583

Robert Arthur Goodnough Painting (New York, 1917-2010)

Development Lake Como, 1970, signed verso in stretcher “goodnough 1970”, titled and dated verso. oil on canvas, 78 x 78 in.; parcel silver gilt frame, 79-1/4 x 79-1/4 x 2-1/4 in., original stretcher and tacking edge, some light surface dirt; frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $3,000 - $5,000

584

Ida Rittenberg Kohlmeyer (American/Louisiana, 1912-1997)

Symbols 81-5, 1981, signed lower right “Kohlmeyer 81”, mixed media on canvas, 433/4 x 69 in.; simple wood frame, 45 x 70-1/2 in., surface is very good; frame with minor wear at corners

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $20,000 - $30,000

https://live.brunkauctions.com/auctions/brunk/moderndesign-auction-april-11-2024-13770

30 Modern + Design

585

Denny Warshaw, Sculptural Tic Tac Toe Game (Washington, 20th/21st century)

Eleven pieces, not apparently signed, burnished and painted steel, steel game board, 1 x 15 x 15-1/8 in., largest piece 10-7/8 x 3 x 2-1/2 in., some abrasions, light corrosion spots on board

Provenance: Private Collection

Estimate: $200 - $400

586

Robert Natkin, Bern Series (Illinois/New York, 1930-2010)

Abstract composition, 1980, signed at bottom “Natkin”, acrylic on paper, 60 x 40 in.; gilt wood frame, with UV filtering acrylic, 62 x 42-1/4 x 2 in., good condition, not examined out of archival framing; frame with abrasions

Provenance: Gimpel & Weitzenhoffer Gallery, New York, C5702 (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $8,000 - $12,000

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587

Marylyn Dintenfass, Two Monotypes, 2001 (New York, born 1943)

Greenwich Series #1 and #7, signed lower left “Dintenfass”, titled and dated, oil monotypes in colors on Arches paper, both images 11 x 7-3/8 in. (27.9 x 18.7 cm), sheets 22 x 15 in. (55.9 x 38.1 cm); matching Black modern frames, 23-1/4 x 17-1/8 x 1-1/8 in., good condition, one with some waviness to image area, not removed from archival framing

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $1,500 - $2,500

588

Larry Poons, Series 4 (American/Japan, born 1937)

Untitled, 1980, edition 54/100, signed L. Poons”, Prestige Art, Ltd., New York, publisher, screenprint in colors on Arches paper, sheet 36 x 25 in.; modern black frame, 40-5/8 x 29-3/4 x 1-1/4 in., floated, not removed from archival framing

Provenance: Estate of Sara Graham Peacock

Estimate: $500 - $700

589

Jimmy Ernst (New York/Germany, 1920-1984)

Untitled, 1974, signed lower right “Jimmy Ernst/74”, oil on canvas, 30-1/8 x 40 in.; lattice type frame, 31-1/4 x 41-1/4 in., good condition; frame with abrasions

Provenance: Galerie 1900 2000, Paris, France, JE catalog No. 32 (label verso); Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $6,000 - $9,000

Jimmy Ernst was raised by his mother, Louise Straus, in Cologne. His father was the artist Max Ernst. In 1938, Ernst emigrated to the United States one week before the Nazi Kristallnacht. While his relationship with his father was strained, it opened doors which eventually led him to be hired as Peggy Guggenheim’s personal assistant.

https://live.brunkauctions.com/auctions/brunk/moderndesign-auction-april-11-2024-13770 32 Modern + Design

590

Peter Baer (London/IGerman, 1924-1996)

South Of Hatfield, 1973, edition 30/75, signed lower right “Peter Baer 71”, mixed printing techniques and embossing, sheet 40-1/2 x 27-1/4 in.; black modern frame, 44-1/4 x 31 x 3/4 in., full sheet with deckled edges, floated, two tiny points of foxing, not removed from frame

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $300 - $500

For information on the artist visit The Ben Uri Gallery and Museum (https://www. buru.org.uk/record.php?id=75)

591

Howard Eliot Hodgkin, Indian View A (British 1932-2017)

from the series Indian Views, 1971, edition 52/75, annotated and signed bottom middle “Baeder ‘71”, printed by Chris Prater, with the assistance of Christopher Betambeau, at Kelpra Studios, London, Leslie Waddington Prints, London, publisher, color screenprint on J Green paper of 22-3/4 x 30-1/2 in. (58 x 77.6 cm.); unframed, archival mat, full sheet, slight handling creases

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund Estimate: $600 - $900

592

Howard Eliot Hodgkin, Indian View C (British 1932-2017)

from the series Indian Views, 1971, edition 52/75, annotated and signed lower right “Baeder ‘71”, printed by Chris Prater, with the assistance of Christopher Betambeau, at Kelpra Studios, London, Leslie Waddington Prints, London, publisher, color screenprint on J Green paper of 22-3/4 x 30-1/2 in. (58 x 77.6 cm.); unframed, archival mat, full sheet with some handling creases

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $900

593

Howard Eliot Hodgkin, Indian View E (British 1932-2017)

from the series Indian Views, 1971, edition 53/75, annotated and signed bottom middle “Baeder ‘71”, printed by Chris Prater, with the assistance of Christopher Betambeau, at Kelpra Studios, London, Leslie Waddington Prints, London, publisher, color screenprint on J Green paper of 22-3/4 x 30-1/2 in. (58 x 77.6 cm.); unframed, archival mat, full sheet, slight handling creases

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $900

https://live.brunkauctions.com/auctions/brunk/modern-designauction-april-11-2024-13770 33 Click here to view lots and detail photos.

594

Howard Eliot Hodgkin, Indian View G (British 1932-2017)

from the series Indian Views, 1971, edition 52/75, annotated and signed bottom middle “Baeder ‘71”, printed by Chris Prater, with the assistance of Christopher Betambeau, at Kelpra Studios, London, Leslie Waddington Prints, London, publisher, color screenprint on J Green paper of 22-3/4 x 30-1/2 in. (58 x 77.6 cm.); unframed, archival mat, full sheet, black ink scuffed

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $900

595

Howard Eliot Hodgkin, Indian View H (British 1932-2017)

from the series Indian Views, 1971, edition 52/75, annotated and signed lower right “Baeder ‘71”, printed by Chris Prater, with the assistance of Christopher Betambeau, at Kelpra Studios, London, Leslie Waddington Prints, London, publisher, color screenprint on J Green paper of 22-3/4 x 30-1/2 in. (58 x 77.6 cm.); unframed, full sheet, slight handling creases

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $900

596

Howard Hodgkin, Indian View I (British 1932-2017)

from the series Indian Views, 1971, edition 52/75, annotated and signed lower right “Baeder ‘71”, printed by Chris Prater, with the assistance of Christopher Betambeau, at Kelpra Studios, London, Leslie Waddington Prints, London, publisher, color screenprint on J Green paper of 22-3/4 x 30-1/2 in. (58 x 77.6 cm.); unframed, good condition

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $900

597

Howard Eliot Hodgkin, Indian View J (British 1932-2017)

from the series Indian Views, 1971, edition 52/75, annotated and signed bottom middle “Baeder ‘71”, printed by Chris Prater, with the assistance of Christopher Betambeau, at Kelpra Studios, London, Leslie Waddington Prints, London, publisher, color screenprint on J Green paper of 22-3/4 x 30-1/2 in. (58 x 77.6 cm.); black frame, 32-1/4 x 42-1/8 x 34 in., some scuffing to the black ink

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $900

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34 Modern + Design

598

Howard Eliot Hodgkin, Indian View L (British 1932-2017) from the series Indian Views, 1971, edition 52/75, annotated and signed lower right “Baeder ‘71”, printed by Chris Prater, with the assistance of Christopher Betambeau, at Kelpra Studios, London, Leslie Waddington Prints, London, publisher, color screenprint on J Green paper of 22-3/4 x 30-1/2 in. (58 x 77.6 cm.); unframed, acid free mat, full sheet, good condition

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund Estimate: $600 - $900

599

George Ayers Cress (American/Tennessee, 1921-2008)

Afterglow, 1976, signed lower right “George Cress”, acrylic on paper; 20 x 25-1/2 in.; wood frame and under glass, 29-1/2 x 33 in., good color, bright paper, not examined out of archival framing; frame with light wear

Provenance: Private Collection

Estimate: $1,000 - $1,500

600

Alistair Grant (British 1925-1997)

Ghost II, 1971, edition 6/30, signed lower right “Alistair Grant”, screenprint, 2015/16 x 30-7/16 in.; wood frame, 31-1/8 x 41-1/8 x 1-1/2 in., not examined out of frame; frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund Estimate: $100 - $300

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601

Pierre Celice (1970) (French, born 1932)

Atelier VI, 1970, signed lower right and verso “Celice 70”, oil on canvas, 38 x 51 in.; lattice type frame, 38-3/4 x 51-5/8 x 1 in., abrasions, surface dirt; frame with separations at corners, abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

603

Jose Da Silveira (French, born 1965)

Autoportrait Before New York, 1998-1999, signed upper left “Silveira ‘99” and titled, also titled verso, oil on canvas, 30 x 24 in.; black painted frame, 31-1/8 x 25-1/8 x 1-1/2 in., original stretcher and tacking edge, surface dirt; frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $100 - $300

602

Patrick Caulfield (British, 1936-2005)

Pipe in Bowl, 1976, edition 71/76, signed lower right “Patrick Caulfield”, Kelpra Studio, London, printer, Waddington Graphics, London, publisher, screenprint, image 16 x 16 in.; black frame, 32 x 26-1/8 x 1-1/8 in., good strong color, good condition, not removed from frame

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $500 - $700

604

Herbert Creecy (Georgia, 1939-2003)

Study for a Chapel Without Hell, 1981, signed verso canvas “Herbert L. Creecy”, titled and dated, acrylic on linen, 41-1/2 x 41-1/2 in.; unframed, original stretcher and tacking edge, good condition

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $900

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36 Modern + Design

605

Bridget Riley, Elongated Triangles 4 (New York/British, born 1931)

Untitled, 1971, edition 40/75, signed lower left “Bridget Riley ‘71”, silkscreen on heavy paper, sheet 40-1/4 x 16-3/8 in.; acrylic case frame, 40-3/8 x 16-3/4 x 1 in., loose, good condition; acrylic frame with abrasions

Provenance: Juda Rowan Gallery, London, circa 1979; Private Collectionn

Estimate: $8,000 - $12,000

606

Bridget Riley, Elongated Triangles 4 (New York/British, born 1931)

Untitled, 1971, edition 9/75, signed lower right “Bridget Riley ‘71”, silkscreen on heavy paper, sheet 40-1/8 x 16-3/8 in.; acrylic case frame, 40-3/8 x 16-3/4 x 1 in., full sheet, good condition; acrylic case with abrasions

Provenance: Juda Rowan Gallery, London, circa 1979; Private Collection

Estimate: $8,000 - $12,000

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607

Bridget Riley, Coloured Greys (I) (New York/British, born 1931) (S. 16, T. & G. 17), 1972, edition 54/125, signed lower right “Bridget Riley ‘72”, silkscreen on heavy paper, 29-5/16 x 27-3/8 in.; acrylic case frame, full sheet, loose, possible slight fading, paper in good condition with no toning

Provenance: Juda Rowan Gallery, London, circa 1979; Private Collection

Estimate: $8,000 - $12,000

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608

Bridget Riley Screenprint (New York/British, born 1931)

Untitled, Blue, 1978, edition 57/75, signed lower left “Bridget Riley 57/75 1978”, Graham Henderson, London, printer, published by the artist, silkscreen on heavy paper, 26-1/2 x 371/4 in.; acrylic case frame, 27 x 37-3/4 x 1 in., full sheet, loose, some fading, some handling creases; acrylic with abrasions

Provenance: Juda Rowan Gallery, London, circa 1979; Private Collection

Estimate: $6,000 - $9,000

38 Modern + Design

609

Victor Vasarely, Meta Series, E (French/Hungarian, 1906-1997)

Blue (E), edition 91/225, signed lower right “Vasarely”, Editions Denise René, Paris, with blindstamp, screen print, image 35-3/8 x 17-5/8 in.; silver metal frame, 47 x 29-1/4 x 1-1/8 in., not examined out of frame, good condition

Provenance: Private Collection

Estimate: $500 - $700

This lot is accompanied by a fitted strong box for shipping.

610

Victor Vasarely, Meta Series, F (French/Hungarian, 1906-1997)

VY-48 (F), edition 91/225, signed lower right “Vasarely”, Editions Denise René, Paris, with blindstamp, screen print, image 35-5/8 x 17-7/8 in.; gold metal frame, 46-7/8 x 29-3/8 x 1-1/8 in., good condition, not removed from frame

Provenance: Private Collection

Estimate: $600 - $900

This lot is accompanied by a fitted strong box for shipping.

611

Victor Vasarely, Meta Series, H (French/Hungarian, 1906-1997) (H), edition 91/225, signed lower right “Vasarely”, Editions Denise René, Paris, with blindstamp, screen print, image 35-1/2 x 19-1/2 in.; gold metal frame, 47 x 31-1/8 x 1-1/8 in., good condition, not examined out of frame

Provenance: Private Collection

Estimate: $500 - $700

This lot is accompanied by a fitted strong box for shipping.

612

Yaacov Agam Sculpture (Israeli, born 1928)

Shearim, signed on wood base “Yaacov Agam 1968” and titled, nickel chromium steel, 6-1/2 x 8-7/8 x 8-3/4 in. with mahogany wood base, wood base with some minor fading and uneven surface finish

Provenance: Private Chicago Estate

Estimate: $2,500 - $3,500

613

Yaacov Agam Transformative Sculpture (Israeli, born 1928)

Three Times Three Interplay, 1970, later edition 7/99, signed in base “Agam”, chrome plated brass, extended 14-1/2 x 8-3/4 x 5 in., light abrasions, some slight corrosive texture to plating on base

Provenance: Private Nashville Collection

Estimate: $1,000 - $1,500

The monumental scale sculpture was originally commissioned by Mr. and Mrs. George Jaffin on behalf of the AmericaIsrael Cultural Foundation and gifted to The Julliard School, Lincoln Center, New York City. On May 4, 1971. It became the school’s first outdoor sculpture. As this sculpture, It was created with three moveable branches. At the dedication, Yaacov Agam described the work as, “not a statement, but a constant becoming, not a sculpture but many possibilities for one.” He went on to state that, people could “perform” the sculpture, moving the three branches to “create new visual spaces, visually and sculpturally interpreting sequences of the work the way a musician plays a piece of music.” Literature: Galerie Denise Rene, Yaacov Agam; Transformables, May 1971, New York

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614

Red Grooms, No Gas Portfolio, 1971 (Tennessee/New York, born 1937)

Six lithographs in color from the portfolio (Knestrick 32-7), 1971, edition 60/75, from No Gas, each signed lower right “Red Grooms ‘71”, Bank Street Atelier, New York, printer, Abrams Original Editions, publisher, with the blind stamp lower right, with signed title page, on Arches paper, five sheets 22 x 28 inches (55.9 x 71.1 cm), 3-D 201/2 x 24 x 8 in. (52.1 x 61 x 20.3 cm) (3-D), acrylic case, 25-3/4 x 31-1/2 x 9-1/2 in.; includes Slushing, No Gas Cafe, AARRRRRRHH, Taxi Pretzel, Rat, Local; matching black frames, largest, 26-1/2 x 32-1/2 x 1-1/4 in., with printed portfolio (8 pcs), full sheets, floated, good condition, portfolio with handling grime abrasions, and slight warped boards; frames with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $4,000 - $6,000

615

Red Grooms (Tennessee/New York, born 1937)

On the Aegean, the artist and his wife boating, 1995, signed upper right “Red Grooms ‘95”, watercolor on paper, 19-5/8 x 27-3/8 in.; wood frame, 27-1/2 x 35-1/4 x 1-1/4 in., floated, good condition

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $1,000 - $2,000

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616 Red Grooms (Tennessee/New York, born 1937)

List of materials - “How to Finish Mr. and Mrs. Rembrandt”, 1971, pencil on paper, 23-5/8 x 5-3/4 in.; black painted wood frame, 32 x 13-3/8 x 1-1/4 in., floated, smudging and footprints as made; frame with abrasions

Provenance: Gift from the artist; Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

40 Modern + Design

617

Frederick Prescott Kinetic Sculpture (New Mexico/California, born 1949)

Hollywood Freeway, 1988, signed and dated with solder on the base “Prescott 88” and stamped “HF/002/C”’, painted steel, 70 x 49 x 22 in., good condition

Provenance: Bonham’s September 21, 2008, lot 7066; Private Nashville Collection

Estimate: $1,000 - $2,000

619

Barry Buxkamper

(American/Tennessee, born 1946)

Knotted Cow, signed verso “Buxkamper 73”, oil on canvas; 48-1/2 x 41-1/2 in.; unframed, good bright color, clean surface; unframed but fitted with grommets to hang as a banner

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $800

618

Barry Buxkamper

(American/Tennessee, born 1946)

Cock Love to Order, signed on canvas verso “Buxkamper ‘72”, oil on canvas, 30 x 30 in.; unframed, surface is very good, light wear at corners

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $800

620

Gregory Lomayesva, Two Abstracts (New Mexico, born 1971)

Action Jackson and March 29 ‘98, each signed “Lomayesva”, mixed media with screenprint, sight 9 x 19-1/2 in.; matching wood frames, 12-3/4 x 23-3/8 x 1-1/4 in., good condition, not examined out of frames

Provenance: Private Nashville Collection

Estimate: $400 - $800

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621

Erik Bulatov (Russian, born 1933)

New York, 1989, edition 36/50, signed “E Bulatov 89” and titled, lithograph in colors, 30 x 22 in.; modern wood frame, 33-1/4 x 27-1/8 x 1-1/2 in., good condition, not removed from archival framing,

Provenance: Estate of Sara Graham Peacock

Estimate: $300 - $500

622

Ronald King, Games of Patience, 1980 (British, born 1932)

Games of Patience, edition 7/50, published by the artist at Circle Press, Guildford, 1981, signed lower right in pencil “Ronald King”, color lithographs: The Star Patience, Nestor Patience, Red Dial Patience, The Picture Gallery Patience, Caprineuse, The Louis Patience, La Loi Salique (framed), Pyramid, The Lady of the House (Dianne Arbus), Clock Patience, sheets 29-1/2 x 20 in., with Willow,signed lower right “RK” screenprint over watercolor and crayon, sheet 25-1/8 x 17-3/4 in.with printed paper folder; archival mats, lacking portfolio, good condition; one frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $300 - $500

623

Three Screenprints, Peter Phillips (British, born 1939)

Gravy for the Navy, 1975, 32/75, signed lower right “Peter Phillips 68-75’”; Hunter, 1975, signed lower right, 33/75; Six Times Eight Dreaming, 1974, 42/70, signed lower right, screenprints, largest sight 24-1/4 x 38-1/4 in. modern frames, largest 38-1/4 x 50-1/8 x 11-1/4 in., good condition, not removed from framing; frames with some minor abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $300 - $600

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42 Modern + Design

624

R.B. (Ronald Brooks) Kitaj, First Series, Some Poets, 1966-70 (England/American, 1932-2007) (Ramkalawon 51-60; Kinsman 34.i-x), nine (of ten) silkscreens printed in colors, edition 67/70, Chris Prater at Kelpra Studio, London, printer, Marlborough AG, Schellenberg, publisher; includes Ed Dorn, Star Betelgeuse (Robert Duncan), Hail They Who Play (Michael McClure), For Charles Olson, Deerskin (John Wieners), Morton Feldman: Fifties Grand Swank, Revolt on the Clyde (Hugh MacDiarmin), Kenneth RexRoth, For Love (Creely), each signed lower left “Kitaj”, presumably stamped in ink on reverse K (in a square; Kelpra Studio), on wove paper, largest image 32-7/8 x 12 in. (83.6 × 30.6 cm.), largest sheet 32-7/8 x 17-7/8 in. (83.5 × 45.5 cm.); modern frames, largest, 41-1/4 x 25-1/4 x 1-3/8 in., lacking “W,H.Auden”, good condition. some floated, some hinged, not removed from frames; frames and acrylic with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $1,000 - $2,000

626

Friedensreich Hunterwasser (Austrian, 1928-2000)

625

R.B. (Ronald Brooks) Kitaj, Bacon II (England/American, 1932-2007) (1968-1969), signed lower left “Kitaj”, Chris Prater at Kelpra Studio, London, printer, Marlborough AG, Schellenberg, publisher, screenprint in colors on paper, image 39-3/4 x 14-3/4 in.; black frame, 44-3/8 x 19 x 1-1/8 in., floated, edges with dings, handling crease at right not examined out of frame

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

10002 Nights Homo Humus Come Va How Do You, 1982-1984, edition 7180/10000, signed lower right silkscreen, sheet 27-1/4 x 19-5/8 in.; black frame with brass corners, 39-1/4 x 31-3/4 x 1 in., floated, good strong color; frame and glass with abrasions

Provenance: Private Collection

Estimate: $800 - $1,200

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627

Toland Peter Sand, Glass Sculpture (California, born 1949)

Untitled, signed at bottom “Toland Sand 123/96”, dichroic glass, 17 x 5-1/2 x 5-1/2 in., good condition

Provenance: Private Nashville Collection

Estimate: $2,000 - $3,000

628

William Morris, Rhyton Bull (Washington/Hawaii, born 1957)

Charging Bull, signed underside ”William Morris, 1997”, blown glass with sand and hot sculpted, 5-1/2 x 13-1/4 x 6 in., good condition

Provenance: Private Nashville Collection

Estimate: $6,000 - $9,000

629

Steven Weinberg Glass Sculpture (American, born 1954)

Hightop Shoal Buoy, 2001, signed and numbered “100506”, cast crystal with sprayed metallic finish, 12-3/4 x 8 in., anomalies as made, some air bubbles, some loss to metallic finish, small chip to side

Provenance: Leo Kaplan Modern, New York (accompanied by copy of receipt dated May 11, 2001 for $13,500); Private Nashville Collection

Estimate: $800 - $1,200

630

Benjamin Moore Glass Vessel (American, b. 1952)

Selenium Red, from the Interior Folds Series, 1998, incised signature and date on base, hand blown glass, 5-1/4 x 17-7/8 in.; Lucite base, 1-1/2 x 6-1/2 x 6-1/2 in., some anomalies, scuffs, and surface dust/accretion, residue to base and Lucite Provenance: Private Nashville Collection

Estimate: $800 - $1,200

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design-auction-april-11-2024-13770 44 Modern + Design

631

Bertil Vallien Glass Sculpture (California/Swedish, born 1938)

Journey (#087-0515), 1999, signed on top “B.Vallien” and inscribed “Kosta Boda Obvaun 999/30 Unique”, sandcast glass, 3-1/2 x 23 x 3-1/4 in., on encaustic and wood base, 1-1/8 x 21-5/8 x 9-1/2 in., good condition with intended exposed glass rods at either end

Provenance: Heller Galleries, New York, purchased in 1999 for $11,000 (accompanied by appraisal and original invoice); Private Nashville Collection

Estimate: $2,000 - $3,000

632

Molly Stone Glass Vase (American, born 1950)

Bowl, from the Tornado series, 1994, signed “M. Stone” and dated in base, frosted and gilt glass, 9-1/8 x 13-1/4 in., anomalies and air bubbles as made, some minor scuffs, surface dust

Provenance: Private Collection

Estimate: $400 - $600

633

Sidney Hutter Glass Sculpture (American, born 1954)

Solid Vase Form #8, 2000, signed, titled, and dated “4 May 2000”, stained and laminated crystal glass, 17-1/4 x 9-3/4 in., some anomalies and rough edges as made, some minor scratching, surface dust

Provenance: Private Nashville Collection

Estimate: $2,000 - $4,000

Accompanied by a catalog and an article about the artist.

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634

Lino Tagliapietra Glass Goblet (Italian, born 1934)

Spiral Goblet, incised signature on base, hand blown glass, 12 x 3-3/8 in., minor anomalies and air bubbles, surface dust

Provenance: Private Nashville Collection

Estimate: $1,000 - $2,000

635

Lino Tagliapietra Glass Goblet (Italian, born 1934)

Filigrana Goblet, incised signature and date on base, hand blown glass, 8-1/4 x 5-7/8 in., anomalies as made, some air bubbles, surface dust/accretion

Provenance: Private Nashville Collection

Estimate: $800 - $1,200

636

Two Large Venetian Clear and Blue Glass Goblets 20th century, each with ornately ornamented stems, 12 x 4-1/2 in. and 13-1/8 x 5-3/8 in., anomalies as made, minor air bubbles, surface dust

Provenance: Private Collection, Horsham, Pennsylvania

Estimate: $300 - $500

637

Eight Robert Dane “Tutti Frutti” Glass Goblets Massachusetts, 21st century, each etched on base “HBS”, two etched “RND”, each uniquely hand blown, largest 10-1/4 x 3-1/4 in., anomalies as made, some air bubbles, some scratches

Provenance: Private Collection, Horsham, Pennsylvania

Estimate: $400 - $600

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638

Laura de Santillana Glass Sculpture (Italian, 1955-2019)

Untitled, 2001, from the Standing Glass series, signed and dated on base, hand blown cobalt glass, 11-1/8 x 8-3/4 x 1-3/8 in., overall good condition, remnants of residue on base

Provenance: Barry Friedman Ltd, New York, NY, 2003; Private Nashville Collection

Estimate: $5,000 - $7,000

639

Xavier Melendez Glass Sculpture (Mexican, b. 1937)

Untitled, Standing Geometric Forms, 1984, each signed, dated, and inscribed on base, cast and cut glass, each 11-5/8 x 7-3/8 in., some scratches or lines to body, possibly as made, one example with chip to cut decoration

Provenance: Margolis Gallery, Vail, Colorado, 1987; Private Nashville Collection

Estimate: $200 - $400

“Andiamo/ No.2276/1995”,

Provenance: Private Nashville Collection

Estimate: $100 - $300

Andiamo was the studio of glass artists Robert Spielholz and Kathleen Hargrave.

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640 Andiamo Art Glass Vase Washington, 20th century, signed, numbered, and dated on base 10-3/4 x 9-1/2 in., anomalies as made, air bubbles, slight scratching to base

Provenance: Private Nashville Collection

Estimate: $100 - $300

641

Richard Jolley Art Glass Sculpture (American/Tennessee, born 1952)

Red Arc, 2001, colored glass sculpture with clear acid polish, signed on lower edge of base, “Richard Jolley” 16 x 9-1/2 x 4 in., minor abrasions

Provenance: Private Nashville Collection

Estimate: $4,000 - $6,000

some scratching to surface

Provenance: Private Nashville Collection

Estimate: $100 - $300

Chris

Wood

Side Table 2002, Indianapolis, signed and dated, textured top fitted with four hidden drawers, reverse tapered cluster column legs, 24 x 20 x 8 in., overall excellent condition with very little minor wear from usage

Provenance: Private Collection, Asheville, North Carolina

Estimate: $200 - $300

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design-auction-april-11-2024-13770 48 Modern + Design
643 Tall Art Glass Vase Signed Giovanni probably Italian, 20th century, signed, dated “‘95”, and numbered “N2” on base, frosted glass, 22 x 6-3/8 in., anomalies as made, notable anomaly visible at interior, scratching to surface, surface dust 642 Frederick Warren Satin Silver Art Glass Vase Michigan, 20th century, incised signature on base, 9-1/2 x 9-1/2 x 6 in., minor anomalies as made, 644 Bowman Painted Sculptural

645

Contemporary Limed Wood Cabinet 21st century, woven paneled doors, patinated metal base, shelved interior, 32-1/4 x 32 x 18 in., in good overall condition, doors are somewhat hard to open, rear stile with minor cracks, other scattered wear from usage

Provenance: Private Collection, New York

Estimate: $200 - $300

646

MacKenzie-Childs Paint Decorated and Mixed Media “Barley Twist” Side Table, 21st century, polychrome painted top, studded drawer with caster pull, glass beaded skirt, floral checkered blocks, spiral turned legs, plaid decorated stretcher shelf, glass door knob feet, 34-1/2 x 12 x 12 in., in overall good condition with minor wear and imperfections from usage

Provenance: Private Collection

Estimate: $500 - $700

647

John Widdicomb Lacquered and Brass Mounted Table latter half 20th century, inset beveled glass top, relief etched mounts, 29 x 83 x 48 in., structurally sound and in good overall condition with scattered surface wear and imperfections from usage, glass with abrasions

Provenance: Private Collection

Estimate: $500 - $700

648

Set of Six Contemporary Chinese Style Hardwood and Upholstered Dining Chairs 20th/21st century, includes two armchairs and four side chairs, each with custom watered silk upholstery and bracketed stretchered base, 40 x 19 x 20 in., all chairs structurally sound and in good overall condition with scattered surface wear and minor upholstery discolorations from use

Provenance: Private Collection

Estimate: $500 - $700

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649

Hank Gilpin Figured Maple Coffee Table circa 2000, knotty figured top with asymmetrical scalloped edge, through tenoned supports, 18-1/2 x 58 x 21-3/4 in., in good overall condition with minor surface wear and imperfections from previous use

Provenance: Private Collection, New York

Estimate: $1,000 - $1,500

650

Contemporary Stained Hardwood Bench 20th/21st century, dark stained frame with trestle base, 18 x 60 x 14 in., structurally sound and in good overall condition with scattered abrasions and surface wear from usage, some inherent imperfections

Provenance: Private Collection, New York

Estimate: $200 - $400

651

Christopher Ries Glass Sculpture (Wisconsin/Ohio, born 1952)

Copper Cove, 1985, unsigned, carved and etched glass, copper, pearl, 15-7/8 x 8-1/8 x 3-5/8 in., with two signed photographs of the artist with the piece, some small surface scratches; photographs with dings at the edges

Provenance: Private Collection, Ocala, Florida

Estimate: $6,000 - $9,000

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652

Edward Nesturek Glass Sculpture (American/Pennsylvania, born 1941)

Untitled, 138-64, signed and numbered on base, internally decorated glass sculpture, 12-7/8 x 4-1/4 in., overall good condition, minor air bubbles and scratches

Provenance: Private Collection, Ocala, Florida

Estimate: $100 - $300

design-auction-april-11-2024-13770 50 Modern + Design

653

Studio Art Glass Vessel on Stand 20th century, signed illegibly and stamped “JER”, 14-3/8 x 11-3/8 x 4-3/8 in.; acrylic stand, 7-1/4 x 6 x 7-5/8 in., anomalies, air bubbles, some scratches, slight surface accretion

Provenance: Private Nashville Collection

Estimate: $100 - $300

655

Large Studio Art Glass Vase 20th century, signed illegibly, numbered “# 923”, and dated “99” to base, 16-1/8 x 10-1/2 x 5-1/4 in., anomalies, air bubbles, scratching, surface dirt/ accretion

Provenance: Private Nashville Collection

Estimate: $100 - $300

654

Edward Nesteruk Glass Sculpture (American, 1941-2007)

Planes, 1994, signed on edge “Nesteruk 94” and titled, laminated dichroic glass cube with glass base, 7-3/4 x 6-3/4 x 6 in., good condition

Provenance: Private Nashville Collection

Estimate: $700 - $1,000

656

Dante Marioni Glass Sculpture (California, born 1964)

Double Handle Chalice, 1998, incised signature and date on top of base, hand blown glass, 15-3/8 x 141/2 in., anomalies as made, some air bubbles, slight scratching, surface dust/accretion

Provenance: Private Nashville Collection

Estimate: $2,000 - $3,000

Typically paired a with pitcher of the same design.

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657

Barry T. MacDonald, Pair of Wood Ewers (American/Michigan, born 1945)

signed and numbered on base, turned wood, 12 x 5-1/4 in., overall good condition; one with glue repair at base of body/top of foot

Provenance: Private Nashville Collection

Estimate: $200 - $400

658

Charles Paul Savoie, Glass Goblet (American, born 1959)

Zanfirico Goblet, signed atop foot, twisted latticino base and scalloped bowl, 103/8 x 6-5/8 in., anomalies as made, some air bubbles

Provenance: Private Collection, Horsham, Pennsylvania

Estimate: $200 - $400

659

Charles Paul Savoie, Glass Goblet (American, born 1959)

Tall Zanfirico Goblet, signed atop foot, trumpet form bowl with swirl and leaf decorated stem, 14-1/8 x 4-1/4 in., anomalies as made, some air bubbles

Provenance: Private Collection, Horsham, Pennsylvania

Estimate: $200 - $400

660

Seven Assorted Pieces Venetian Glass Stemware

20th century, of varying size and design, one pair, each with ornamented stems, largest 11-3/8 x 3-1/2 in., anomalies as made, some air bubbles, some surface dust/ accretion; light blue example with chip and loss to ornamentation on stem; small chip to ornamentation on example with twisted stem

Provenance: Private Collection, Horsham, Pennsylvania

Estimate: $300 - $500

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661

Nine Chuck Vannatta Studio Glass Goblets Oregon, 20th century, each etched on base “Vannatta/1997”, each uniquely hand blown, largest 10 x 3-1/4 in., anomalies as made, some air bubbles

Provenance: Private Collection, Horsham, Pennsylvania

Estimate: $600 - $900

663

Arlyn Ende, Contemporary Tapestry (New Orleans/Tennessee, 1932-2022) Passages a Duet (part 2), 1989, label verso, multifabric weaving, 91 x 41-1/2 in., some surface dirt and lint, a few squares with some fraying at edges, light staining

Provenance: Private Nashville Collection

Estimate: $800 - $1,200

662

Venetians by Dale Chihuly, Association Copy with Hand Painted Cover Altadena, California: Twin Palms Publishers, 1989, one of 10,000 case bound copies, unsigned, in cloth bound slipcase paint decorated by Chihuly, light wear to extremities

Provenance: Gift from the Artist to His Friend, Fred Paulsell; Private Collection

Estimate: $200 - $400

664

Hand Woven Polish Carpet

20th century, brown field with orange white and black design, 9 ft. 10 in. x 6 ft. 7 in., minimal wear consistent with age and use

Provenance: Estate of Bob Moog, Asheville, North Carolina

Estimate: $300 - $500

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665

Three Swid Powell Silver Plate Candlesticks late 20th century, including one “Silvershade”, zig zag design, marks for Ettore Sottsass for Swid Powell, 12-3/4 x 3-3/4 x 3-3/4 in.; one silhouette design, marks for Robert Venturi for Swid Powell, 8-1/2 x 6-3/4 in.; one in Mackintosh design, marks for Richard Meier for Swid Powell, 9-1/4 x 3-3/4 in., all with light wear

Provenance: Private Nashville Collection

Estimate: $600 - $1,200

667

Akira Blount (Tennessee, 1945-2013)

666

Akira Blount (Tennessee, 1945-2013)

Woodland Intelligence, 2003, titled, signed, and dated on back, mixed media construction, 31-1/2 x 8 in., slight wear and loss, loss to one acorn button, surface dust

Provenance: Akira Studios, Bybee, Tennessee (accompanied by a receipt dated May 3, 2003 for $1,600); Private Nashville Collection

Estimate: $500 - $700

668

Twig Rooster, unsigned, mixed media construction, 27 x 8-1/4 x 11 in., some small losses to paint and elements, break and loss to twig element in back, surface dust

Provenance: Private Nashville Collection

Estimate: $1,000 - $1,500

Accompanied by a copy of Art Doll Quarterly Summer 2003, which features an article on Akira Blount and pictures this piece.

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Akira Blount (Tennessee, 1945-2013)

Figure Holding a Laundry Basket, not apparently signed, mixed media construction, wire and wood dowel support, 23 x 10 in., some surface dirt and lint, probably lacking base/ stand, tear to net holding bundle of sticks

Provenance: Private Nashville Collection

Estimate: $200 - $400

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669

Keiko Yamaguchi, Art Doll (Japanese, 20th/21st century)

# 81, titled, signed “Kei”, and dated “1992” in stitch verso, sewn fabric and mixed media, 17 x 8 in., visible stitches and fraying as made, some loose threads

Provenance: Julie Artisan’s Gallery, New York, NY, 1992; Private Nashville Collection

Estimate: $100 - $300

671

Akira Blount (Tennessee, 1945-2013)

Seated Woman with an Umbrella, signed and dated on foot “Akira/1988”, bent legs, mixed media construction, approximately 20-1/2 x 12 in., some surface dirt and lint, some minor fraying to hair, some flowers at hat partially detached

Provenance: Private Nashville Collection

Estimate: $300 - $500

670

A Collection of Nancy Camden Hauser Art Dolls (American/Indiana, born 1948)

Fish Lady, signed and dated “1990” on back of head, stuffed and sewn fabric and mixed media, 26-1/2 x 17-1/2 in.; The Inseparable Couple, signed and dated illegibly on back of head, stuffed and sewn fabric and mixed media, 20-1/2 x 15 in.; Tall Lady, signed and dated “2002”, stuffed and sewn fabric and mixed media, 20-1/2 x 6 in.; Lady in A Red Dress, unsigned, 23-1/2 x 10 in., surface dust/accretion, some minor anomalies as made, some minor picked threads and loose stuffing, notably at legs of couple; loss to inscription on the back of couple; Tall Lady with pins to base

Provenance: Private Nashville Collection

Estimate: $200 - $400

Accompanied by a bio written by the artist and a postcard.

672

Marlene Denn Cloth ‘Herbalist’ Doll signed and dated on neck “April 1995/Marlene Denn”, mixed media construction, approximately 24-1/2 x 10 x 8 in., some surface dirt and lint, some minor fraying to hair and twine elements

Provenance: Private Nashville Collection

Estimate: $50 - $150

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673

Contemporary Teak Outdoor Low Table 21st century, slatted top, stretchered base, 14 x 72 x 37 in., structurally sound and in good overall condition with scattered abrasions and wear from previous use

Provenance: Private Collection, New York

Estimate: $200 - $400

674

Pair of Contemporary Driftwood and Glass Coffee Tables 21st century, each with square glass top and freeform wood base, 15-3/4 x 25 x 25 in., both tables in good overall condition, one glass top with edge chip and bubble (remains smooth), some packing debris in wood crevices, other minor wear from previous use

Provenance: Private Collection, New York

Estimate: $600 - $900

675

Crate and Barrel Teak Cabinet

21st century, interior fitted with two drawers, 34-1/2 x 46 x 19 in., in good overall condition with scattered abrasions and other wear from use

Provenance: Private Collection, New York

Estimate: $100 - $200

676

Set of Six Pompanoosuc Mills Maple Dining Chairs 20th century, includes two armchairs and four side chairs, each with incurvate crest, spindled back, concave seat, splayed legs, 40-1/2 x 23 x 17 in., all chairs structurally sound and in very good overall condition with minor surface wear from previous use

Provenance: Private Collection, Asheville, North Carolina

Estimate: $1,000 - $2,000

design-auction-april-11-2024-13770 56 Modern + Design
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677

Pair of Contemporary Chinese Style Mahogany Horseshoe Back Low Chairs 20th century, upholstered back and seat with loose cushion, bracketed stretchered base, 29 -3/4 x 29 x 22 in., both chairs structurally sound and in good overall condition, scattered surface wear and light wear and accretions to upholstery

Provenance: Private Collection, Spartanburg, South Carolina

Estimate: $500 - $700

679

Modern Japanese Studio Pottery Vessel 20th/21st century, initialed or inscribed on base “AH?”, partially glazed ceramic, 7 x 6-1/4 in., anomalies and some abrasions, likely as made

Provenance: Private Collection, North Carolina

Estimate: $100 - $300

678

Albert Paley (American, b. 1944)

Pair of Candlesticks, 1993, signed and dated to base, forged steel, 14-5/8 x 4 in., wax residue, some abrasions and rust

Provenance: Private Nashville Collection

Estimate: $800 - $1,200

680

Six Pieces George Handy Studio Pottery (New Hampshire/North Carolina, b. 1954) comprising six vases, one mounted as a lamp, most marked “HAndy” on base, tallest free vase 9 in., lamp 22-1/2 in. to finial, minor surface dirt, scattered pinholes, a few examples with glaze crazing; lamp not tested for functionality

Provenance: Purchased from New Morning Gallery, Asheville, North Carolina; The Estate of Sara Graham Peacock

Estimate: $100 - $300

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681

Contemporary Pottery Tableware, Susan O’Brien (Wisconsin, 20th century)

three works: Lidded Teapot, stamped on base “OB”, glazed ceramic, 12-1/2 x 10 in.; Lidded Double Handle Sugar Bowl, stamped on base “OB”, glazed ceramic, 5-3/4 x 5-1/8 in.; Creamer, stamped on base “OB”, glazed ceramic, 4-1/8 x 7-3/4 in., surface dirt/accretion, trapped dirt and anomalies as made

Provenance: Gael Perry, Asheville, North Carolina

Estimate: $100 - $300

684

Charles Nivens Sculpture (American, born 1943)

Head, signed verso, painted wood and multi media assemblage, 15 x 8 x 7-1/8 in., general wear to materials as made

Provenance: Private Nashville Collection

Estimate: $100 - $300

682

Deb Fleck-Stabley Ceramic Vase (American/Pennsylvania, born 1955)

Head Vase, 2003, signed and dated on base, painted ceramic, 16-5/8 x 6-1/2 in., anomalies as made, crackling to paint

Provenance: Private Nashville Collection

Estimate: $100 - $300

683

Wayne L. Bates Ceramic Vase (American, 20th century)

Vase, signed on base, painted ceramic, 16 x 6-3/4 in., anomalies as made, slight wear to base

Provenance: Private Nashville Collection

Estimate: $50 - $100

685

Sylvia Hyman Porcelain Sculpture (American/Tennessee, 1917-2012)

Trompe l’oeil box of letters, letters addressed to “Sylvia Hyman”, porcelain, 9 x 8 x 5 in., one ‘envelope’ broken off and accompanying lot

Provenance: Private Nashville Collection

Estimate: $800 - $1,200

Hyman received recognition for her work. Her awards included a Lifetime Achievement Award in the Craft Arts from the National Museum of Women in the Arts of Washington, D.C. in 1993 and the Tennessee Governor’s Award for Lifetime Achievement in the Arts, which she received in 1994.” Askart.com

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design-auction-april-11-2024-13770 58 Modern + Design

686

Edward Moulthrop (American, 1916-2003)

Rare Ashleaf Maple Acer Negundo Turned Vessel, signed, titled, and numbered “707932” on base, 8 x 14-1/4 in., anomalies as made, surface scuffs, accretion, scratches

Provenance: Private Nashville Collection

Estimate: $2,000 - $4,000

687

Richard Nissen Rosewood Ice Bucket (Danish, 1928-2013), with inset finger holes, unsigned, 5-7/8 x 8-5/8 in., possibly lacking wood base, some uneven seams, some surface scratches and dust

Provenance: Private Collection

Estimate: $50 - $100

◉This lot contains animal or plant material that may be restricted under federal, state and/or local law. Prospective bidders should check all applicable government wildlife restrictions prior to placing a bid. The buyer is solely responsible for obtaining any necessary licenses or permits from federal, state and/or local authorities applicable to their purchase or transport of the object. Please note that bidders in New Jersey may not bid on any lots containing elephant ivory, mammoth ivory, or rhinoceros horn.

688

Contemporary Carved Wood Freeform Sculpture 20th/21st century, signed and titled on base “Lipa / ... des Orchidees / Monte Carlo”, carved olive wood sculpture, 21-1/2 x 7-3/4 x 6 in., surface dust, slightly loose on base, scattered natural cracks throughout Provenance: Private Collection, Sewickley, Pennsylvania

Estimate: $200 - $400

Similar works by the artist, see Works From the Hanley Collection at Cansius College, November 23 to December 23, 1969.

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689

Early Bill Worrell Wall Sculpture (Texas, 1936-2021)

Shaman, stamped verso “P/6” and “P”, patinated and polished bronze, 69-3/4 x 40 x 10 in., good condition

Provenance: Private Nashville Collection

Estimate: $2,000 - $4,000

The Worrell Gallery has confirmed the authenticity of this sculpture stating, “This is definitely an early Bill Worrell piece. This is not a piece still in production. Yet another sign it is an early piece is that the feet have toes.”

690

Andres Serrano, Otoe - Missouria Chief (New York, born 1950) from North American Portraits, 1996, edition 16/50, signed lower right “Andres Serrano”, Segura Publishing Company, printer and publisher, ink jet print, sheet 40-1/4 x 29-1/2 in.; modern black frame, 42-5/8 x 31-5/8 x 1-1/4 in., good condition, not examined out of frame; frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $600 - $900

691

Marilyn Murphy

(American/Tennessee, 20th/21st Century)

The Long Haul, 1994, signed verso “Marilyn Murphy”, oil on canvas, 30 x 40 in.; lattice wood frame, 30-1/2 x 40-3/4 in., bright clean surface; frame with light wear

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $1,000 - $2,000

A Professor of Art at Vanderbilt University in Nashville, Tennessee, her work has been shown in more than 300 exhibitions nationally and abroad. Recently, she had solo exhibitions at Carl Hammer Gallery in Chicago and Cumberland Gallery in Nashville. In 2004, the Frist Center for the Visual Art had a mid-career survey of her paintings, drawings and prints. https://marilynmurphy.com/about/

692

Walt Gonske

(New Mexico, 1942-1986)

Morada, at Holman, New Mexico, signed lower right “Gonske, NAWA, oil on canvas, 18 x 32 in.; natural wood gallery frame, 19 x 33 in., painting in good condition; frame in good condition

Provenance: The John and Margaret Hill Collection of American Western Art; Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $2,000 - $4,000

design-auction-april-11-2024-13770 60 Modern + Design
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693

Peter Blake (British, born 1932)

Girl In A Poppy Field, 1974, edition 85/125, signed lower right in pencil “Peter Blake”, Waddington Graphics, London, publisher, screenprint, sheet 25 x 19-1/4 in.; unframed, good condition

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $500 - $700

694

Five Lithographs by Val M. Ewens (British, born 1946)

Wading, 1977, 8/30, 29-7/8 x 22-1/4 in.; Bridge Reflections, 1978, 8/30, 29-7/8 x 221/8 in.; Bridge Wading, 1977, 8/30, 29-7/8 x 22-3/8 in.; Spring Encroachment I and II, 1978, each 4/30, 20-7/8 x 15 in., all signed “Val M. Ewens”, inscribed and titled, color lithographs; unframed, ”Wading” with corner creases, abraded left corner

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

695

Basil Polevoy (South Carolina/Russian, 20th/21st century)

Two Circus related works, each signed lower right “Basil Polevoy 91”, the first: Clown and Fanciful beast, mixed media on paper, sight 16 x 19-1/2 in.; wood frame, 24-1/2 x 27-1/2 in.; the second: Three performers, mixed media on paper, sight 17-1/2 x 22 in.; gilt wood frame, 27-1/2 x 33 in., both with good clean surface, bright colors, not examined out of archival framing; frames with light wear

Provenance: Estate of Sara Graham Peacock

Estimate: $400 - $600

Polevoy and his family emigrated to the United States in 1990 having found themselves in a Soviet Union that was not supportive of their artistic output. Basil and his wife Anna worked on large scale mural projects but they came into displeasure when they departed from officially sanctioned styles and subjects. They were dismissed from the Artists Union and were therefore unable to find artistic work.

696

Laura Davis

(American/North Carolina, born 1954)

Portrait of Jean-Michel Basquiat, The Righteous will Thrive, signed lower right “Laura Davis”, acrylic on canvas, 36 x 24 x 1-1/2 in.; unframed, surface is very good; unframed

Provenance: Private Collection

Estimate: $600 - $800

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697

Audrey L. Flack

(New York, born 1931)

Fourth of July Still Life, 1975, edition 83/125, from Kent Bicentennial Portfolio Spirit of Independence, signed lower right “Audrey Flack ‘75”, with Styria Studio Inc., New York blindstamp, Lorillard, A Division of Loews Theatres, Inc., New York, publisher, laminated and die cut screenprint in colors on wove paper, 36-1/4 x 361/4 in.; modern black frame, 45 x 44-3/4 x 1-3/8 in., good condition, not examined out of frame; frame

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

699

Peter Blake Portfolio “Side-Show”, 1974-78

(British, born 1932)

A set of five original wood engravings on Japanese Tonosawa hand made paper; includes Fat Boy, Bearded Lady, Tattooed Man, Giant, and Midget, edition 76/100, each signed “Peter Blake” and inscribed, White ink Studios, printer, Waddington Graphics, London, publisher, each within a titled paper folder, sheets 10-1/2 x 8-1/2 in.; canvas covered portfolio, good condition, each stamped by museum verso each folder and inscribed with accession number; portfolio with some lifting and toning to affixed paper title label, wear and pressure creases at corners

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $1,000 - $1,500

Peter Blake came into focus after designing the album cover for the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band published in 1967. In a note included in the description of this portfolio, The Met states, “Blake has engaged aspects of popular entertainment in his work throughout his career. Having frequented the circus since childhood, he has long been drawn to figures who, in his words, “don’t conform to modern standards of beauty.” Side Show is a portfolio of five wood engravings that he made after photographs. While the subject aligns with standard Pop themes, the execution does not. The intimate scale and format of the portfolio, as well as the artisanal technique and organic character of the wood and gampi paper involved in its production, are qualities seldom found in Pop artworks.”

Reference: https://www.metmuseum.org/art/collection/search/397348

698

Connie Bostic (American, North Carolina, 1936-2024)

Untitled, Woman in Blue, not visibly signed, mixed media including lithography on paper, sight 10-3/4 x 9-1/4 in.; modern wood frame 19-1/2 x 17 in., appears to be very good, not examined outside of archival framing; frame with light wear

Provenance: Private Collection

Estimate: $400 - $600

700

Portfolio, “Red Bird’ by John Christie and Christopher Logue

John Christie (British, b.1945) and Christopher Logue (British, 1926-2011), “Red Bird,” portfolio of ten screen prints by John Christie, signed with monogram “J.C.”, with poetry by Christopher Logue, Circle Press, Surrey, 1979, publisher, signed by both artists on justification, edition 53/300, in cloth clamshell with a lettered spine, cloth covered slipcase, overall 15-3/4 x 11-5/8 x 1-5/8 in., excellent condition, small stains and some scuffing to slipcase

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

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701

William Lee Cumming, Couple (Washington/Montana, 1917-2010)

A Couple Standing, 1995, signed lower right “Cumming 1995”, tempera on board, sight 9-1/2 x 7 in.; modern frame, 19-3/8 x 16 x 1 in., not examined out of frame, good condition

Provenance: Private Collection

Estimate: $500 - $700

703

John Baeder, Two Prints (New York/Georgia/Indiana, born 1938)

The Redwood and Greenbrier, 1980, from a series of five, both hors commerce aside from the edition of 200 and a deluxe edition of 20, both signed lower right “Baeder 80”, New Masters, New York, publisher, etching and aquatints with screen print and collage in colors, on Arches paper, sheets 41 x 29-3/8 in.; unframed, small handling creases and edge ‘dents’

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund Estimate: $400 - $800

”I am concerned with process: the revelation of a particular and poignant part of the urban landscape, and thus the preservation of a unique and rapidly disappearing icon of American roadside culture. (Take from culture in one dimension and contribute back in another dimension.) A significant aspect of the process is the quest, which basically is the transformation of documented archaeological findings - travel, investigation, gathering of material. “ -John Baeder

702

William Lee Cumming, Cyclists (Washington/Montana, 1917-2010)

Two cyclists resting, 1992, signed lower right “Cumming 1995”, tempera on board, 15 x 15 in.; gilt wood frame, 22-1/4 x 22-1/4 in., surface scuff

Provenance: Private Collection

Estimate: $800 - $1,200

704

Robert Birmelin (New York/New Jersey, born 1933)

Reflections-Underpass, 1968, edition 45/50, signed lower right “R-Birmelin”, etching on cream paper, plate 13-7/8 x 20-1/8 in.; black frame, 25-1/8 x 31-1/8 x 1-1/4 in., not examined out of frame; frame with abrasions

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $100 - $300

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705

Yasumasa Morimura (Japanese, born 1951)

Aimai-no-bi (Ambiguous Beauty), 1995, photolithograph/folded paper fan, 111/2 x 20 in.; pickled wood frame, 17-1/8 x 25-5/8 x 1-3/4 in., sewn to mount, not examined out of frame

Provenance: Gift of the Peter Norton Family; Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $200 - $400

706

K.B. (Kyu-Baik) Hwang (Korean, born 1932)

Dice, artist proof, signed lower right “K.B. Hwang”, color mezzotint, plate 4-5/8 x 3-1/2 in.; fine parcel leaf frame, 14 x 12-3/8 x 1-3/4 in., good condition, not removed from archival framing; frame with abrasions

Provenance: G. Walker Gallery, Columbia, South Carolina; Estate of Sara Graham Peacock

Estimate: $200 - $400

707

James Mahlon Rosen (New York/Illinois, 1933-2023)

Study for an Homage to Titian’s Danae”, 1989, signed verso on stretcher “Rosen ‘89”, titled, oil, wax/oil emulsion on canvas, 40 x 64 in.; unframed, small stains

Provenance: Property of a Southern Museum sold to benefit the Acquisition Fund

Estimate: $300 - $500

708

American School Figural Drawing (20th/21st century)

Nude, indistinctly signed lower left, “Connie Trottees? 02”, pencil and chalk on paper, sight 15 x 21-3/4 in.; modern silver-gilt frame, 23 x 29-1/2 in., surface is very good, not examined out of archival framing; frame with light wear and minor abrasions, especially at corners

Provenance: Private Collection

Estimate: $300 - $500

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709

Rodney Alan Shaw Sculpture (Colorado/North Carolina, 1935-2014)

Swimmer, unsigned, painted cast resin and fiberglass fabric, 47 x 13-1/2 x 13 in.; marble slab base, 1-3/4 x 10-1/4 x 11-1/4 in., some scuffing, small loss and flaking on proper right back shoulder; marble base with chips and multiple holes

Provenance: Estate of Sara Graham Peacock

Estimate: $200 - $400

Sara Peacock held exhibitions for Rodney Shaw at her galleries Gallery 66 and Pritchard Park Arts during the 1980s and 90s. The artist resided in Burnsville, North Carolina at the time. The model was most often his wife, Ann Swift, as is the case with this work.

711

Rodney Alan Shaw Sculpture (Colorado/North Carolina, 1935-2014)

Seated Nude, signed in crayon underside “R. Shaw Cast I, 6/84”, painted cast resin and fiberglass fabric, 21-3/4 x 22-1/4 x 23-1/2 in., some surface dirt, small points of flaking on back of head, small abrasions

Provenance: Estate of Sara Graham Peacock

Estimate: $200 - $400

Sara Peacock held exhibitions for Rodney Shaw at her galleries Gallery 66 and Pritchard Park Arts during the 1980s and 90s. The artist resided in Burnsville, North Carolina at the time. The model was most often his wife, Ann Swift, as is the case with this work.

710

Rodney Alan Shaw Sculpture (Colorado/North Carolina, 1935-2014)

Standing Nude, unsigned, painted cast resin and fiberglass fabric, 44 x 16 x 9 in.; marble base, 1-1/4 x 19 x 9-5/8 in., surface dirt, abrasions, marble with sticker accretion, small chips

Provenance: Estate of Sara Graham Peacock

Estimate: $200 - $400

Sara Peacock held exhibitions for Rodney Shaw at her galleries Gallery 66 and Pritchard Park Arts during the 1980s and 90s. The artist resided in Burnsville, North Carolina at the time. The model was most often his wife, Ann Swift, as is the case with this work.

712

Rodney Alan Shaw Terracotta Sculpture (Colorado/North Carolina, 1935-2014)

Stretching Woman, 1988, signed underside “R. Shaw 1988”, painted terracotta with wood base, 25 x 8-7/8 x 7-1/2 in., good condition, base with small drying split Provenance: Estate of Sara Graham Peacock

Estimate: $200 - $400

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713

Rodney Shaw Terracotta Relief Plaque (Colorado/North Carolina, 1935-2014)

Break-time at Mary’s Exercise Palace (with a View of Burnsville), 1996, signed on bottom edge “1996/Rodney Shaw” and titled, tinted and gilt, 20 x 15-7/8 x 2 in., good condition

Provenance: Estate of Sara Graham Peacock

Estimate: $100 - $300

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