SUSAN LEOPOLD, (AMERICAN, B.1960), TIME AND TIME, 2000, PHOTOGRAPHY, MIRRORS, PAINTED WOOD, 8 1/2" X 16" X 8 1/2".Susan Leopold (American, b.1960) Time and Time, 2000 photography, mirrors, painted wood wall sculpture construction. signed and dated verso. Provenance: Property of the Estate of Craig W Johnson, purchased from theJean Albano Gallery, Chicago. Excerpt from the artist's biography: Born Chicago Lives New York City ONE PERSON EXHIBITIONS 2018 "Intersections", Elizabeth Harris Gallery, New York, NY 2016 "Susan Leopold" , Zolla/Lieberman Gallery, Chicago, IL 2015 "Beyond Silence" , Elizabeth Harris Gallery, New York, NY 2012 "Interiors Disrupted" , Flad Gallery, The Butler Institute of America Art, Youngstown, OH 2011 "Interiors Disrupted", Elizabeth Harris Gallery, New York, NY 2009 "Complex," Elizabeth Harris Gallery , New York , NY "Castles and Untold Stories" Hudson River Museum, Yonkers, NY 2004 "Uncharted Perspectives" The Bronfman Center Gallery, New York University , New York, NY 2003 "Susan E. Leopold: Mixed-Up Worlds," MassMOCA Kidspace, North Adams, MA "Tornado Room and Other Eccentric Spaces", Suzanne H. Arnold Gallery, Lebannon Valley College , Lancaster, PA "Mirrors and Motion," The Discovery Museum, Bridgeport , CT 2000 "Adjoining Rooms," 10th@18th.Ave.Window Project, New York, NY "Fractured Visions," John Weber Gallery, New York , NY Small Works Gallery, Las Vegas, NV 1998 "One Must Have a Mind of Winter," A site-specific installation. Dana Room, Franklin & Marshall College, Lancaster, PA Small Works Gallery, Las Vegas, NV 1997 "Fractured Still Life," Corner Window - Museum of Contemporary Photography Columbia College, Chicago, IL "Transvertical," Hosfelt Gallery, San Francisco , CA 1996 The Sawhill Gallery, James Madison University, Harrisonburg, VA The New Image Gallery, James Madison University, Harrisonburg, VA John Weber Gallery , New York, NY "Peep Show," The New York Kunsthalle, New York, NY 1995 The Rotunda Gallery, Site specific Installation, Brooklyn, NY 1994 "Photographic Worlds," Schneider Gallery, Chicago , IL (two person show) 1993 John Weber Gallery , New York , NY 1991 John Weber Gallery , New York , NY 8 1/2" x 16" x 8 1/2". photography, mirrors, painted wood Dimensions: 8 1/2" x 16" x 8 1/2".
15 vols. Mysterious Press: Bloch, Robert, Out of The Mouths of Graves. New York, 1979. 1st ed. #133/250 signed by Robert Bloch. 8vo, orig. cloth, d/j, cloth slipcase. * _ _. The King of Terrors. New York, 1977. 1st ed. #98/250 signed by Robert Bloch. 8vo, orig. cloth, d/j, cloth slipcase. * Garfield, Brian. Checkpoint Charlie. New York, 1981. 1st ed. #222/250 signed by Brian Garfield. 8vo, orig. cloth, d/j, cloth slipcase. * Gibson, Walter. The Shadow: Jade Dragon & House of Ghosts. New York, 1981. #229/300 signed by Walter Gibson and as Maxwell Grant. 8vo, orig. cloth, d/j, cloth slipcase. * Grant, Maxwell. Norgill, More Tales of Prestidigitection. New York, 1979. 1st ed. #103/250 signed by Maxwell Grant and as Walter Gibson. 8vo, orig. cloth, d/j, cloth slipcase. * _ _. Norgill The Magician. New York, 1971. 1st ed. #239/250 signed by Maxwell Grant and also as Walter Gibson. 8vo, orig. cloth, d/j, cloth slipcase. * Godfrey, Thomas, editor. Murder for Christmas. New York, (1982) . 1st ed. , #99/250 signed by Thomas Godfrey & by the illustrator Gahan Wilson. 8vo, orig. cloth, d/j, cloth slipcase. * Fish, Robert L. Kek Huuygens, Smuggler. New York, 1976. 1st ed. #43/250 signed by Robert L. Fish. 8vo, orig. cloth, d/j, cloth slipcase. * Hoch, Edward. The Thefts of Nick Velvet. New York, 1978. #281/250 signed by Edward D. Hoch. 1st ed. 8vo, orig. cloth, d/j, cloth slipcase. With pamphlet in cover pocket, "The Theft of The Persian Slipper. " * Keating, H. R. F. Murder Must Appetize. New York, 1981. #84/250 signed by H. R. F. Keating. 8vo, orig. cloth, d/j, cloth slipcase. * Queen, Ellery. The Roman Hat Mystery. New York, 1979. #220/250 signed by Ellery Queen. 8vo, orig. cloth, d/j, cloth slipcase. * Schier, Norman. The Anagram Detectives. New York, 1979. 1st ed. #124/250 signed by Norman Schier & Stanley Elling. 8vo, orig. cloth, d/j, cloth slipcase. * Todd, Peter. The Adventures of Herlock Sholmes. New York, 1976. 1st ed. thus. #240/250 signed by Philip Jose Farmer. 8vo, orig. cloth, d/j, cloth slipcase. * Westlake, Donald E. Levine. New York, (1983) . 1st ed. , #234/250 signed by Donald E. Westlake. 8vo, orig. cloth, cloth slipcase. * Woolrich, Cornell. Angels of Darkness. New York, 1976. 1st ed. thus. , #MM/250 signed by Harlan Ellison. 8vo, orig. cloth, d/j, cloth slipcase. All NF.
Thomas Koether (NY, FL, Europe, B. 1940): Thomas Koether (New York, Florida / Europe, Australia Born 1940) Large Abstract Painting. Size: 38 x 51 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness ? landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition * By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
Thomas Koether (NY, FL, Europe, B. 1940) Exhibited: Thomas Koether (NY, FL, Europe, B. 1940) 1986 "Red Rocks Quarry" Exhibited Oil on Paper painting. With original exhibition label verso. Overall Size: 19. 5 x 24 in. Unframed. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition * By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
Collection of books by George Alfred Henty late19th/ early 20th century
FOR NAME AND FAME or THROUGH AFGHAN PASSES. New York: Scribner and Welford, n.d. In green pictorial cloth cover.
IN GREEK WATERS: A STORY OF THE GRECIAN WAR OF INDEPENDENCE (1821-1827). New York: Charles Scribner's Sons, 1892. In red pictorial cloth cover.
COL. THORNDYKE'S SECRET. Chicago: M.A. Donohue, n.d. In green pictorial cloth cover.
A FINAL RECKONING: A TALE OF BUSH LIFE IN AUSTRALIA. London: Blackie & Son, n.d. In green pictorial cloth cover.
THE LOST HEIR. New York: F. M. Lupton, n.d. In gray pictorial cloth cover.
WITH WOLFE IN CANADA or THE WINNING OF A CONTINENT. Chicago: Donohue Brothers, n.d. In blue pictorial cloth cover.
AT AGINCOURT: A TALE OF THE WHITE HOODS OF PARIS. New York: Charles Scribner's Sons, 1896. In green pictorial cloth cover.
BY CONDUCT AND COURAGE: A STORY OF THE DAYS OF NELSON. London: Blackie & Son, n.d. In blue pictorial cloth cover.
IN THE REIGN OF TERROR. THE ADVENTURES OF A WESTMINSTER BOY. New York: A.L. Burt, n.d. In gray pictorial cloth cover.
YARNS ON THE BEACH: A BUNDLE OF TALES. London: Blackie & Son, n.d. In green pictorial cloth cover.
TRUE TO THE OLD FLAG: A TALE OF THE AMERICAN WAR OF INDEPENDENCE. Chicago: Thompson & Thomas, n.d.
WITH FREDERICK THE GREAT: A STORY OF THE SEVEN YEARS' WAR. New York: Charles Scribner's Sons, 1897. In red pictorial cloth cover.
ONE OF THE 28TH: A TALE OF WATERLOO. New York: Charles Scribner's Sons, 1894. In red pictorial cloth cover.
THE YOUNG FRANC-TIREURS AND THEIR ADVENTURES IN THE FRANCO-PRUSSIAN WAR. Chicago: M.A. Donohue, n.d. In yellow pictorial cloth cover.
THE YOUNG MIDSHIPMAN: A STORY OF THE BOMBARDMENT OF ALEXANDRIA. New York: Hurst & Co., n.d. In beige pictorial cloth cover.
WITH COCHRANE THE DAUNTLESS: A TALE OF THE EXPLOITS OF LORD COCHRANE IN SOUTH AMERICAN WATERS. New York: Charles Scribner's Sons, 1896. In blue pictorial cloth cover.
THE CAT OF BUBASTES: A TALE OF ANCIENT EGYPT. New York: The Federal Book, Co., n.d. In blue pictorial cloth cover.
WITH CLIVE IN INDIA or THE BEGINNINGS OF AN EMPIRE. New York: Charles Scribner's Sons,1897. In red pictorial cloth cover.
WON BY THE SWORD: A TALE OF THE THIRTY YEARS' WAR. London: Blackie & Son, 1900. In blue pictorial cloth cover.
THROUGH THREE CAMPAIGNS: A STORY OF CHITRAL, TIRAH, AND ASHANTI. London: Blackie & Son, n.d. Ex library.
BY ENGLAND'S AID or THE FREEING OF THE NETHERLANDS (1585-1604). New York: Mershon, n.d. In brown pictorial cloth cover.
THE LION OF THE NORTH: A TALE OF THE TIMES OF GUSTAVUS ADOLPHUS AND THE WARS OF RELIGION. New York: Scribner and Welford, n.d. In red pictorial cloth cover.
OUT WITH GARIBALDI: A STORY OF THE LIBERATION OF ITALY. New York: Charles Scribner's Sons, 1900. In blue pictorial cloth cover.
JACK ARCHER: A TALE OF THE CRIMEA. New York: A.L. Burt, n.d. In red pictorial cloth cover.
BY RIGHT OF CONQUEST or WITH CORTEZ IN MEXICO. New York: Mershon, n.d. In blue pictorial cloth cover.
WITH THE ALLIES TO PEKIN: A TALE OF THE RELIEF OF THE LEGATIONS. London: Blackie & Son, 1904. In green pictorial cloth cover.
TALES OF DARING AND DANGER. London: Blackie & Son, n.d. In green pictorial cloth cover.
THROUGH RUSSIAN SNOWS: A STORY OF NAPOLEON'S RETREAT FROM MOSCOW. New York: Charles Scribner's Sons, 1895. In blue pictorial cloth cover.
FACING DEATH or THE HERO OF THE VAUGHAN PIT: A TALE OF THE COAL MINES. New York: A.L. Burt, n.d. In beige pictorial cloth cover.
Henty, G.A., ed. YULE LOGS. Toronto: The Copp, Clark, Co., 1898. In green pictorial cloth cover. (30pcs)
Provenance: Asheville, North Carolina private collection.
Thomas Koether (NY, FL, Europe, B. 1940): Thomas Koether (New York, Florida / Europe, Australia B. 1940) Oil on Canvas. Signed and dated ('94) verso. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness ? landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. Canvas Size: 48 x 42 in. Overall Size: 49 x 43 in. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes from Helmuth Stone Services can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
(NEW YORK.) Group of 26 regimental histories. 8vo, publisher's or early cloth, some wear and soiling. Vp, vd
Gouveneur Morris. The History of a Volunteer Regiment [6th New York, Wilson Zouaves]. New York, 1891 * William Swinton. History of the Seventh Regiment. New York, 1870 * Matthew Graham. The Ninth Regiment [Hawkins'' Zouaves]. New York, 1900 * John Jaques. Three Years'' Campaign of the Ninth. New York, 1865 * M. Francis Dowley. History and Honorary Roll of the Twelfth Regiment. New York, 1869 * Henry and James Hall. Cayuga in the Field [19th New York]. Auburn, 1873 * Theodore Gates. The "Ulster Guard" [20th New York]. New York, 1879 * J. Harrison Mills. Chronicles of the Twenty-First Regiment. Inscribed by Capt. Peter Dolye. Buffalo, 1887 * George Wingate. The Last Campaign of the Twenty-Second. Original front wrapper mounted onto the front cover. New York, 1864 * George Wingate. History of the Twenty-Second Regiment. New York, 1896 * Pound Sterling. Camp Fires of the Twenty-Third. New York, 1863 * C. B. Fairchild. History of the 27th Regiment. Binghamton, 1888 * C. W. Boyce. A Brief History of the Twenty-eighth Regiment. Buffalo, 1896 * David Judd. The Story of the Thirty-Third N.Y.S. Vols. Rochester, 1864 * Eugene A. Nash. A History of the Forty-fourth Regiment. Chicago, 1911 * Abraham Palmer. The History of the Forty-Eighth Regiment. New York, 1885 * James Nichols. Perry''s Saints [48th New York]. Boston, 1886 * Charles Fuller. Personal Recollections of the War of 1861 [61st New York]. Original front wrapper mounted to the cover. Sherburne, 1906 * William F. S. Root. The 69th Regiment. Wrappers. New York, 1905 * W. D. Telfer. A Reminiscence of the First Battle of Manassas [71st New York]. Brooklyn, 1864 * Henri Le Fevre Brown. History of the Third Regiment Excelsior Brigade [72nd New York]. Jamestown, 1902 * James Burns. Battle of Williamsburgh [74th New York]. New York, 1865 * A. P. Smith. History of the Seventy-Sixth. Cortland, 1867 * William Todd. The Seventy-Ninth Highlanders. Albany, 1886 * B. S. DeForest. A Historical Sketch of the Second Oswego Regiment [81st New York]. Inscribed by the author. Np, nd * History of the Ninth Regiment N.Y.S.M. [83rd New York]. New York, 1889.
From the Library of the Illinois Commandery, M.O.L.L.U.S.
All the books from this library contain a large bookplate and a label on the backstrip; some books also carry an inked stamp and/or wax pencil numerical notations on the title.
Each of these lots is being sold as is.
SUSAN LEOPOLD, (AMERICAN, B.1960), AN EPISODE, 2000, INTERIOR PHOTOGRAPHY, MIRRORS, PAINTED WOOD, 9 1/4" X 15" X 11 1/2".Susan Leopold (American, b.1960) An Episode, 2000 interior photography, mirrors, painted wood corner wrap wall sculpture construction. signed and dated verso. Provenance: Property of the Estate of Craig W Johnson, purchased from the Jean Albano Gallery, Chicago. Excerpt from the artist's biography: Born Chicago Lives New York City ONE PERSON EXHIBITIONS 2018 "Intersections", Elizabeth Harris Gallery, New York, NY 2016 "Susan Leopold" , Zolla/Lieberman Gallery, Chicago, IL 2015 "Beyond Silence" , Elizabeth Harris Gallery, New York, NY 2012 "Interiors Disrupted" , Flad Gallery, The Butler Institute of America Art, Youngstown, OH 2011 "Interiors Disrupted", Elizabeth Harris Gallery, New York, NY 2009 "Complex," Elizabeth Harris Gallery , New York , NY "Castles and Untold Stories" Hudson River Museum, Yonkers, NY 2004 "Uncharted Perspectives" The Bronfman Center Gallery, New York University , New York, NY 2003 "Susan E. Leopold: Mixed-Up Worlds," MassMOCA Kidspace, North Adams, MA "Tornado Room and Other Eccentric Spaces", Suzanne H. Arnold Gallery, Lebannon Valley College , Lancaster, PA "Mirrors and Motion," The Discovery Museum, Bridgeport , CT 2000 "Adjoining Rooms," 10th@18th.Ave.Window Project, New York, NY "Fractured Visions," John Weber Gallery, New York , NY Small Works Gallery, Las Vegas, NV 1998 "One Must Have a Mind of Winter," A site-specific installation. Dana Room, Franklin & Marshall College, Lancaster, PA Small Works Gallery, Las Vegas, NV 1997 "Fractured Still Life," Corner Window - Museum of Contemporary Photography Columbia College, Chicago, IL "Transvertical," Hosfelt Gallery, San Francisco , CA 1996 The Sawhill Gallery, James Madison University, Harrisonburg, VA The New Image Gallery, James Madison University, Harrisonburg, VA John Weber Gallery , New York, NY "Peep Show," The New York Kunsthalle, New York, NY 1995 The Rotunda Gallery, Site specific Installation, Brooklyn, NY 1994 "Photographic Worlds," Schneider Gallery, Chicago , IL (two person show) 1993 John Weber Gallery , New York , NY 1991 John Weber Gallery , New York , NY 9 1/4" x 15" x 11 1/2". interior photography, mirrors, painted wood Dimensions: 9 1/4" x 15" x 11 1/2".
Thomas Koether (NY, FL, Europe, B. 1940): Thomas Koether (New York, Florida / Europe, Australia, B. 1940) "In the Pink". Signed lower right and verso. Oil on Heavy Woven Paper laid on canvas laid on plywood. Canvas Size: 39 x 42 in. Overall Size: 40 x 43 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes from Helmuth Stone Services can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
Thomas Koether (NY, FL, Europe, B. 1940): Thomas Koether (New York, Florida / Europe, Australia B. 1940) Abstract painting. Signed lower right. Oil on Canvas. Canvas Size: 18 x 15 in. Overall Size: 19 x 16 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes from Helmuth Stone Services can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
16 SARTORIAL AND SOCIETY HARDCOVER VOLUMES INCLUDING BENCHLEY, LEACOCK, FORSYTHE, AND WODEHOUSE16 Sartorial and Society Hardcover Volumes Including Benchley, Leacock, Forsythe, and Wodehouse,, Consisting of: 'Benchley Beside Himself', Robert Benchley and Gluyas Williams for Harper & Brothers, New York and London, 1943 (First Edition) 'Benchley-Or Else!', Robert Benchley and Gluyas Williams for Harper & Brothers, New York and London, 1947 (First Edition) 'Of All Things', Robert Benchley for Henry Holt and Company, New York, 1921 '20,000 Leagues Under the Sea or David Copperfield', Robert Benchley and Gluyas Williams for Henry Holt and Company, New York, 1928 (First Printing) 'Love Conquers All', Robert Benchley and Gluyas Williams for Henry Holt and Company, New York, 1922 (Advance Copy) 'The Treasurer's Report & Other Aspects of Community Singing', Robert Benchley and Gluyas Williams for Harper & Brothers Publishers, New York & London, 1930 (First Edition) 'The Early Worm', Robert Benchley and Gluyas Williams for Henry Holt and Company, New York, 1927 'After 1903-What?', Robert Benchley and Gluyas Williams for Harper & Brothers, New York and London, 1938 (First Edition) 'Chips Off the Old Benchley', Robert Benchley and Gluyas Williams for Harper & Brothers Publishers, New York and London, 1949 'No Poems: Or Around the World Backwards & Sideways', Robert Benchley and Gluyas Williams for Harper & Brothers Publishers, New York and London, 1932 (First Edition) 'The Leacock Roundabout', Stephen Leacock for Dodd, Mead & Company, New York, 1946 'Literary Lapses', Stephen Leacock for John Lane, The Bodley Head, London and New York, 1911 'Behind the Beyond', Stephen Leacock for John Lane Company, New York, 1913 'Nothing Serious', P.G. Wodehouse for Doubleday & Company, Inc., Garden City, 1951 'Reading from Left to Right', Robert N. Forsythe for Covici Friede Publishers, New York, 1938 'Redder Than The Rose', Robert N. Forsythe for Covici Friede Publishers, New York, 1935
GARY KOMARIN, NEW YORK, CONNECTICUT (B. 1951, ABSTRACT STILL LIFE, 1997, ACRYLIC ON PAPER, 22 1/2”H X 17”WGary Komarin, New York, Connecticut, (b. 1951 abstract still life, 1997, acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019 acrylic on paper Dimensions: 22 1/2"H x 17"W
Walter Shirlaw, Illinois / Spain, Scotland, (1838-1909) untitled fishing village, watercolor on paper signed lower left. Biography from the Archives of askART: Walter Shirlaw, born on August 6, 1838, was only three (fourteen according to one obituary) when he came to Hoboken, New Jersey from his place of birth, Paisley, Scotland. As a young man, he found work as a bank note engraver, a profession that he continued in Chicago, where he lived between 1865 and 1870. But already in 1861 he was exhibiting genre paintings at the National Academy of Design. In 1868, Shirlaw was a member of the Chicago Academy of Design, which would become the Art Institute of Chicago, after changing its name from the Chicago Academy of Fine Arts. Shirlaw spent the years 1870-77 in Munich, at the height of the movement led by Wilhelm Leibl in which a low-keyed, dark palette, combined with bold, virtuoso brushwork, were applied to realist subject matter. Michael Quick (in Quick, Ruhmer, and West, 1978, p. 28) defined the time of Shirlaw's arrival (1870-73) as an especially experimental period in progressive German painting. Shirlaw's teachers, however, sided with tradition. The genre painter Arthur Ramberg (1819-1895) and Wilhelm von Lindenschmidt (1829-1895), his successor at the Munich Academy, taught Shirlaw composition. The painter of genre scenes and landscapes, Alexander von Wagner (1838-1919) was Shirlaw's teacher in painting. T. H. Bartlett (in American Artists and Their Works, 1889, vol. 1, p. 23) mentioned that Shirlaw regarded Leibl as too realistic. Shirlaw won a scholarship at the Academy in 1874, the year in which he executed Toning the Bell (Art Institute of Chicago). Meanwhile, he was active as one of the "Duveneck Boys" in Polling. Sheep Shearing in the Bavarian Highlands (Private collection), painted under Lindenschmidt's direction in 1876, is regarded as one of Shirlaw's most important pictures. He exhibited it upon his return to America at the National Academy in the following year; in 1878, it won an Honorable Mention in Paris. In 1877, the second school year of the Art Students League, Lemuel E. Wilmarth announced that he would be returning to teach at the NAD. Frank Waller (1842-1923) took over as president of the ASL, and Shirlaw was hired to teach painting and drawing. The appointment was endorsed by Waller: "In Munich . . . he was regarded as one of the strongest of the American students and had the strong personality which would attract and influence others to have confidence in him, was so genuine in his artistic impulses and in his interest in the development of art in this country. . . ." (quoted by Landgren, 1940, p. 32). The hiring of Shirlaw and William Merritt Chase seemed to signify a preference of Munich over Paris among the members of the Art Students League, however, while Chase was under Leibl's spell, Shirlaw was strictly academic. During the fourth season at the ASL, Shirlaw taught composition. Thomas Wilmer Dewing replaced Shirlaw in this position in 1880. Although an Associate of the National Academy of Design, Shirlaw resigned, explaining that the Academy was too much focused on exhibitions, at the expense of teaching. He turned to the Society of American Artists, a more liberal group founded in June of 1877 in the home of Richard Watson Gilder and his wife Helena de Kay. Shirlaw himself, Augustus Saint-Gaudens, and Wyatt Eaton were the artists-founders of the SAA. Within a year, there were twenty-two members (Fink and Taylor, 1975, p. 80). This new, mostly younger group of painters collectively expressed more liberal aesthetic tastes, compared to the less progressive members of the National Academy. Doll and Richards Gallery in Boston was the setting for Shirlaw's one-man exhibition in 1880. Meanwhile, he was active as an illustrator. The artist published drawings in Scribner's Monthly and Harper's Magazine, and did illustrations for various books. In 1889, Shirlaw visited Crow and Cheyenne reservations to illustrate scenes from the life of these tribes. He was also a muralist and a designer of stained-glass windows. Four murals, representing "The Abundance of Land and Sea," were painted for the dome of the Manufactures and Liberal Arts Building at Chicago's World's Columbian Exposition, where he showed popular favorites Toning the Bell and Sheep Shearing in the Bavarian Highlands, along with a pompous nude entitled Rufina (Century Association, New York). Later (1896-97), he executed Sciences, a mural for the Library of Congress. Walter Shirlaw was an American artist who helped the younger painters promote French impressionism, by founding the Society of American Artists. When Shirlaw died on December 26, 1909, another movement in American art was under way: the Ash Can School, an updated urban American realism, which utilized a painterly technique derived from the Munich School, where Shirlaw was inspired. Sources: Benjamin, S. G. W., Our American Artists [1879]. Boston: D. Lothrop and Co., 1886, pp. 88-103; Sheldon, George William, American Painters. New York: D. Appleton and Co., 1879, pp. 96-98; Benjamin, S. G. W., Art in America: A Critical and Historical Sketch. New York: Harper and Brothers, 1880, p. 207; Bartlett, T. H., 'Walter Shirlaw," American Art Review 2 (1881): 97-102, 145-149; American Artists and Their Works. Boston: Estes and Lauriat, 1889, vol. 1, pp. 19-32; Hartmann, Sadakichi, A History of American Art. Boston: L. C. Page and Co., 1902, vol. 1, p. 232; Caffin, Charles H., The Story of American Painting. New York: Frederick A. Stokes, 1907, pp. 114, 119; Huneker, James Gibbons, "Seen in the World of Art," New York Sun, 12 March 1911, sec. 3, p. 4; LaFollette, Suzanne, Art in America: From Colonial Times to the Present Day. New York: W. W. Norton and Co., 1929, p. 207; Isham, Samuel, The History of American Painting. New York: Macmillan, 1936, pp. 382, 445; Landgren, Marshal, Years of Art: The Story of the Art Students League of New York. New York: Robert M. McBride & Co., 1940, pp. 27-28, 32-34, 42; Weimer, Aloysius G., "The Munich Period in American Art," Diss., University of Michigan, 1940, pp. 151-161; Saint-Gaudens, Homer, The American Artist and His Times. New York: Dodd, Mead and Co., 1941, p. 160; Clark, Eliot Candee, History of the National Academy of Design. New York: Columbia University Press, 1954, pp. 105-106, 130, 172; Hayes, Bartlett H., Jr., American Drawings. Drawings of the Masters Series. Boston: Little, Brown and Co., 1965, pp. 58, 136; Gerdts, William H., The Great American Nude: A History in Art. New York: Praeger Publishers, 1974, pp. 110-111; Fink, Lois Marie and Joshua C. Taylor, Academy: The Academic Tradition in American Art. Washington, DC: Smithsonian Institution Press, 1975, pp. 153-155; National Academy of Design, A Century and a Half of American Art. New York: 1975, pp. 108-109; Sellin, David, American Art in the Making: Preparatory Studies for Masterpieces of American Painting, 1800-1900. Washington, DC: Smithsonian Institution Press, 1976, pp. 53, 58-59; Stebbins, Theodore E., American Master Drawings and Watercolors. New York: Harper and Row, 1976, pp. 212, 214; Quick, Michael, Eberhard Ruhmer and Richard V. West, Munich and American Realism in the 19th Century. Sacramento, CA: E. B. Crocker Art Gallery, 1978, cat. nos. 59-60; Quick, Michael, Artists by Themselves: Artists' Portraits from the National Academy of Design. New York: 1983, pp. 80, 82; Hirschl and Adler Galleries, The Arts of the American Renaissance. New York: 1985, cat. nos. 70-71; Spassky, Natalie, American Paintings in the Metropolitan Museum of Art. New York: 1985, pp. 529-530; Zellman, Michael David, 300 Years of American Art. Secaucus, NJ: Wellfleet Press, 1987, p. 294; Revisiting the White City: American Art at the 1893 World's Fair. Hanover: University Press of New England, 1993, p. 317; American Arts at the Art Institute of Chicago: From Colonial Times to World War I. New York: Hudson Hills Press, 1998, cat. no. 96; James C. Cooke, in Encyclopedia of American Art before 1914. Ed. Jane Turner. London: Macmillan, 2000, pp. 463-464; Dingwerth, Shawn and Leland G. Howard, "Walter Shirlaw: The Other American in Munich," Fine Art Connoisseur 4 (January-February 2007): 48-53. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. watercolor on paper 11 3/4" x 18", 14" x 20 1/2" (sheet)
GARY KOMARIN, NEW YORK, CONNECTICUT (B. 1951), ABSTRACT IN YELLOW, 1997, ACRYLIC ON PAPER, 17”H X 22”WGary Komarin, New York, Connecticut, (b. 1951) abstract in yellow, 1997, acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019 acrylic on paper Dimensions: 17"H x 22"W
Thomas Koether (NY, FL b. 1940) "Another Analysis": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. . Titled: "Another Analysis" . Dated: '96. . Oil on Canvas. . Signed verso. . . Overall Size: 25 x 46 in. . (369 - 1303) . . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. . . ONE PERSON SHOWS . 2001 SRQ ON MAIN, Sarasota, Florida . 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator . 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida . 1993 MATRIX, Renegade Gallery, East Hampton, New York . 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York . 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida . 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY . 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia . 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY . 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY . 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY . 1974 AJANTA GALLERY, New York, New York . 1973 St. Croix, Virgin Islands . 1972 St. Croix, Virgin Islands . 1971 Ars Bar, Ibiza, Spain . 1970 Ars Bar, Ibiza, Spain . 1969 Ars Bar, Ibiza, Spain . 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands . . SELECTED GROUP AND JURIED SHOWS . 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY . 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida . 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum . 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida . 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida . 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY . 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University . 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York . 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York . 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York . 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia . 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York . 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York . 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York . 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York . 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia . 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia . 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia . 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia . 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia . 1971 LE CENTER AMERICAN, Paris, France Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
Group of New York City books: Group of New York City books, to include The Memorial History of the City of New York, in four volumes, published by the New York History Company, 1892; Glimpses of Old New York, by Brown, 1917; Old Taverns of New York, by Bayles, published by Allabru, 1915; The Writers of Knickerbocker New York, by Mabie, published by The Grollier Club, 1912; The Mysteries of New York, by Buntling, published by Milner; Fifty Years' Reminiscences of New York, by Thorburn, published by Fanshaw, 1845; Early New York Houses, by Pelletreav, published by Harper, 1900; The City That Was, by Smith, published by Allaben, 1911; The New York Annual Register For The Year of Our Lord 1835, published by Williams, 1835; Londoner's New York, by Fay, published by Methurn; Walks in Our Churchyard, by Oldboy, published by Peck, 1896; Letters from New York, first and second series, by Child, published by Francis, 1845 and 1849; New York, by Fleming, published by Macmillan, 1929; In the Golden Nineties, by Brown, published by Valentines, 1928; A Brief History of the Empire State, by Hendrick, published by Bardeen, 1892; Types From City Streets, by Hapgood, published by Funk and Wagnall, 1910; The Old Merchants of New York City, volumes two and four, by Clerk, published by Knox, 1885; New York, Old and New, volume one, by Wilson, published by Lippincott, 1903. Condition Memorial history with all covers detached, pages clean, other books in various states of wear
Thomas Koether (NY, FL b 1940) Great Behemoth Rock: Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Monumental Abstract Painting. Titled: "Great Behemoth Rock" Dated: '87 Oil on Canvas. Signed and dated lower right. . Overall Size: 66 x 82 in. (364 - 4275). . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. . . ONE PERSON SHOWS . 2001 SRQ ON MAIN, Sarasota, Florida . 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator . 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida . 1993 MATRIX, Renegade Gallery, East Hampton, New York . 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York . 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida . 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY . 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia . 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY . 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY . 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY . 1974 AJANTA GALLERY, New York, New York . 1973 St. Croix, Virgin Islands . 1972 St. Croix, Virgin Islands . 1971 Ars Bar, Ibiza, Spain . 1970 Ars Bar, Ibiza, Spain . 1969 Ars Bar, Ibiza, Spain . 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands . . SELECTED GROUP AND JURIED SHOWS . 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY . 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida . 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum . 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida . 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida . 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY . 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University . 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York . 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York . 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York . 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia . 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York . 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York . 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York . 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York . 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia . 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia . 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia . 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia . 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia . 1971 LE CENTER AMERICAN, Paris, France Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be out bid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. Available payment options on Bidsquare
Collection of books by George Alfred Henty late19th/ early 20th century
BY RIGHT OF CONQUEST or WITH CORTEZ IN MEXICO. Chicago: Geo. M. Hill, n.d. In green pictorial cloth cover.
CAPTAIN BAYLEY'S HEIR: A TALE OF THE GOLD FIELDS OF CALIFORNIA. New York: A.L. Burt, n.d. In blue pictorial cloth cover.
OUT ON THE PAMPAS or THE YOUNG SETTLERS. No title page. In white pictorial cloth cover.
BOTH SIDES THE BORDER: A TALE OF HOTSPUR AND GLENDOWER. New York: Charles Scribner's Sons, 1898. In blue pictorial cloth cover.
AT ABOUKIR AND ACRE: A STORY OF NAPOLEON'S INVASION OF EGYPT. New York: Charles Scribner's Sons, 1898. In maroon pictorial cloth cover.
BONNIE PRINCE CHARLIE: A TALE OF FONTENOY AND CULLODEN. New York: Scribner and Welford, n.d. In red pictorial cloth cover.
IN FREEDOM'S CAUSE: A STORY OF WALLACE AND BRUCE. New York: A.L. Burt, n.d.
UNDER WELLINGTON'S COMMAND: A TALE OF THE PENINSULAR WAR. London: Blackie & Son, n.d. In blue pictorial cloth cover.
REDSKIN AND COW-BOY: A TALE OF THE WESTERN PLAINS. New York: Charles Scribner's Sons, 1893.
A TALE OF WATERLOO ONE OF THE 28TH. New York: Washington Co., n.d.
ON THE IRRAWADDY: A STORY OF THE FIRST BURMESE WAR. New York: Charles Scribner's Sons, 1896. In blue pictorial cloth cover.
ST. BARTHOLOMEW'S EVE: A TALE OF THE HUGENOT WARS. London: Blackie and Son, n.d. In green pictorial cloth cover.
WULF THE SAXON A STORY OF THE NORMAN CONQUEST. London: Blackie & Son, n.d. In gray pictorial cloth cover.
WITH WOLFE IN CANADA or THE WINNING OF A CONTINENT. Chicago: Thompson & Thomas, n.d. In blue pictorial cloth cover.
WITH LEE IN VIRGINIA: A STORY OF THE AMERICAN CIVIL WAR. New York: A.L. Burt, n.d. In gray pictorial cloth cover.
FOR THE TEMPLE: A TALE OF THE FALL OF JERUSALEM. New York: A.L. Burt, n.d. In beige pictorial cloth cover.
IN TIMES OF PERIL: A TALE OF INDIA. New York: Mershon, n.d. In green pictorial cloth cover.
IN THE HEART OF THE ROCKIES: A STORY OF ADVENTURE IN COLORADO. London: Blackie & Son, n.d.
THE YOUNG CARTHAGINIAN: A STORY OF THE TIMES OF HANNIBAL. No title page. In beige pictorial cloth cover.
WHEN LONDON BURNED: A STORY OF RESTORATION TIMES AND THE GREAT FIRE. New York: Charles Scribner's Sons, 1906. In red pictorial cloth cover.
BERIC THE BRITON: A STORY OF THE ROMAN INVASION. London: Blackie & Son, 1893. In blue pictorial cloth cover.
THE TREASURE OF THE INCAS: A TALE OF ADVENTURE IN PERU. New York: Charles Scribner's Sons, 1906. In red pictorial cloth cover.
A ROVING COMMISSION or THREOUGH THE BLACK INSURRECTION OF HAYTI. London: Blackie & Son, 1900. In red pictorial cloth cover.
THE CORNET OF HORSE: A TALE OF MARLBOROUGH'S WARS. New York: New York Publishing, n.d.
THE BOY KNIGHT: A TALE OF THE CRUSADE. New York: The Federal Book Co., n.d. In beige pictorial cloth cover.
THROUGH THE FRAY: A TALE OF THE LUDDITE RIOTS. New York: Mershon, n.d. In blue pictorial cloth cover.
TRUE TO THE OLD FLAG: A TALE OF THE AMERICAN WAR OF INDEPENDENCE. New York: Hurst, n.d. In blue pictorial cloth cover.
MAORI AND SETTLER: A STORY OF THE NEW ZEALAND WAR. London: Blackie & Son, 1891. In blue pictorial cloth cover.
THE GOLDEN CANON. Chicago: M.A. Donohue, n.d. In brown pictorial cloth cover.
THE CAT OF BUBASTES: A TALE OF ANCIENT EGYPT. New York: Mershon, n.d. In beige pictorial cloth cover.
WITH THE BRITISH LEGION: A STORY OF THE CARLIST WARS. London: Blackie & Son, 1903. In blue pictorial cloth cover.
THE YOUNG BUGLERS: A TALE OF THE PENINSULAR WAR. New York: A. L. Burt, n.d. In blue pictorial cloth cover.
THE TIGER OF MYSORE: A STORY OF THE WAR WITH TIPPOO SAIB. New York: Charles Scribner's Sons, 1895. In blue pictorial cloth cover.
THE BRAVEST OF THE BRAVE or WITH PETERBOROUGH IN SPAIN. London: Blackie & Son, n.d. In red pictorial cloth cover, ex library.
WITH ROBERTS TO PRETORIA: A TALE OF THE SOUTH AFRICAN WAR. New York: Charles Scribner's Sons, 1901. In red pictorial cloth cover.
CONDEMNED AS A NIHILIST: A STORY OF ESCAPE FROM SIBERIA. New York: Charles Scribner's Sons, 1902. In red pictorial cloth cover.
A KNIGHT OF THE WHITE CROSS: A TALE OF THE SIEGE OF RHODES. New York: Charles Scribner's Sons, 1902. In red pictorial cloth cover. (37pcs)
Provenance: Asheville, North Carolina private collection.
ROBERT GORDY (AMERICAN, 1933-1986)Robert Gordy
American, 1933-1986
Clouds and Sea (Day)
Lithograph, signed lower right, edition 30/35
Coastal landscape, the water still below a clouded sky.
Education:
1956 M.A., Louisiana State University, Baton Rouge, LA
1955 B.A., Lousiana State University, Baton Rouge, LA
1953 Studied with Hans Hoffman
Professional Experience:
1965 Instructor, University of New Orleans, LA
1963 Instructor, The Putney School, Putney, VT
1962 Instructor, Sterling College, Sterling, KS
1957 Instructor, University of Southern Louisiana, Lafayette, LA
Selected Awards:
1978, 1967 Fellowship, National Endowment of the Arts Purchase Award, Dallas Museum of Fine Arts, Dallas, TX
1973 Award Winner, "Artists Biennial," New Orleans Museum of Art, New Orleans, LA
1971 Purchase award, "Artists of the Southeast and Texas Biennial," New Orleans Museum of Art, New Orleans, LA
1971 Ford Foundation Fellowship
1954 Yale-Norfolk Fellowship, Yale University, New Haven, CT
Selected Solo Exhibitions:
1992, 1988, 1986, 1984 Arthur Roger Gallery, New Orleans, LA
1987 Texas Gallery, Houston, TX
1986 New Orleans Museum of Art, New Orleans, LA
1986 Masur Museum of Art, Monroe, LA
1985-86 "Monotypes of Robert Gordy," University of South Florida, Tampa, FL (traveling exhibition)
1985, 1979 Phyllis Kind Gallery, New York, NY
1984-85 "Prints and Paintings of Robert Gordy," New Orleans Museum of Art (traveling exhibition)
1984 The Fine Arts Museum of the South, Mobile, AL
1984 "Artworks '84," Louisiana World Exposition, New Orleans, LA
1983 Carol Shapiro Gallery, St. Louis, MO
1982-81 "Robert Gordy, Paintings and Drawings: 1960-1980," New Orleans Museum of Art, New Orleans, LA
1982-81 Montgomery Museum of Fine Arts, Montgomery, AL
1982-81 Jacksonville Museum of Fine Arts, Jacksonville, FL
1982-81 Southeastern Center for Contemporary Art, Winston-Salem, NC
1982-81 Cincinnati Museum of Contemporary Art, Cincinnati, OH
1982-81 Contemporary Arts Museum, Houston, TX
1979, 1977 Delahunty Gallery, Dallas, TX
1976 Phyllis Kind Gallery, Chicago, IL
1975 Long Beach Museum of Art, Long Beach, CA
1974, 1972 New Orleans Museum of Art, New Orleans, LA
1974 Pyramid Galleries, Washington, D.C.
1973, 1971, 1969 Galerie Simonne Stern, New Orleans, LA
1973, 1971, 1969 Hank Baum Gallery, San Francisco, CA
1972 "Drawings and Prints," Glascow College of Arts, Scotland
1970 Cranfill Gallery, Dallas, TX
1968 Atelier Chapman Kelley, Dallas, TX
1968, 1967 Glade Gallery, New Orleans, LA
Selected Group Exhibitions:
1986 "Artist/Printmaker," The Maryland Institute, College of Art, Baltimore, MD
1985 "The Exhibition at 112 Greene Street," Arthur Roger Gallery, New York, NY
1984 "Monotypes," The Weintraub Gallery, New York, NY
"The Art of New Orleans," Southeastern Center for Contemporary Art, Winston-Salem, NC
1983 "The Human Figure," Contemporary Arts Center, New Orleans, LA
"New Decorative Art," The Berkshire Museum, Pittsfield, MA and The University Art Gallery, State University of New York at Albany, Albany, NY
"Southern Fiction," Contemporary Art Museum, Houston, TX
"The American Artist as Printmaker: 23rd National Print Exhibition," Brooklyn Museum of Art, Brooklyn, NY
1980 "Image into Pattern," P.S.1 Gallery, New York, NY
"American Painting of the Sixties and Seventies: The Real, The Ideal, The Fantastic-Selections from the Whitney Museum of American Art," Montgomery Museum of Fine Arts, Montgomery, AL
"The Figurative Tradition: Paintings and Sculpture from the Permanent Collection," Whitney Museum of American Art, New York, NY
"American Figure Painting: 1950-1980," Chrysler Museum, Norfolk, VA
"American Drawings in Black and White: 1970-1980," Brooklyn Museum, Brooklyn, NY
"Louisiana Major Works," Contemporary Arts Center, New Orleans, LA, curated by Linda L. Cathcart, Contemporary Art Museum, Houston, TX
1978 "21st National Print Exhibition," Brooklyn Museum, Brooklyn, NY
"The 1970's: New American Painting," The New Museum, New York, NY (traveling exhibition)
1975 "Art USA: The South," New Orleans Museum of Art, New Orleans, LA (traveling exhibition)
1973 "Biennial Exhibition of Contemporary American Art," Whitney Museum of American Art, New York, NY
"Divergent Representation: Five Contemporary Artists," National Collection of Fine Arts, Washington, D.C.
"Extraordinary Realities," Whitney Museum of American Art, New York, NY
1968 "14 Artists, Award Winners in the Southeast and Southwest Regions Selected by the National Endowment for the Arts," Witte Memorial Museum, San Antonio, TX
"New Acquisitions," Whitney Museum of American Art, New York, NY
1967 "Annual Exhibition of American Painting and Sculpture," Whitney Museum of American Art, New York, NY
Selected Collections:
Alexandria Museum and Visual Art Center, Alexandria, LA
American Express Corp, New York, NA
Chicago Museum of Contemporary Art, Chicago, IL
Dallas Museum, Dallas, TX
Fort Worth Art Center, Fort Worth, TX
Gibber Museum of Art, Charleston, SC
Museum of Modern Art, New York, NY
Metropolitan Museum, New York, NY
National Collection of Fine Art, Washington, D.C.
Oklahoma Fine Arts Center, Oklahoma City, OK
Whitney Museum of American Art, New York, NY
Sheet: 28 1/4 x 31 3/4 in. (71.8 x 80.6 cm.), frame: 31 1/4 x 35 in. (79.4 x 88.9 cm.)
The Artist;
Ex Iowa Wesleyan University collection
Condition:
Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
(NEW YORK.) Group of 16 histories of cavalry or artillery regiments. 8vo, publisher's or early cloth, some wear and soiling. Vp, vd
J. H. Stevenson. "Boots and Saddles." A History of the . . . First New York (Lincoln) Cavalry. Inscribed by the author. Harrisburg, 1879 * William Beach. The First New York (Lincoln) Cavalry. New York, 1902 * Henry Norton. A Sketch of the 8th N. Y. Cavalry. Original front wrapper bound in. Norwich?, 1888 * N. D. Preston. History of the Tenth Regiment of Cavalry. New York, 1892 * Thomas W. Smith. The Story of a Cavalry Regiment [11th New York Cavalry]. Chicago, 1897 * J. C. Hoadley. Memorial of Henry Sanford Gansevoort [13th New York Cavalry]. Inscribed by Catherine Gansevoort. Boston, 1875 * Chauncey Norton. "The Red Neck Ties," or History of the Fifteenth New York Volunteer Cavalry. Ithaca, 1891 * J. R. Bowen. Regimental History of the First New York Dragoons. Np, 1900 * The Re-Union of Cowan''s Battery [1st New York Independent Battery]. Original front wrapper mounted to the front cover. Np, 1886 * Jacob Roemer. Reminiscences of the War of the Rebellion [2nd New York Artillery]. Flushing, 1897 * James Smith. A Famous Battery [4th New York Independent Battery]. Washington, 1892 * "More than Conquerer," or Memorials of Col. J. Howard Kitching [6th New York Artillery]. New York, 1873 * James Hudnut. Historical Roll of Company D, 8th Regiment New York Heavy Artillery. New York, 1887 * Nelson Armstrong. Nuggets of Experience [8th New York Heavy Artillery]. Np, 1906 * E. P. Webb. History of the 10th Regiment N. Y. Heavy Artillery. Original front wrapper mounted to cover. Watertown, 1887 * Frank Wilkeson. Recollections of a Private Soldier [11th New York Battery] New York, 1898 * J. W. Merrill. Records of the 24th Independent Battery. New York, 1870.
From the Library of the Illinois Commandery, M.O.L.L.U.S.
All the books from this library contain a large bookplate and a label on the backstrip; some books also carry an inked stamp and/or wax pencil numerical notations on the title.
Each of these lots is being sold as is.
Walter Shirlaw, Illinois / Spain, Scotland, (1838-1909) Canoe, watercolor on paper signed lower right Biography from the Archives of askART: Walter Shirlaw, born on August 6, 1838, was only three (fourteen according to one obituary) when he came to Hoboken, New Jersey from his place of birth, Paisley, Scotland. As a young man, he found work as a bank note engraver, a profession that he continued in Chicago, where he lived between 1865 and 1870. But already in 1861 he was exhibiting genre paintings at the National Academy of Design. In 1868, Shirlaw was a member of the Chicago Academy of Design, which would become the Art Institute of Chicago, after changing its name from the Chicago Academy of Fine Arts. Shirlaw spent the years 1870-77 in Munich, at the height of the movement led by Wilhelm Leibl in which a low-keyed, dark palette, combined with bold, virtuoso brushwork, were applied to realist subject matter. Michael Quick (in Quick, Ruhmer, and West, 1978, p. 28) defined the time of Shirlaw's arrival (1870-73) as an especially experimental period in progressive German painting. Shirlaw's teachers, however, sided with tradition. The genre painter Arthur Ramberg (1819-1895) and Wilhelm von Lindenschmidt (1829-1895), his successor at the Munich Academy, taught Shirlaw composition. The painter of genre scenes and landscapes, Alexander von Wagner (1838-1919) was Shirlaw's teacher in painting. T. H. Bartlett (in American Artists and Their Works, 1889, vol. 1, p. 23) mentioned that Shirlaw regarded Leibl as too realistic. Shirlaw won a scholarship at the Academy in 1874, the year in which he executed Toning the Bell (Art Institute of Chicago). Meanwhile, he was active as one of the "Duveneck Boys" in Polling. Sheep Shearing in the Bavarian Highlands (Private collection), painted under Lindenschmidt's direction in 1876, is regarded as one of Shirlaw's most important pictures. He exhibited it upon his return to America at the National Academy in the following year; in 1878, it won an Honorable Mention in Paris. In 1877, the second school year of the Art Students League, Lemuel E. Wilmarth announced that he would be returning to teach at the NAD. Frank Waller (1842-1923) took over as president of the ASL, and Shirlaw was hired to teach painting and drawing. The appointment was endorsed by Waller: "In Munich . . . he was regarded as one of the strongest of the American students and had the strong personality which would attract and influence others to have confidence in him, was so genuine in his artistic impulses and in his interest in the development of art in this country. . . ." (quoted by Landgren, 1940, p. 32). The hiring of Shirlaw and William Merritt Chase seemed to signify a preference of Munich over Paris among the members of the Art Students League, however, while Chase was under Leibl's spell, Shirlaw was strictly academic. During the fourth season at the ASL, Shirlaw taught composition. Thomas Wilmer Dewing replaced Shirlaw in this position in 1880. Although an Associate of the National Academy of Design, Shirlaw resigned, explaining that the Academy was too much focused on exhibitions, at the expense of teaching. He turned to the Society of American Artists, a more liberal group founded in June of 1877 in the home of Richard Watson Gilder and his wife Helena de Kay. Shirlaw himself, Augustus Saint-Gaudens, and Wyatt Eaton were the artists-founders of the SAA. Within a year, there were twenty-two members (Fink and Taylor, 1975, p. 80). This new, mostly younger group of painters collectively expressed more liberal aesthetic tastes, compared to the less progressive members of the National Academy. Doll and Richards Gallery in Boston was the setting for Shirlaw's one-man exhibition in 1880. Meanwhile, he was active as an illustrator. The artist published drawings in Scribner's Monthly and Harper's Magazine, and did illustrations for various books. In 1889, Shirlaw visited Crow and Cheyenne reservations to illustrate scenes from the life of these tribes. He was also a muralist and a designer of stained-glass windows. Four murals, representing "The Abundance of Land and Sea," were painted for the dome of the Manufactures and Liberal Arts Building at Chicago's World's Columbian Exposition, where he showed popular favorites Toning the Bell and Sheep Shearing in the Bavarian Highlands, along with a pompous nude entitled Rufina (Century Association, New York). Later (1896-97), he executed Sciences, a mural for the Library of Congress. Walter Shirlaw was an American artist who helped the younger painters promote French impressionism, by founding the Society of American Artists. When Shirlaw died on December 26, 1909, another movement in American art was under way: the Ash Can School, an updated urban American realism, which utilized a painterly technique derived from the Munich School, where Shirlaw was inspired. Sources: Benjamin, S. G. W., Our American Artists [1879]. Boston: D. Lothrop and Co., 1886, pp. 88-103; Sheldon, George William, American Painters. New York: D. Appleton and Co., 1879, pp. 96-98; Benjamin, S. G. W., Art in America: A Critical and Historical Sketch. New York: Harper and Brothers, 1880, p. 207; Bartlett, T. H., 'Walter Shirlaw," American Art Review 2 (1881): 97-102, 145-149; American Artists and Their Works. Boston: Estes and Lauriat, 1889, vol. 1, pp. 19-32; Hartmann, Sadakichi, A History of American Art. Boston: L. C. Page and Co., 1902, vol. 1, p. 232; Caffin, Charles H., The Story of American Painting. New York: Frederick A. Stokes, 1907, pp. 114, 119; Huneker, James Gibbons, "Seen in the World of Art," New York Sun, 12 March 1911, sec. 3, p. 4; LaFollette, Suzanne, Art in America: From Colonial Times to the Present Day. New York: W. W. Norton and Co., 1929, p. 207; Isham, Samuel, The History of American Painting. New York: Macmillan, 1936, pp. 382, 445; Landgren, Marshal, Years of Art: The Story of the Art Students League of New York. New York: Robert M. McBride & Co., 1940, pp. 27-28, 32-34, 42; Weimer, Aloysius G., "The Munich Period in American Art," Diss., University of Michigan, 1940, pp. 151-161; Saint-Gaudens, Homer, The American Artist and His Times. New York: Dodd, Mead and Co., 1941, p. 160; Clark, Eliot Candee, History of the National Academy of Design. New York: Columbia University Press, 1954, pp. 105-106, 130, 172; Hayes, Bartlett H., Jr., American Drawings. Drawings of the Masters Series. Boston: Little, Brown and Co., 1965, pp. 58, 136; Gerdts, William H., The Great American Nude: A History in Art. New York: Praeger Publishers, 1974, pp. 110-111; Fink, Lois Marie and Joshua C. Taylor, Academy: The Academic Tradition in American Art. Washington, DC: Smithsonian Institution Press, 1975, pp. 153-155; National Academy of Design, A Century and a Half of American Art. New York: 1975, pp. 108-109; Sellin, David, American Art in the Making: Preparatory Studies for Masterpieces of American Painting, 1800-1900. Washington, DC: Smithsonian Institution Press, 1976, pp. 53, 58-59; Stebbins, Theodore E., American Master Drawings and Watercolors. New York: Harper and Row, 1976, pp. 212, 214; Quick, Michael, Eberhard Ruhmer and Richard V. West, Munich and American Realism in the 19th Century. Sacramento, CA: E. B. Crocker Art Gallery, 1978, cat. nos. 59-60; Quick, Michael, Artists by Themselves: Artists' Portraits from the National Academy of Design. New York: 1983, pp. 80, 82; Hirschl and Adler Galleries, The Arts of the American Renaissance. New York: 1985, cat. nos. 70-71; Spassky, Natalie, American Paintings in the Metropolitan Museum of Art. New York: 1985, pp. 529-530; Zellman, Michael David, 300 Years of American Art. Secaucus, NJ: Wellfleet Press, 1987, p. 294; Revisiting the White City: American Art at the 1893 World's Fair. Hanover: University Press of New England, 1993, p. 317; American Arts at the Art Institute of Chicago: From Colonial Times to World War I. New York: Hudson Hills Press, 1998, cat. no. 96; James C. Cooke, in Encyclopedia of American Art before 1914. Ed. Jane Turner. London: Macmillan, 2000, pp. 463-464; Dingwerth, Shawn and Leland G. Howard, "Walter Shirlaw: The Other American in Munich," Fine Art Connoisseur 4 (January-February 2007): 48-53. Submitted by Richard H. Love and Michael Preston Worley, Ph.D. watercolor on paper 11 3/4" x 17 1/2" (image), 12 1/2" x 18 3/4" (sheet)
Thomas Koether (NY, FL b. 1940) "Azure Tides": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "Azure Tides" Dated: '93 Oil on Canvas. Signed and dated verso. . Overall Size: 31 x 43. 5 in. (151 - 4331). . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. . . ONE PERSON SHOWS . 2001 SRQ ON MAIN, Sarasota, Florida . 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator . 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida . 1993 MATRIX, Renegade Gallery, East Hampton, New York . 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York . 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida . 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY . 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia . 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY . 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY . 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY . 1974 AJANTA GALLERY, New York, New York . 1973 St. Croix, Virgin Islands . 1972 St. Croix, Virgin Islands . 1971 Ars Bar, Ibiza, Spain . 1970 Ars Bar, Ibiza, Spain . 1969 Ars Bar, Ibiza, Spain . 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands . . SELECTED GROUP AND JURIED SHOWS . 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY . 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida . 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum . 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida . 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida . 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY . 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University . 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York . 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York . 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York . 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia . 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York . 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York . 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York . 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York . 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia . 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia . 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia . 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia . 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia . 1971 LE CENTER AMERICAN, Paris, France Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be out bid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. Available payment options on Bidsquare
Thomas Koether (B. 1940) "Available Phase Space": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. . Titled: "Available Phase Space" . Dated: '05 . Oil on Canvas. . Overall Size: 16. 75 x 19. 75 in. . (0 - 4313). . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. . . ONE PERSON SHOWS . 2001 SRQ ON MAIN, Sarasota, Florida . 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator . 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida . 1993 MATRIX, Renegade Gallery, East Hampton, New York . 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York . 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida . 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY . 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia . 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY . 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY . 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY . 1974 AJANTA GALLERY, New York, New York . 1973 St. Croix, Virgin Islands . 1972 St. Croix, Virgin Islands . 1971 Ars Bar, Ibiza, Spain . 1970 Ars Bar, Ibiza, Spain . 1969 Ars Bar, Ibiza, Spain . 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands . . SELECTED GROUP AND JURIED SHOWS . 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY . 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida . 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum . 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida . 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida . 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY . 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University . 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York . 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York . 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York . 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia . 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York . 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York . 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York . 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York . 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia . 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia . 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia . 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia . 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia . 1971 LE CENTER AMERICAN, Paris, France Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be out bid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
Tiffany Studios Gilt-Bronze Desk Set Circa 1906-20 In the Grapevine pattern, comprising a two-tier paper rack, stamped TIFFANY STUDIOS NEW YORK 1008; box, stamped TIFFANY STUDIOS NEW YORK 809; calendar with easel back, stamped TIFFANY STUDIOS NEW YORK 941; bill hook, stamped TIFFANY STUDIOS NEW YORK; four blotter corners, each stamped TIFFANY STUDIOS NEW YORK 997; match safe, stamped TIFFANY STUDIOS NEW YORK 959; square footed inkstand with a molded colorless glass insert, stamped TIFFANY STUDIOS NEW YORK 844; letter clip, stamped TIFFANY STUDIOS NEW YORK 971; pen brush, stamped TIFFANY STUDIOS NEW YORK 981; footed stamp box, stamped TIFFANY STUDIOS NEW YORK 801; pad holder, stamped TIFFANY STUDIOS NEW YORK 1022; rocker blotter, stamped TIFFANY STUDIOS NEW YORK 995; paper knife, stamped TIFFANY STUDIOS NEW YORK 969; and a footed pen tray, stamped TIFFANY STUDIOS NEW YORK 1004; each in mottled amber and white colored glass; Together with a Tiffany Studios Bronze and Favrile Glass Flat Desk Calendar. In green slag glass, stamped TIFFANY STUDIOS NEW YORK 930; Tiffany Studios Gilt-Bronze Paper Knife. In the Venetian pattern, stamped TIFFANY STUDIOS NEW YORK 1685; And a Tiffany Style Gilt-Metal Fountain Pen. Length of pen tray 9 3/4 inches, length of paper rack 10 inches. C
Thomas Koether (NY, FL b. 1940) ". the Sentinel": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. . Titled: "Messenger and the Sentinel" . Dated: '83 - 05 . Oil on Paper laid on Canvas. . Signed verso. . . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of '71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces, one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness, landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France. . . Overall Size: 11. 25 x 15. 25 in. . (350 - 4303) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. . - All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com Available payment options on Bidsquare
Thomas Koether (NY, FL, Europe, B. 1940) Exhibited: Thomas Koether ((New York, Florida / Europe, Australia, Born 1940) Large Abstract Painting, with exhibition label verso. Sight Size: 32 x 41 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness ? landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition * By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
Angelo Savelli, Italian, (1911-1995) Abstraction, gouache and ink on paper Signed and dated (1957) upper right. October 30th, 1911 Angelo Savelli was born in Pizzo Calabro (Catanzaro). Since his very childhood, Savelli's interest in art grows thanks to his uncle, the self-taught painter Alfonso Barone. 1930 After attending Filangieri Grammar School in Vibo Valentia, Calabria, he is encouraged by his father Giorgio, an apothecary, to develop his artistic potential; Savelli moves to Rome and attends a high school specializing in arts, and later the Academy of Fine Arts. During this period Savelli is a guest of the Minister of the Royal House of Savoy, Lucifero Falcone, a friend of his father's. 1934 He obtains a pilot's licence from the Ministry of War. The licence also entitles him to a student grant. 1935 He wins the "Mattia Preti" award and later the "Balestra" award for an art contest organized by San Luca Academy in Rome. 1936 He receives his diploma from the Academy of Fine Arts. His decorative painting teacher is Ferruccio Ferrazzi, who ecomes his most important point of reference. Savelli decorates with frescoes the Villa Boimond chapel in Sora (Frosinone), and wins a prize at the Regional Exhibition of Calabria. 1937 He leaves for his military service and enters officer school at the 39th Infantry Regiment. 1939 He serves as an officer in the 81st Infantry Regiment in Frosinone. 1940 He begins teaching at the Academy of Fine Arts in Rome, and keeps up an intense artistic activity. He settles in his studio at 49 Via Margutta, a most popular area among artists such as Guttuso, Franchina, Jarema, Fazzini, Severini. He wins a prize at the Regional Exhibition of Lazio. 1941 He is awarded one of the four 2.500 Lire additional prizes by the Third Bergamo Award, and the following year one of the four 5.000 lire additional prizes by the Fourth Bergamo Award. He reads his first book on Yoga philosophy and meditation, which leads him to discover the spiritual path he will follow all his life. 1943 He is redrafted into the army and assigned to the 82nd Infantry regiment "Torino". After the painful experience of World War II, he returns to Rome where he moves in the milieu of Futurism. In the same year he becomes a member of the Art Club, the independent international artistic association whose members include Jarema (a Polish artist Savelli called "the Viking"), Severini, Guzzi, Montanarini and Tamburi, his close friend Fazzini, and later Dorazio, Mafai, Corpora, Perilli, Consagra and Turcato. This group of artists, active in Rome or having ties with Rome in the Twenties and Thirties, is known as "Scuola Romana" or Roman School. Savelli forms with each one bonds of friendship he will cherish all his life. At the same time he meets Alberto Burri, then at the beginning of his artistic career; unlike many others, Savelli is most available and open-minded to younger artists. 1946-1947 First works where white abstract-figurative patches begin to appear. In several Crucifixions, Christ and Mary Magdalene are painted in white. Savelli needs to experience new emotions; by now he finds the Roman School too limiting, whereas Futurism and Prampolini's latest experiments urge him to search for new techniques. 1947 He stays for several months in Venice. He wins the "Colli Euganei" prize at Abano. 1948 Soggiorna per alcuni mesi a Venezia. Riceve il premio "Colli Euganei" ad Abano. 1948 He gets a one-month scholarship in Paris, and will stay there for a year. This experience is critical for him, and launches him into a wider and more international dimension of art. He declares: "I realized I had to free myself from my divine Italian tradition." During this period he works very intensely and produces many ink and water-colour drawings, with tracts beginning to tend towards a gradual stylization. 1949 Back in Rome, he finds it hard to have his new choices accepted by his friends. After the Expressionist tendencies of his Roman years, he returns from Paris with a different view on modern art, one that cannot be understood by his contemporaries in Rome; only Corpora, Turcato and Santommaso are attuned to it. At Caffè Rosati, patronized by the art world, he meets the young Federico Fellini, who spends hours watching and studying the artists and intellectuals. In the same year in Rome Savelli also meets Theodoros Stamos. 1950 First abstract creations with the two pieces "Oltre l'inquieto". He is present at the XXV Biennale di Venezia. 1953 He marries journalist Elisabeth Fischer. By now a well-known and successful artist, he bravely chooses to leave Italy for good. He settles in New York, a tough, vital city, competitive but international. He also leaves his posts as teacher at the Academy of Fine Arts in Rome. ?In New York he soon gets to know the most important artists of the moment; Fritz Glarner, Marcel Duchamp, Hans Richeter. He is held in high esteem by all the great representatives of abstract painting, from Robert Motherwell to Ad Reinhardt and Barnett Newman, who is very fond of him. He frequents the Art Club on 10th St. and the New York School artists, among whom Philip Pavia and Jack Tworkov. The latter lets him have his studio between 10th St. and 4th Av. Just opposite the studio are Franz Kline's and Wilhelm Dekooning's workshops. But even though he has become a member of this top quality artists' circle, he does not want to be identified with one group or one circle, he does not mix with art dealers just to sell his works, he accepts no compromises. He is a man of free spirit and is loved for his humanity and sensitivity, for the poetry and innocence of his personality. In 1953 he also meets artist Will Barnet at Cooper Union University, and they form a bond of true brotherhood. 1954 He creates the work "Oval Skin". 1955 He begins a series of serigraphs and collages at Chelsea Workshop. 1956 He creates "Bianco su bianco", a monochrome serigraph, his first completely white piece. 1957 Savelli's first exhibition (collective) in New York. The same year, personal exhibition at D'Amecourt Gallery, Washington D.C. 1958 With some Art Club friends he meets in a New York bar the great art dealer Leo Castelli, who offers to set up an exhibition. His first personal exhibition at Leo Castelli Gallery on 77th St. marks the beginning of the most important period of his career in the USA. In the same year he also receives the "Battistoni" international prize for industrial design. 1959 Appointed Director of the art school "La Guardia Memorial House", the illustrious American Academy in Harlem. He will act as supervisor for the art classes held by the institute. 1959 He approaches the white colour through relief printings, changes the materials, rejects colours, modifies the shapes of his works, paints in white with a spatula, and later uses strings, plasters, very light and transparent fabrics, veils and tulle, extolling white as the only pure, bright and absolute colour. He works out a monochrome art, distancing himself from the expressive violence of "action painting", realizing works of extreme lightness and formal purity, from a compelling inner need to reach universal simplicity. Critics define his art as a creation of images free from any figurative reference, aspiring to reach the essential nature of things. 1960 Invited to teach at "Art Workshop", Edna Lewis's American school in Positano (Naples). He also takes part in a workshop on printing techniques in Milan. He invents a lithography process for what he calls "relief prints", an elaborate variation of embossing. 1962 G. Holmes Perkins, president of the University of Pennsylvania, and influential architect Louis Kahn, a University alumnus, decide to modernize the school, appointing as teachers important experts of the new generation. Romoaldo Giurgola, an Italian architect living in America, suggests they invite Angelo Savelli and his old Via Margutta friend Piero Dorazio to reorganize the study programme for the Department of Fine Arts - painting, sculpture and graphics. Savelli accepts and moves to Pennsylvania. He supervises all the activities of the students - who consider him a most charismatic figure - giving them practical help in their working choices. He is a great authority on technique, painting and drawing, and his ability as Maestro is well known among young American artists. In a short time the university becomes the best school of arts in the USA. ?During this period Savelli suffers from serious physical disorders that he manages to overcome thanks to his deeper and deeper knowledge of Zen philosophy. By practising yoga exercises and meditation every day, a life-long discipline, he is able to get over extremely painful experiences. ?A deep everlasting friendship begins between Savelli, Kahn and Giurgola. Savelli lives for ten years in Springtown, without giving up his New York studio. 1961 He receives the "Lissone" award. 1962 He creates his first works using rope, and also eleven embossed lithographic white-on-white pieces, presented by Giulio Carlo Argan (Grattacielo, Milan 1962). 1963.Publication of a book with lithographs by Savelli: "Ten Poems by Ten American Poets" (Romero, Rome 1963). 1964 He wins the "Gran Premio della Grafica" award at the XXXIII Biennale di Venezia for his twenty-seven white-on-white reliefs. 1965-1970 He creates his first meditation hall called "Paradise", in his studio at 186 Bowery St., New York. 1966 He teaches at Columbia University, in New York. 1969-70 Completion of projects "Paradise II" at Corcoran Gallery of Art in Washington, and "Dante's Inferno" at Peale Galleries of Pennsylvania, Academy of Fine Arts in Philadelphia. 1971 Completion of "Illumine one", a project displayed in 1972 at his Everson Museum personal exhibition, in Syracuse (NY), catalogue introduction by Louis Kahn. 1973 Installation of the sculpture "Empedocles" at Lincoln Center, Syracuse. 1974 He teaches at Cornell University in Ithaca (NY). 1975 He starts a two-year teaching job as Visiting Artist at Pennsylvania State University and creates the work "Wall to Wall", displayed at an exhibition at the same University. He is also invited to teach at the Academy of Fine Arts in Philadelphia, Pennsylvania. 1976 He creates his first unframed canvases, applied directly on the wall. He paints the series of canvases called "On the Quantity of the Surface". 1977 He creates a series of forty white-on-white prints. He accepts the post of Visiting Professor at the University of Texas, Arlington, where he spends the winter semesters for five years. 1978 He creates the installation "Tree with 84 Tree Trunks", displayed at Max Hutchinson Gallery, New York. 1980 He receives the Guggenheim Fellowship from Guggenheim Museum, New York, which allows him to live in Europe and organize personal exhibitions in Milan, Zurich and Rome. 1981 He creates the sculpture "Aglaophon", displayed at Aubodon Art Center, New York. 1982 His wife Elisabeth dies tragically. The depression of his beloved Betty had heavily conditioned Savelli's artistic life for many years. Her dramatic death comes as a great shock to him, which he will get over only after a long period of complete solitude. He leaves New York and flies to his brother Carmelo's in Italy. A few months later he goes back to the USA without having found peace. In time the love of a few friends gives him a measure of comfort. From his memories the most outstanding is writer and poet Luigi Ballerini. The book "Angelo Savelli, Opera grafica 1932-1981" by Giuseppe Apella is published by Scheiwiller. Savelli receives a gold medal for artistic merit from the town of Pizzo Calabro. 1983 He receives an award by the illustrious American Academy of Arts and Letters. 1984 PAC, the Milan museum of contemporary art, prepares a personal exhibition, organized by Luigi Sansone. 1984 Savelli creates "Glory of a Broken Wing, to Elisabeth Fischer" dedicated to his wife: a meaningful and extraordinary work measuring 1650 centimetres (54,13 feet). 1986 The book "Libro bianco", with prints by Savelli and poems by Lucini, is published by Scheiwiller. 1988 He moves to 257 Water Street at Sea Port, Pier 17, just a few meters from the banks of the East River, where Brooklyn Bridge rises majestically. It will be his last studio. It is a red brick town house, the second oldest building in New York. Savelli loves this place and spends a lot of time at "Paris Cafè", a meeting place for young Wall Street operators by day, and a sort of refuge for the fish market people by night: they all know and love him. RAI Corporation in New York produces a documentary movie on his life, directed by Luigi Ballerini, and buys some works by Savelli, displayed at the RAI Corporation building on the Avenue of Americas in the MGM building in New York. ?In the same year "SELVAGGINA", with prints by Savelli and poems by Luigi Ballerini, is published by Scheiwiller. 1989 He meets Susanna Argenterio at RAI Corporation in New York and develops a fatherly affection for her. Thanks to this fond sentiment he feels alive again after years of detachment from the world. They spend a great deal of time together in New York and Italy, at the Argenterio family home near Brescia 1991 Opening of "Angelo Savelli Contemporary Art Center" in Lamezia Terme, Calabria. 1993 He begins the creation of a room at the "Atelier sul Mare" hotel in Castel di Tusa, Sicily, which he will not be able to finish. 1994 Through an artist friend from Tuscany, Giuseppe Friscia, Savelli meets in New York Patrizio Bertelli and his wife Miuccia Prada, who visit his studio and are captivated by his work. From the meeting stems a collaboration with Prada Foundation. Savelli is attracted by Bertelli's vitality and an understanding is reached between the two. When Bertelli visits him again in his studio and explains his ideas about Savelli's artistic future, Angelo accepts his guidance and relies on his support and the suggested organization. 1994 The President of the Biennale di Venezia, Gian Luigi Rondi, informs Savelli that the Biennale committee, following a proposal by the director, Professor Jean Clair, have invited him to be present with a personal exhibition in the Italian section at the XLVI Biennale. ?At the beginning of December, Savelli has some health problems. 1995 Antonella Soldaini, administrator of Luigi Pecci Museum of Contemporary Arts in Prato, invites Savelli to organize an anthological exhibition, to run from June to September of the same year. ?Although this is a wonderful period in Savelli's life, it is also a exhausting time for him, as the novelties and the many consequent decisions overburden him. He realizes that he cannot continue living alone, and with Susanna Argenterio's help he decides to close his New York studio and settle in Italy for a while. ?March 10th, 1995. Savelli, his work and many of his memories reach Milan. He wants to oversee personally the organization of the two planned exhibitions.?? April 17th, 1995.Just a few weeks after his arrival in Italy, while spending Easter in Arezzo, Angelo feels very ill. During the return journey to the Argenterio family home in Brescia his condition worsens, and he is taken to Sant'Orsola Hospital. He is very weak and can breathe only with the help of an oxygen mask. 27th Apr., 1995.Savelli dies at Boldeniga Castle, in Dello (Brescia), at eighty-three, surrounded by friends, love and affection. By a few weeks only, he will fail to see the two personal exhibitions that had so much appealed to him: the XLVI Biennale di Venezia and the Pecci Museum exhibition in co-operation with "PradaMilanoArte". Source: www.angelosavelli.it/en/bio gouache and ink on paper 19 1/2" x 26", 26 1/2" x 33" (frame)
(NEW YORK.) Group of 25 regimental histories. 8vo, publisher's or early cloth, some wear and soiling. Vp, vd
David H. King and others. History of the Ninety-Third Regiment. Milwaukee, 1895 * Isaac Hall. History of the Ninety-Seventh Regiment. Utica, 1890 * William Kreutzer. Notes and Observations made during Four Years Service [98th New York]. Philadelphia, 1878 * George Stowits. History of the One Hundredth Regiment. Buffalo, 1870 * Orville Kimball. History and Personal Sketches of Company I, 101 N.Y.S.V. Elmira, 1900 * George Washburn. A Complete Military History and Record of the 108th Regiment. Rochester, 1894 * William Hyde. History of the One Hundred and Twelfth. Fredonia, 1866 * Harris Beecher. Record of the 114th Regiment. Inscribed by the author. Norwich, 1866 * Elias Pellet. History of the 114th Regiment. Norwich, 1866 * J. A. Mowris. History of the One Hundred and Seventeenth Regiment. Hartford, 1866 * C. Van Santvoord. The One Hundred and Twentieth Regiment. Rondout, 1894 * Henry Morhous. Reminiscences of the 123d Regiment. Greenwich, 1879 * Charles Weygant. History of the One Hundred and Twenty-Fourth. Newburgh, 1877 * Ezra Simons. A Regimental History [125th New York]. New York, 1888 * Franklin McGrath. The History of the 127th New York Volunteers. Np, [1898] * D. H. Hanaburgh. History of the One Hundred and Twenty-Eighth. Pokeepsie [sic], 1894 * Lawrence Van Alstyne. Diary of an Enlisted Man [128th New York]. New Haven, 1910 * 143d Regiment New York Vols. Inft. Original front wrapper mounted to cover. Monticello, 1892 * James H. McKee. Back "In War Times" [144th New York]. Unadilla, 1903 * Mary G. G. Brainard. Campaigns of the One Hundred and Forty-Sixth. New York, 1915 * Charles Benton. As Seen form the Ranks [150th New York]. New York, 1902 * Henry Roback. The Veteran Volunteers of Herkimer and Otsego Counties [152nd New York]. Little Falls, 1888 * William Tiemann. The 159th Regiment Infantry. Brooklyn, 1891 * History of the 179th Regiment. Ithaca, 1900 * Wardwell Robinson. History of the 184th Regiment. Original front wrapper mounted to the cover. Oswego, 1895 * William Rogers. History of the One Hundred and Eighty-Ninth Regiment. Inscribed by the author. New York, 1865.
From the Library of the Illinois Commandery, M.O.L.L.U.S.
All the books from this library contain a large bookplate and a label on the backstrip; some books also carry an inked stamp and/or wax pencil numerical notations on the title.
Each of these lots is being sold as is.
Thomas Koether (NY, FL, Europe, B. 1940): Thomas Koether (New York, Florida / Europe, Australia) Abstract Painting. Size: 9. 5 x 12. 5 in. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness ? landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition * By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
Nicolai S Cikovsky, American/Russian, (1894-1984) reclining nude, Oil on canvas Signed and dated (1934) lower right. EX: The Downtown Gallery, New York Biography from the Archives of askART: Landscape and figure painter Nicolai S. Cikovsky, 1894-1984, was born in Russia, where he studied at the Vilna Art School, 1910-1914; the Penza Royal Art School, 1914-1918; and Moscow High Tech Art Institute, 1921-1923. He emigrated to the United States in 1923, exhibiting in that year in New York City at the Charles Daniels Gallery. In 1942, Cikovsky began spending summers on Long Island, New York, in the North Sea area, where he moved permanently in the late 1970s. He painted many land and seascapes there, and is said to have been an influence on two well-known area painters, Jane Freilicher and Fairfield Porter. Cikovsky was a member of New York City institutions, including the National Academy of Design (Associate 1968; Academician 1970); National Institute of Arts and Letters; and Society of Painters, Sculptors, and Engravers. Some of the artist's exhibitions include: Museum of Modern Art, New York Whitney Museum of Modern Art, New York, 1932-1949 National Academy of Design, New York, 1947-1949; Purchase Prizes: 1959, 1960, 1964, and Isaac N. Maynard Prize in 1964 Pennsylvania Academy of Fine Arts, Philadelphia, 1932-1955, 1966 Carnegie Institute, Pittsburgh New York World's Fair, 1940 Art Institute of Chicago, Illinois, 1931 (medal), 1932 (Harris Bronze Medal and Logan Purchase Prize), 1933 (prize), 1960-1961 Downtown Gallery, New York, 1933, 1938 Corcoran Gallery, Washington, D.C., 1930-1957, also solo Toledo Museum of Art, Ohio Worcester Museum of Art, Massachusetts, 1933 (first prize) Society of Washington Artists, 1937-1939 (medals), 1940-1941 Newark Museum of Art, New Jersey Glasgow Museum, Scotland Salons of America Whyte Gallery, Washington, D. C., 1939, solo Associated American Artists, New York, 1944, 1946, 1949, 1952, 1956 Studio Gallery, solo Washington D. C. Public Library, solo IFA Gallery, solo Nicolai Cikovsky's work may be found in the following collections: Whitney Museum of American Art, New York Museum of Modern Art, New York Brooklyn Museum, New York Art Institute of Chicago Pennsylvania Academy of Fine Arts St. Louis Art Museum, Missouri Los Angeles Museum Worcester Museum of Art University of Arizona, Tucson Phillips Collection, Washington, D.C. Hirshhorn Museum, Washington, D.C. Corcoran Gallery of Art, Washington, D. C. W. R. Nelson Gallery, Kansas City Milwaukee Art Institute Phillips Memorial Gallery, Washington, D.C. University of Minnesota The artist's extensive teaching experience includes: Ekaterinenburg Higher Tech Art Institute, Russia, 1919-1921 St. Paul School of Art, 1934-1935 Cincinnati Art Academy, 1935-1936 Art Institute of Chicago, 1937 Art Students League of New York College of Notre Dame, Maryland Corcoran Gallery of Art, Washington, D. C. Oil on canvas 16" x 20", (canvas), 23 1/2" x 27 1/2" (frame).
14 vols. Vonnegut, Kurt, Jr. : Slapstick. (New York) : Delacorte, (1976). 1st trade ed. VG+. * Jailbird. (New York) : Delacorte, (1979). 1st trade ed. NF-. * Dead Eye Dick. (New York) : Delacorte, (1982). 1st ptg. NF-. * Palm Sunday. New York: Delacorte, (1981). 1st ptg. NF-. * Galapagos. New York: Delacorte, (1985). 1st trade ed. NF-/NF. * Bluebeard. New York: Delacorte, (1987). 1st trade ed. NF+. * Hocus Pocus. New York: Putnam's, (1990). 1st ptg. NF+. * Fates Worse Than Death. New York: Putnam's, (1991). 1st ptg. NF. * Like Shaking Hands With God. New York: Seven Stories, 1999. 1st ptg. NF-. * God Bless You Dr. Kevorkian. New York: Seven Stories, (1999). 1st ptg. NF+. * A Man Without A Country. New York: Seven Stories, (2005). 1st ptg. NF+/F. * Armageddon in Retrospect. New York: Putnam's, (2008). 1st ptg. NF+/F. * Look At The Birdie. New York: Delacorte, (2009). 1st ptg. NF+/F. * While Mortals Sleep. New York: Delacorte, 2011. 1st ptg. NF+/F. All 8vo, or 12mo, orig. cloth or bds. , orig. d/j's.
21 vols. (1 wrappers) James A. Michener - First Editions: Michener, James A. : The Quality of Life. Girard Bank, 1970. 8vo, orig. bds. , paper label. * A Michener Miscellany. New York, (1973). 1st ed. 8vo, orig. cloth, d/j (a few small close tears at edges). * Chesapeake. New York, (1978). 1st ed. 8vo, orig. cloth, d/j (price label on front flap). * The Covenant. New York, (1980). 1st trade ed. 8vo, orig. cloth, d/j. Minor wear. * U. S. A. New York, (1981). 1st ed. 4to, orig. cloth, d/j (minor edge wear). Color photo illus. * Writer's Handbook. New York, (1992). 1st ed. 4to, orig. stiff wrappers, minor wear. Illus. * Space. New York, (1982). 1st ed. 8vo, orig. cloth, d/j. NF. * Texas. New York, (1985). 1st ed. 8vo, orig. cloth, d/j. NF. * Legacy. New York, (1987). 1st ed. 8vo, orig. cloth, d/j. NF. * Alaska. New York, (1988). 1st ed. 8vo, orig. cloth, d/j. NF. * Journey. New York, (1989). 1st Am. ed. 8vo, orig. cloth, d/j. NF. * Caribbean. New York, (1989). 1st ed. 8vo, orig. cloth, d/j. NF. * The Novel. New York, (1991). 1st ed. 8vo, orig. bds. , d/j. NF. * Pilgrimage. Emmaus, Pa. : Rodale Press, (1990). 1st ed. 8vo, orig. bds. , d/j. NF. * Mexico. New York, (1992). 1st ed. 8vo, orig. bds. , d/j. NF. * The World is My Home. New York, (1992). 1st ed. 8vo, orig. bds. , d/j. NF. * Creatures of The Kingdom. New York, (1993). 1st ed. 8vo, orig. bds. , d/j. NF. * James A. Michener Retells South Pacific. New York, etc. , (1992). 1st ed. 4to, orig. bds. , d/j. Color illus. NF. * Kings, John. In Search of Centennial. New York, (1978). 4to, orig. cloth, d/j (a few close tears). Illus. * (Michener, James A. , editor, intro by. ) First Fruits:... Israeli Writing. Phila. : J. P. S. , (1973). 1st ed. 8vo, orig. cloth, d/j (some edge wear, price clipped). * Hayes, John P. James A. Michener: A Biography. Indianapolis, (1984). 1st ptg. 8vo, orig. cloth, d/j. Inscribed & signed by Hayes on 1/2 title. NF.
59 vols. E.F. Benson & Brother - Benson, E.F.: Dodo. London: Methuen, 1893. 1st ed. 2 vols. 8vo, orig. gilt-lettered blue cloth; moderately scuffed, some edge wear, a little cocked. Upper 1/3 of 1/2 title chipped away, some discoloration to title page. Scattered light foxing. Author's 1st book. * The Rubicon. [London]: Methuen, 1894. 1st ed. 2 vols. 8vo, orig. gilt-lettered red cloth; scuffed, extremities rubbed, other moderate wear. Slightly cocked, endpapers discolored. Library labels on front covers. * The Babe, B.A. New York: G.P. Putnam's, 1896. 1st Am. ed. Sm. 8vo, orig. blue cloth, gilt; light to moderate wear, slightly dusty, a little cocked. Frontis. + 5 plates. * (Arrowsmith's Christmas Annual, 1898.) Benson, E.F. The Money Market. Bristol, [1898]. 12mo, orig. pictorial wrappers. Adverts. Moderate wear & creasing. * Mammon and Co. New York: D. Appleton, 1899. 1st Am. ed. 8vo, orig. cloth; moderate edge wear. * The Princess Sophia. London: W. Heinemann, 1900. 1st ed. 8vo, orig. cloth; light to moderate wear, slightly cocked & a little dusty. * The Luck of The Vails. London: W. Heinemann, 1901. 1st ed. 8vo, orig. cloth; light to moderate wear, occasional dust soiling. * Scarlet and Hyssop. New York: D. Appleton, 1902. 1st Am. ed. 8vo, orig. cloth; light to moderate wear. Minor wear. Internal dampstaining. * Daily Training. London: Hurst and Blackett, 1902. 1st ed. Written with Eustace H. Miles. 8vo, orig. cloth; moderate edge wear, slightly cocked. Plates. Foxing to endpapers. * The Relentless City. New York: Harper, 1903. 1st Am. ed. 8vo, orig. cloth; light to moderate edge wear. Presentation copy, inscribed & signed by Benson on front free endpaper recto. * The Challoners. London: W. Heinemann, 1904. 1st ed. 8vo, orig. cloth; light to occasionally moderate wear. * An Act in Backwater. London: W. Heinemann, 1905. 1st ed. 8vo, orig. cloth; light wear, slightly cocked. Light foxing to front & back matter. * Paul. London: W. Heinemann, 1906. 1st ed. 8vo, orig. cloth; light to moderate wear, slightly cocked. Light foxing to front & back matter. * The House of Defence. London: W. Heinemann, 1907. 1st ed. 8vo, orig. cloth; light to moderate wear, slightly dusty. Light foxing to front & back matter. * The 1st Am. ed. of the preceding, New York, 1906, 8vo, orig. cloth; light wear, plates. * Sheaves. New York: Doubleday Page, 1907. 1st Am. ed. 8vo, orig. cloth; light wear. Newspaper clipping & discoloration on front endpapers. * The Climer. London: W. Heinemann, 1908. 1st ed. 8vo, orig. cloth; light wear. Discoloration to endpapers. * Juggernaut. London: W. Heinemann, 1911. 1st ed. 8vo, orig. cloth; light wear. * Thorley Weir. London: Smith, Edler, 1913. 1st ed. 8vo, orig. cloth; moderate wear, joints & extremities rubbed. Light foxing to front & back matter. * Dodo's Daughter. New York: Century, 1914. 1st Am. ed. 8vo, orig. cloth; light to moderate edge wear, front hinge stressed.* The Oakleyites. New York: G.H. Doran, (1915). 1st Am. ed. (?). 8vo, orig. cloth; light wear. * Michael. New York: G.H. Doran, (1916). 1st Am. ed.(?). 8vo, orig. cloth; light wear. * Arundel. London: T. Fisher, (1914). 8vo, orig. cloth; light to moderate wear. Light foxing to front & back matter. * The Tortoise. New York: G.H. Doran, (1917). 1st Am. ed. (?). 8vo, orig. cloth; light wear. * "Queen Lucia." New York: G.H. Doran, (1920). 1st Am. ed. (?). 8vo, orig. cloth; light wear. * Up and Down. London: Hutchinson, 1918. 1st ed. 8vo, orig. cloth; moderate wear. * Across The Stream. New York: G.H. Doran, (1919). 1st Am. ed. (?). 8vo, orig. cloth; light wear. * Our Family Affairs. 1867-1896. New York: G.H. Doran, (1921). 1st Am. ed. (?). 8vo, orig. cloth; light wear. Plates. * Peter. New York: G.H. Doran, (1922). 1st Am. ed. 8vo, orig. cloth; light wear. * Miss Mapp. New York: G.H. Doran, (1923). 1st Am. ed. 8vo, orig. cloth; light wear. * Alan. London: T. Fisher, (1924). 1st ed. 8vo, orig. cloth; light wear. * Colin II. London: Hutchinson, (1925). 1st ed. 8vo, orig. cloth; light wear. * Mother. London: Hodder & Stoughton, (1925). 1st ed. 8vo, orig. cloth; light wear, occasionally slightly scuffed. Plates. * Rex. New York: G.H. Doran, (1925). 1st Am. ed. 8vo, orig. cloth; moderate edge wear. * Lucia in London. Garden City: Doubleday, Doran,1928. 1st Am. Ed. 8vo, orig. cloth; light wear, d/j (price clipped). * Ferdinand Magellan. London: J. Lane, (1929). 1st ed. 8vo, orig. cloth; light wear, d/j (chipped). Frontis., maps. Minor internal dampstaining. * As We Were. London: Longmans, Green, 1930. 1st ed. 8vo, orig. cloth; light to moderate wear, extremities sunned. Plates. * The Worshipful Lucia. Garden City: Doubleday, Doran, 1935. 1st Am. ed. 8vo, orig. cloth; light to moderate wear. Clipping mounted to front free endpaper recto. * The Male Impersonator. London: Elkin, Mathews & Marrot, 1929. #199/530 signed by Benson. Sm. 4to, orig. bds., d/j. Light wear. * "Old London Series": Portrait of An English Nobleman; Janet; Friend of The Rich; The Unwanted. All New York: Appleton, 1937. 1st Am. eds. 8vo,orig. cloth, d/j's (occasionally chipped). In defective box. * Lot also includes later ptgs. of The Freaks of Mayfair, David Blaize... Blue Door, The Image in The Sands, Six Common Things, Mrs. Ames, Limitations, David of King's, Paying Guests, Robin Linnet, David Blaize, Final Edition. * Benson, Arthur Christopher: Along The Road. New York: G.P. Putnam's, 1913. 1st Am. ed. 8vo, orig. cloth, light wear. * Hugh: Memoirs of a Brother. New York: Longmans, Green, 1915. 3rd ptg. 8vo, orig. cloth, d/j. Light wear. Plates.
Group of New York City books: Group of New York City books, to include The Great Metropolis: or Guide to New York for 1848, fourth publication, published by H. Wilson; History of the City of New York, by Harrison, published by Barnes, 1896; The Election and Naturalization Frauds in New York City 1860-1870, by Davenport, second edition, 1894; Big Abel, and The Little Manhattan, by Mathews, published by Wiley and Putnam, 1845; Belshazzar Court or Village Life in New York City, by Strunsky, published by Holt, 1914; Classified Business Directory and Membership List of the Manufacturers and Dealers League of the City and State of New York, edition of 1912; Report and Proceedings of the Senate Committee Appointed to Investigate the Police Department of the City of New York, volumes one and two, published by Lyon, 1895; The New York Annual Register For The Year of Our Lord 1831, by Williams, published by Leavitt & Collins & Hannay, 1831; Annals of New York City for the Year 1786; Collections of the New York Historical Society, For The Year 1809, volume one, published by Riley, 1811; A Catalogue of Plans and Views of New York City From 1651 to 1860, 1897; The Description of the City of New York, by Hardie, published by Marks, 1827; The Old Brewery, published by Stringer and Townsend, 1854; and Seal and Flag of the City of New York, published by Putnam's Sons, 1915. Condition In various states of condition.
PRESTON DICKINSON, American, (1891-1930) Still Life with Candle, 1930, pastel and pencil on paper signed and dated lower left "Dickinson 30" pastel and pencil on paper 24 1/4 x 18 3/8 inches (sight) Provenance: Daniel Gallery, New York, New York; Elmer Rice, New York, New York; M. Knoedler & Co., Inc., New York, New York; Parke-Bernet Galleries, New York, New York, March 14, 1968, lot 138; Harry Spiro, New York, New York; Coe Kerr Gallery, New York, New York; Richard York Gallery, New York, New York; Kennedy Galleries, New York, New York; Zabriskie Gallery, New York, New York; Cline Fine Art, Santa Fe, New Mexico; Shannon's, Milford, Connecticut, April 25, 2013, lot 45; Private Collection, Alabama. Condition: two pinholes upper left; one pinhole upper right; slight toning to paper; not examine out of frame; overall very good condition We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
SUSAN LEOPOLD, (AMERICAN, B.1960), OUTLOOK, PHOTOGRAPHY, MIRROR, PAINTED WOOD, 17" X 13" X 9".SusanLeopold(American, b.1960)Outlookphotography, mirror, painted woodcorner wrap wall sculpture construction. signed and dated verso. Provenance: Property of the Estate of Craig W Johnson, purchased from the Jean Albano Gallery, Chicago. Excerpt from the artist's biography: Born Chicago Lives New York City ONE PERSON EXHIBITIONS 2018 "Intersections", Elizabeth Harris Gallery, New York, NY 2016 "Susan Leopold" , Zolla/Lieberman Gallery, Chicago, IL 2015 "Beyond Silence" , Elizabeth Harris Gallery, New York, NY 2012 "Interiors Disrupted" , Flad Gallery, The Butler Institute of America Art, Youngstown, OH 2011 "Interiors Disrupted", Elizabeth Harris Gallery, New York, NY 2009 "Complex," Elizabeth Harris Gallery , New York , NY "Castles and Untold Stories" Hudson River Museum, Yonkers, NY 2004 "Uncharted Perspectives" The Bronfman Center Gallery, New York University , New York, NY 2003 "Susan E. Leopold: Mixed-Up Worlds," MassMOCA Kidspace, North Adams, MA "Tornado Room and Other Eccentric Spaces", Suzanne H. Arnold Gallery, Lebannon Valley College , Lancaster, PA "Mirrors and Motion," The Discovery Museum, Bridgeport , CT 2000 "Adjoining Rooms," 10th@18th.Ave.Window Project, New York, NY "Fractured Visions," John Weber Gallery, New York , NY Small Works Gallery, Las Vegas, NV 1998 "One Must Have a Mind of Winter," A site-specific installation. Dana Room, Franklin & Marshall College, Lancaster, PA Small Works Gallery, Las Vegas, NV 1997 "Fractured Still Life," Corner Window - Museum of Contemporary Photography Columbia College, Chicago, IL "Transvertical," Hosfelt Gallery, San Francisco , CA 1996 The Sawhill Gallery, James Madison University, Harrisonburg, VA The New Image Gallery, James Madison University, Harrisonburg, VA John Weber Gallery , New York, NY "Peep Show," The New York Kunsthalle, New York, NY 1995 The Rotunda Gallery, Site specific Installation, Brooklyn, NY 1994 "Photographic Worlds," Schneider Gallery, Chicago , IL (two person show) 1993 John Weber Gallery , New York , NY 1991 John Weber Gallery , New York , NY17" x 13" x 9".
Pop-up three-dimensional movable book and card collection Bridwell, Norman. CLIFFORD'S HAPPY DAYS. New York: Scholastic, 1990. Carter, David A. HOW MANY BUGS IN A BOX? New York: Simon and Schuster, 1988. Ivory, Lesley Anne and Van Der Meer, Ron. KITTENS. New York: Abbeville Press, 1988. Lear, Edward. THE OWL AND THE PUSSY-CAT. New York: Harper & Row, 1987. Pelham, David and Foreman, Michael. WORMS WIGGLE. New York: Simon and Schuster, 1988. Sabuda, Robert and Reinhart, Matthew. ENCYCLOPEDIA PREHISTORICA DINOSAURS. Somerville, MA: Candlewick Press, 2005. Seymour, Peter. WHAT'S IN THE JUNGLE?. New York: Henry Holt & Co, 1988. Illustrated by David A. Carter. Winston, Peggy D. CREATURES OF LONG AGO: DINOSAURS. National Geographic Society, 1988. Illustrated and engineered by John Sibbick, Jody Bolt, John Strejan and James R. Diaz. Moseley, Keith. THE FLIGHT OF THE PTEROSAURS. Smithsonian Institution Press:1986. A DAY IN THE ZOO: A REPRODUCTION OF AN ANTIQUE POP-UP BOOK. London: Penguin Books, 1980. THE POP-UP BOOK OF THE CIRCUS. New York: Random House, [1980]. Crowther, Robert. ALL THE FUN OF THE FAIR. Cambridge, Mass.: Candlewick Press, 1992. Meggendorfer, Lothar. THE GENIUS OF LOTHAR MEGGENDORFER. New York: Random House, 1985. Meggendorfer, Lothar. INTERNATIONAL CIRCUS: A REPRODUCTION OF THE ANTIQUE POP-UP BOOK. New York: Metropolitan Museum of Art, 1979. Shapiro, Arnold. COULD I KEEP HIM? New York: Barron's, 1990. Van Der Meer, Ron. THE POP-UP BOOK OF MAGIC TRICKS. New York: The Viking Press, 1983. A DAY IN THE ZOO: A REPRODUCTION OF AN ANTIQUE POP-UP BOOK. London: Penguin Books, 1980. THE POP-UP BOOK OF THE CIRCUS. New York: Random House, [1980]. Crowther, Robert. ALL THE FUN OF THE FAIR. Cambridge, Mass.: Candlewick Press, 1992. Meggendorfer, Lothar. THE GENIUS OF LOTHAR MEGGENDORFER. New York: Random House, 1985. Meggendorfer, Lothar. INTERNATIONAL CIRCUS: A REPRODUCTION OF THE ANTIQUE POP-UP BOOK. New York: Metropolitan Museum of Art, 1979. Shapiro, Arnold. COULD I KEEP HIM? New York: Barron's, 1990. Van Der Meer, Ron. THE POP-UP BOOK OF MAGIC TRICKS. New York: The Viking Press, 1983. Bantock, Nick. THERE WAS AN OLD LADY. New York: Viking, 1990. Engineered by Nick Bantock and Dennis Meyer. Birkinshaw, Linda and Mosely, Keith. IT WAS A DARK & STORMY NIGHT. New York: Dial Books, 1991. Froud, Brian. GOBLINS. New York: Macmillan, 1983. Marks, Lis. GHOSTLY TOWERS. New York: Dial Books for Young Readers, 1986. Oakes, Terry. CLASSIC TALES OF HORROR. New York: Dutton, 1988. Paul, Korky. THE POP-UP BOOK OF GHOST TALES. San Diego: Harcourt Brace Jovanovich, 1991. Ita, Sam. MOBY-DICK: A POP-UP BOOK. New York: Sterling, 2007. Jenkins, Martin and Sander, Brian. TITANIC. Cambridge, MA: Candlewick Press, 2007. Ballard, Robert D. EXPLORER: DISCOVERY OF THE TITANIC. Turner Pub., 1992. van der Meer, Ron and McGowan, Alan. SAILING SHIPS. New York: Viking, 1984. 26 Judaica pop-up greeting and postcards 39 wedding, Christmas, Valentine's Day and other general pop-up cards, as well as 3D architectural dioramas (121pcs) Provenance: Simon Benson Offit collection Like new condition.
Milton Avery: (American, 1885-1965)Birds Over Sea, 1957, signed lower left "Milton Avery 57" and titled, dated and signed verso canvas, oil on canvas, 56 x 42 in. ; parcel white gold leaf frame, 59 x 44-3/4 in. Note: Birds Over Sea: Milton Avery?s Meaningful Work?I try to construct a picture in which shapes, spaces, colors, form a set of unique relationships independent of any subject matter. At the same time I try to capture and translate the excitement and emotion aroused in me by the impact with the original idea. ? -Milton AveryBirds Over Sea, 1957, is the embodiment of Avery?s mature period. The subtle color harmonies are those he favored. There is a tremendous sense of order, color, and space that occurs from his many years of exploring paint, brush, and its effects on canvas. He paints without complicating the matter to arrive at a simple but powerfully controlled composition. It is flattened yet has an expansive sense of space. This painting is exquisitely organized and intentional. A moment on the beach at Provincetown has become a ?poem? where his love of nature is fully expressed. In fact, he does not care if the viewer necessarily knows what he is painting, as seen in the pylons below the gulls. The shape and color of these pylons are essential to his composition. As Avery states, he is ?seeking pure abstractions; rather the purity and essence of the idea - expressed in its simplest form. ?In the summer of 1957, Milton Avery arrived at Provincetown, Massachusetts to enjoy the coast, paint, and reconnect with two old friends, Mark Rothko and Adolph Gottlieb. The home which he, his wife, Sally, and his daughter, March, would share provided a larger space on the second floor in which to paint. He would usually do oil paintings on paper in the summer and then translate those to larger canvases in the winter. This summer, motivated by a larger space and perhaps his two friends, he began to paint large scale paintings on canvas. These larger scale paintings coupled with the subtle color harmonies that he had been using since his heart attack in 1949, would mark a breakthrough in his painting and usher in this ?mature period. ? Early on, Avery was already exploring abstractions, divisions of color, and simplified shapes in his art that would later resurface in the 1950?s and 60?s in such sentinel works as his Moon Pathÿseries. It is tempting to see these late paintings beside Gottlieb?s Burstÿseries or to compare the division of color in Birds Over Seaÿto Mark Rothko?s color divisions in his abstract compositions and think that he had only just arrived at these simplified and abstracted forms. Sally, in an interview after Avery?s death in 1965, said of the period following his heart attack that he went on to do his ?most meaningful work. ? His friend, Mark Rothko would eulogize this great artist in his Memorial Address, January 7, 1965, in what stands as lasting and intimate tribute:?Avery is first a great poet. His is the poetry of sheer loveliness, of sheer beauty. Thanks to him this kind of poetry has been able to survive in our time. This - alone - took great courage in a generation which felt that it could only be heard through clamor, force and a show of power. But Avery had that inner power in which gentleness and silence proved more audible and poignant. There have been several others in our generation who have celebrated the world around them, but none with that inevitability where poetry penetrated every pore of the canvas to the very last touch of the brush. For Avery was a great poet inventor who had invented sonorities never seen nor heard before. From these we have learned much and will learn more for a long time to come. ?To exact a precise biography of Dr. Luther W. Brady, a man as great in science and medicine as he was in his support of the arts, would take many pages and the words of the many he has touched. In his extraordinary life, he was a world-class pioneer of advancements in radiation oncology and beginning in 1953, a friend to artists, gallerists, directors, and curators of major museums. In a tribute, Brady?s colleagues described this passion to support and mentor students by saying, ?His residents knew they were in the presence of greatness, yet Dr. Brady was kind, gracious, generous and devoted to each of them. As their Chairman, Dr. Brady also eagerly introduced his residents to the arts and often provided concert experiences and introductions to renowned artists in Philadelphia. When asked, he was always there for them. ?ÿBrady was a generous and active patron of the arts. Brady said of himself in a 1976 interview for Philadelphia Magazine, ?Living with art is an adventure of constant discovery. I never tire of it, it is always different. I see it changed by light, dark, by one?s mood, by climate. Even people in a room change it. The collection grew and became diverse, as my interests became diverse over different periods. An art collection is a personal record. ? He served on many boards, including the Museum Committee of the Pennsylvania Academy of Fine Arts, and was Chair of the Executive Committee and member of the Board of Trustees at the Philadelphia Museum of Art. When controversy broke out over the rather secretive sale of Thomas Eakin?s masterpiece, ÿThe Gross Clinic, to two out of state institutions, he helped champion the effort to keep the iconic painting in Philadelphia. He continuously funded and lent art for major exhibitions. He donated his vast art collection to museums such as the Philadelphia Museum of Art, The Luther W. Brady Gallery at George Washington University, The Phillips Collection, The Pennsylvania Academy of Fine Arts, The Ackland Art Museum at the University of North Carolina, The Delaware Art Museum, The Michener Museum, The Nelson-Atkins Museum, and others. It was his passion and enthusiasm for science and for the arts that caused him to give -- both in life and in death -- to the public trust, to institutions, and to all for the benefit of future generations. In keeping with this, the proceeds from the sale of Birds Over Seaÿwill benefit The Luther W. Brady Foundation. It was his desire that the sale of this painting would help ensure that his work to support students of both science and the arts would continue in perpetuity. This lot is accompanied by a letter from William McWillie Chambers III, Vice President of Grace Borgenicht Gallery from 1973-1995, stating that the painting was consigned to the Grace Borgenicht Gallery by the Estate of Milton Avery during the 1980?s. He states, ?I remember this ?impressive and important? Avery very well. ? It is also accompanied by the original receipt from Riva Yares Gallery. Exhibitions:Grace Borgenicht Gallery, New York, NY, ?Milton Avery: Recent Paintings, ? October 28 - November 16, 1957;Park Gallery, Detroit, Michigan, ?Paintings By Milton Avery, January 7 - 27, 1962, ill. ;The Fort Wayne Art Museum, Fort Wayne, Indiana, ?Milton Avery, November 1 - November 30, 1962;Woodstock Artists Association, Woodstock, New York, ?Milton Avery Memorial Exhibition, ? September 10 - September 22, 1965;Gallery Reese Palley, San Francisco, California, ?Milton Avery, ?, 1968;Summit Art Center (Visual Arts Center of New Jersey), Summit, New Jersey, ?Milton Avery: Drawings and Paintings, March 13 - May 1, 1977;The Phillips Collection, Washington, DC, ?Milton Avery, Drawings and Paintings, May 21 - June 19, 1977, Lender: Milton Avery Trust;Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, ?Milton Avery: Paintings and Prints?, November 30, 1977 - January 15, 1978;Edmonton, Alberta, Canada, The Edmonton Art Gallery, ?Milton Avery?, September. 22 - October 22, 1978, traveled to Banff, Alberta, Walter Phillips Gallery, Nov. 24 - Dec. 15, 1978; Windsor, Ontario, Windsor Art Gallery, Jan. 1 - 29, 1979; Saskatoon, Saskatchewan, Feb. 9 - Mar. 5, 1979; Hamilton, Ontario, Art Gallery of Hamilton, Mar. 23 - Apr. 23, 1979;Milton Avery: Paintings and Drawings 1930-1963, Yares Gallery, Scottsdale, AZ, February 1 - February 28, 1980;Hirshhorn Museum and Sculpture Garden, Smithsonian institution, Washington, DC, ?The Fifties: Aspects of Painting in New York?, May 22 - September 21, 1980, # 100. 80 Catalog #45, Lender: Milton Avery Trust courtesy of Grace Borgenicht Gallery, New York;Grace Borgenicht Gallery, New York, ?Milton Avery Major Paintings?, January 7 - February 1, 1984, ill. ;Center For The Fine Arts, Miami, Florida, ?Milton Avery: A Singular Vision?, February 7 - April 10, 1988, No. 25, ill. exhibition poster;Boise Art Museum, Boise, Idaho, ?Milton Avery: Progressive Images?, Catalog #33, September 3 - October 23, 1988, Lender ?Milton and Sally Avery Arts Foundation, New York, courtesy of Grace Borgenicht Gallery, New York;Western Gallery, Western Washington University, Bellingham, Washington, ?Milton Avery: Progressive Images?, January 8 - February 16, 1989;Grace Borgenicht Gallery, New York, New York, ?Milton Avery: Animals, ? January 16 - February 13, 1993;Andr‚ Emmerich Gallery, New York, New York, Milton Avery: Pictures Never Shown, ? March 28 - April 27, 1996, No. MA - 011238;Riva Yares Gallery, Santa Fe, New Mexico, ?Milton Avery: The Nude and Other Subjects: A Retrospective View 1929-1963, ? July 6 - August 11, 2001, (Traveling Exhibition);Riva Yares Gallery, Santa Fe, New Mexico, ?Milton Avery: All Creatures Great and Small, ? July 4 - August 4, 2003. (Traveling Exhibition);The Phillips Collection, Washington, DC, ?Discovering Milton Avery: Two Devoted Collectors, Louis Kaufman and Duncan Phillips, ?February 14 - May 16, 2004;Freedman Art, New York, New York, ?Passion & Commitment: The Art of Luther Brady, ? October 30, 2015 - February 11, 2016;Yares Art, New York, New York, ?Milton Avery Early + Late, February 24 - April 30, 2018Literature:Milton Avery: Paintings and Drawings 1930-1963, Yares Gallery, Scottsdale, AZ (1980). #6, illustrated;Milton Avery: Recent Paintings, Grace Borgenicht Gallery, New York, NY (1957). #9;ÿPaintings by Milton Avery, Park Gallery, Detroit, MI (1962), #5;Milton Avery, The Fort Wayne Art Museum, Fort Wayne, IN (1962). #15;Agee, William C. , David Ebony, et al. Milton Avery: Early Works on Paper and Late Paintings, Yares Art, New York, NY (2018). Listed p. 98; illustrated p. 23; mentioned in the text pp. 8, 33;Avery, Sally M. Milton Avery: Major Paintings, Grace Borgenicht Gallery, New York (1984). illustrated, n. p. ;Avery, Milton. Milton Avery: Animals, Grace Borgenicht Gallery, New York (1993);Blanch, Arnold. Milton Avery Memorial Exhibition, Woodstock Artists Association, Woodstock, NY (1965). #1;Chernow, Burt and Sally Michel Avery. Milton Avery: A Singular Vision, ed. Brenda Williamson. Center for the Fine Arts Association, Miami, FL (1987). Cat. no. 25; illus p. 40; announcement image;Hobbs, Robert. Milton Avery, Hudson Hills Press, New York (1990). p. 89;Kramer, Hilton. Milton Avery: Paintings 1930-1960, Thomas Yoseloff, New York (1962). #24;Lucie-Smith, Edward and Mark Rothko. Milton Avery: The Nude and Other Subjects: A Retrospective View 1929-1963, Riva Yares Gallery, Scottsdale, AZ and Santa Fe, NM (2001). listed p. 64; illustrated p. 49; mentioned in the text p. 5 Mellow, James R. , Mark Rothko, et al. ;Milton Avery, Gallery Reese Palley, San Francisco, CA (1968). p. 10;Miller, Harvey S. Shipley and Earl A. Powell, III. Milton Avery, Drawings & Paintings, The University of Texas at Austin, Austin, TX (1976). Listed p. 54; illustrated p. 30;Oellet, Raymond. Milton Avery, The Edmonton Art Gallery, Edmonton, Alberta (1978). illustrated Price, Marla, Sandy Harthorn, et al. Milton Avery: Progressive Images, Boise Art Museum, Boise, ID (1988). Cat. #33, illustrated, mentioned in the text;Rathbone, Eliza E. and Jay Gates. Discovering Milton Avery: Two Devoted Collectors: Louis Kaufman and Duncan Phillips, The Phillips Collection, Washington, DC (2004). #35, checklist p. 105; illus. p. 30, cover; mentioned p. 35;Rothko, Mark. Milton Avery: All Creatures Great and Small, Riva Yares Gallery, Santa Fe, NM & Scottsdale, AZ (2003). Listed p. 48; illustrated p. 35References:Haskell, Barbara, and Milton Avery. Milton Avery. New York: Whitney Museum of American Art in association with Harper & Row, 1982;Avery, Milton, Adolph Gottlieb, Mark Rothko, and E. A. Carmean. Coming to Light - Avery, Gottlieb, Rothko Provincetown Summers 1957-1961: May 2 - August 15, 2002, Knoedler & Company, New York. New York, NY: Knoedler & Company, 2002. https://www. aaa. si. edu/collections/interviews/oral-history-interview-sally-michel-avery-11687#transcripthttps://brooklynrail. org/2018/04/artseen/MILTON-AVERY-Early-Works-on-Paper-Late-Paintinghttps://www. nxtbook. com/hoffmann/PCMS_Philadelphia_Medicine/PhiladelphiaMedicine_Fall2017/index. php - Provenance: Collection of the Artist; Milton Avery Trust; with Grace Borgenicht Gallery, New York, New York, circa 1980's; with Riva Yares Gallery, New York, New Mexico, Arizona, purchased 2003-2006 (accompanied by the final statement from the gallery); Estate of Luther W. Brady, Philadelphia, Pennsylvania, sold to benefit the Luther W. Brady Foundation Dimension Condition three small points of retouch at middle between grasses, crackle, stretcher marks an effect of pigment being caught on the stretcher line by the pressure the artist exerted on the canvas, paint stains on canvas verso likely studio work related and not associated with a conservation effort, a condition report by Colin Post accompanies the lot; frame with wear
LRG GRP: BOOKS ON AFRICA AND AFRICAN ARTGroup of 32 books on Africa and African art. Includes the following titles:
Jacqueline Delange (French, 1923-1991), Carol F. Jopling (American, 1916-2000), "The Art and Peoples of Black Africa", New York: E.P. Dutton & Co., Inc., 1974.
Richard L. Anderson, "Art in Primitive Societies", Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1979.
Daniel Biebuyck (American, 1925-2019), "Tradition and Creativity in Tribal Art", Berkeley, California: University of California Press, 1973.
William Fagg (English, 1914-1992), "African Tribal Images", Cleveland, Ohio: The Cleveland Museum of Art, 1968.
Margaret Plass (American, 1896-1990), "African Tribal Sculpture", Philadelphia, Pennsylvania: The University Museum,1956.
Jean Laude (French, 1922-1984), Jean Decock, "The Arts of Black Africa", Berkeley, California: University of California Press, 1973.
Paul S. Wingert (American, 1900-1974), "Primitive Art: Its Traditions and Styles", New York, New York: Meridian Books, 1962.
Frank WIllett, "African Art", Oxford University Press, 1971.
Claude Roy, EH. S. Seldon, "The Art of the Savages", New York, New York: Golden Griffin Books, 1958.
William Fagg (English, 1914-1992), Margaret Plass, "African Sculpture", New York, New York: E.P. Dutton & Co. Inc., 1964.
Ekpo Eyo (Nigerian, b. 1931), Frank Willett, "Treasures of Ancient Nigeria", New York, New York: Alfred A. Knopf, Inc., 1980.
"Primitive Art from Chicago Collections", The Art Institute of Chicago.
James I. Clark, "Africa South of the Sahara", Evanston, Illinois: McDougal, Littel & Company, 1976.
Patricia Darish, Roy Sieber (American, 1923-2001), Douglas Newton, Michael D. Coe (American, 1929-2019), "African, Pacific, and Pre-Columbian Art in the Indiana University Art Museum", Bloomington, Indiana: Indiana University Press, 1987.
Christopher D. Roy (American, 1947-2019), "Art and Life in Africa: Selections from the Stanley Collection", Iowa City, Iowa: University of Iowa Museum of Art, 1987.
Joseph Cornet (Belgian, 1919-2004), "A Survey of Zairian Art: The Bronson Collection", Raleigh, North Carolina: North Carolina Museum of Art, 1978.
(Two copies) Douglas Newton, André Malraux (French, 1901-1975), Nelson A. Rockefeller (American, 1908-1979), "Masterpieces of Primitive Art: The Nelson A. Rockefeller Collection", New York, New York: Alfred A. Knopf, 1978.
Martha G. Anderson (American, b. 1948), Christine Mullen Kreamer, Enid Schildkrout, "Wild Spirits Strong Medicine: African Art and the Wilderness", New York, New York: Museum for African Art, 1989.
Daryll Forde (British, 1902-1973), African Worlds: Studies in the Cosmological Ideas and Social Values of African Peoples", London, England: Oxford University Press, 1976.
Harold D. Gunn (American, 1918-1989), Carleton S. Coon (American, 1904-1981), "A Handbook of the African Collection of the Commercial Museum Philadelphia", Philadelphia, Pennsylvania: Philadelphia Commercial Museum.
Frank Willett, "African Art", New York, New York: Praeger Publishers, Inc., 1973.
Eliot Elisofon (American, 1911-1973), William Fagg (English, 1914-1992), "The Sculpture of Africa", New York, New York: Hacker Art Books, 1978.
Henry John Drewal , John Pemberton III (1928-2016), Rowland Abiodun (African, b. 1941), Allen Wardwell (American, 1935-1999), "Yoruba: Nine Centuries of African Art and Thought", New York, New York: Center for African Art in Association with H.N. Abrams, 1989.
Tepilit Ole Saitoti (African, 1945 b. 1949), Carol Beckwith (American, b. 1945), "Maasai", New York, New York: Harry N. Abrams Inc., 1981.
Mary Nooter Roberts (American, 1959-2018), Allen F. Roberts (American, b. 1945), "The Shape of Belief: African Art from the Dr. Michael R. Heide Collection", Seattle, Washington: University of Washington Press, 1996.
James Baldwin (American, 1924-1987), Romare Bearden (American, 1911-1988), Ekpo Eyo (Nigerian, b. 1931), Nancy Graves (American, 1935-1995), Ivan Karp (American, 1926-2012), Lela Kouakou, Iba N'Diaye (Senegalese, 1928-2008), David Rockefeller (American, 1915-2017), William Rubin (American, 1927-2006), Robert Farris Thompson (American, b. 1932), Michael John Weber , Susan Vogel (American, b. 1942), "Perspectives: Angles on African Art", New York, New York: Harry N. Abrams, 1987.
Paul Radin, "African Folktales", Princeton, New Jersey: Princeton University Press, 1970.
Enid Schildkrout, Curtis A. Keim (, "African Reflections: Art from Northeastern Zaire", Seattle, Washington: University of Washington Press, 1990.
Malcolm McLeod (Scottish, b. 1941), "The Treasures of African Art", New York, New York: Abbeville Press, 1980.
Christopher Spring, "African Textiles", New York, New York: Crescent Books, 1989.
Duncan Clarke (South African, b. 1941), "The Art of African Textiles", San Diego, California: Thunder Bay Press, 2002.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Thomas Koether (New York, Florida, Born 1940): Thomas Koether (New York, Florida, Born 1940) Abstract oil on board painting titled, "Air Riders". Canvas Size: 16. 25 x 19. 5 in. Overall Size: 20. 5 x 17. 25 in. Manner of Syd Solomon (Florida, New York 1917-2004). In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France
PRESTON DICKINSON, AMERICAN (1891-1930), STILL LIFE WITH CANDLE, 1930, PASTEL AND PENCIL ON PAPER, 24 1/4 X 18 3/8 INCHES (SIGHT)PRESTON DICKINSON, American, (1891-1930) Still Life with Candle, 1930, pastel and pencil on paper signed and dated lower left "Dickinson 30" pastel and pencil on paper Dimensions: 24 1/4 x 18 3/8 inches (sight) Provenance: Daniel Gallery, New York, New York; Elmer Rice, New York, New York; M. Knoedler & Co., Inc., New York, New York; Parke-Bernet Galleries, New York, New York, March 14, 1968, lot 138; Harry Spiro, New York, New York; Coe Kerr Gallery, New York, New York; Richard York Gallery, New York, New York; Kennedy Galleries, New York, New York; Zabriskie Gallery, New York, New York; Cline Fine Art, Santa Fe, New Mexico; Shannon's, Milford, Connecticut, April 25, 2013, lot 45; Private Collection, Alabama. Condition: two pinholes upper left; one pinhole upper right; slight toning to paper; not examine out of frame; overall very good condition We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
Thomas Koether (b. 1940) "Suspended Emanation": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. . Titled: "Suspended Emanation" . Dated: '89 . Mixed Media. . Signed lower right. . . Image Size: 13. 5 x 9. 25 in. . Overall Size: 18 x 14 in. . Unframed. (264 - 4676). . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. . . ONE PERSON SHOWS . 2001 SRQ ON MAIN, Sarasota, Florida . 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator . 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida . 1993 MATRIX, Renegade Gallery, East Hampton, New York . 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York . 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida . 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY . 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia . 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY . 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY . 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY . 1974 AJANTA GALLERY, New York, New York . 1973 St. Croix, Virgin Islands . 1972 St. Croix, Virgin Islands . 1971 Ars Bar, Ibiza, Spain . 1970 Ars Bar, Ibiza, Spain . 1969 Ars Bar, Ibiza, Spain . 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands . . SELECTED GROUP AND JURIED SHOWS . 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY . 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida . 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum . 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida . 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida . 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY . 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University . 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York . 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York . 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York . 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia . 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York . 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York . 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York . 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York . 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia . 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia . 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia . 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia . 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia . 1971 LE CENTER AMERICAN, Paris, France Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
Thomas Koether (NY, FL b. 1940) "Nightscape": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. . Titled: "Nightscape" . Dated: '71 . Oil on Canvas. . Signed lower right / signed and titled verso. . . Overall Size: 24 x 20 in. . (20 - 4295). . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. . . ONE PERSON SHOWS . 2001 SRQ ON MAIN, Sarasota, Florida . 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator . 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida . 1993 MATRIX, Renegade Gallery, East Hampton, New York . 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York . 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida . 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY . 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia . 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY . 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY . 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY . 1974 AJANTA GALLERY, New York, New York . 1973 St. Croix, Virgin Islands . 1972 St. Croix, Virgin Islands . 1971 Ars Bar, Ibiza, Spain . 1970 Ars Bar, Ibiza, Spain . 1969 Ars Bar, Ibiza, Spain . 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands . . SELECTED GROUP AND JURIED SHOWS . 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY . 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida . 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum . 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida . 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida . 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY . 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University . 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York . 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York . 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York . 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia . 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York . 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York . 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York . 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York . 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia . 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia . 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia . 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia . 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia . 1971 LE CENTER AMERICAN, Paris, France Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
Thomas Koether (NY, FL b. 1940) "Blue Watcher": Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. . Titled: "Blue Watcher" . Dated: '04 . Oil on Canvas. . Signed verso. . Overall Size: 20 x 17. 25 in. . (381 - 4304). . In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. . . ONE PERSON SHOWS . 2001 SRQ ON MAIN, Sarasota, Florida . 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator . 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida . 1993 MATRIX, Renegade Gallery, East Hampton, New York . 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York . 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida . 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY . 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia . 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY . 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY . 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY . 1974 AJANTA GALLERY, New York, New York . 1973 St. Croix, Virgin Islands . 1972 St. Croix, Virgin Islands . 1971 Ars Bar, Ibiza, Spain . 1970 Ars Bar, Ibiza, Spain . 1969 Ars Bar, Ibiza, Spain . 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands . . SELECTED GROUP AND JURIED SHOWS . 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY . 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida . 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum . 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida . 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida . 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY . 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University . 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York . 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York . 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York . 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia . 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York . 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York . 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York . 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York . 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York . 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia . 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia . 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia . 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia . 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia . 1971 LE CENTER AMERICAN, Paris, France Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
Thomas Koether (New York, Florida, Born 1940): Thomas Koether (New York, Florida, Born 1940) "Offshore" Large Abstract Oil on canvas painting. Signed lower left. Dated verso. Sight size: 48 x 60 in. Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
Books: By and about Du Bose Heyward author of Porgy DuBose Heyward and Hervey Allen CAROLINA CHANSONS: LEGENDS OF THE LOW COUNTRY. New York: The Macmillan Company 1922. Signed by authors; DuBose Heyward PORGY. New York: George H. Doran Company [c. 1925]. In dust jacket. Three additional copies one in dust jacket; Dorothy and DuBose Heyward PORGY A PLAY IN FOUR ACTS. Garden City: Doubleday Doran & Company 1928; Heyward PORGY. Paris: Calmann-Levy 1929. Wrappers; Heyward PORGY. New York: The Modern Library [1934]. In dust jacket; Heyward PORGY. New York: Bantam Books [November 1957]. Wrappers. Two copies; Heyward MAMBA'S DAUGHTERS. Garden City NY: Doubleday Doran & Company 1929; Heyward MAMBA'S DAUGHTERS. New York: The Literary Guild 1929; Heyward MAMBA'S DAUGHTERS. London: William Heinemann [1929]. In dust jacket; Dorothy and Du Bose Heyward MAMBA'S DAUGHTERS: A PLAY. New York: Farrar & Rinehart [c. 1939]; Heyward THE HALF PINT FLASK. New York: Farrar & Rinehart 1929. In dust jacket; Heyward JASBO BROWN AND SELECTED POEMS. New York: Farrar & Rinehart [c. 1931]. In dust jacket; Heyward BRASS ANKLE: A PLAY IN THREE ACTS. New York: Farrar & Rinehart [c. 1931]; Heyward PETER ASHLEY. New York: Farrar & Rinehart [c. 1932]; Heyward LOST MORNING. New York: Farrar & Rinehart [c. 1936]. Two copies in dust jackets; Heyward LOST MORNING. [New York]: A Macfadden Banner Book [1968]. Wrappers; Frank Durham DUBOSE HEYWARD THE MAN WHO WROTE PORGY. Columbia: University of South Carolina Press 1954. Signed by author; Hollis Alpert THE LIFE AND TIMES OF PORGY AND BESS: THE STORY OF AN AMERICAN CLASSIC. New York: Alfred A. Knopf 1990. In dust jacket. (23pcs) Provenance: From the library of a South Carolina scholar. Back   Inquiry    Previous Item  Next Item © Charlton Hall Auctions. Images descriptions and condition reports used on this site are original copyright material and are not to be reproduced without permission. For further information telephone 803.779.5678   © 2012 CHARLTON HALL GALLERIES INC.
Thomas Koether (B. 1940) "Bio Physical Collage": Thomas Koether (New York, Florida / Europe, Australia B. 1940) "Bio Physical Collage". Mixed Media. Signed lower right. Sight Size: 17. 75 x 14. 5 in. Overall Size: 26. 75 x 23 in. Framed behind glass. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student?s League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ?71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces ? one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of my own abstractness ? landscapes and still-lives of my own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes from Helmuth Stone Services can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
17 vols. Koontz, Dean R. : Watchers. New York, (1987). 1st ptg. * Lightning. New York, (1988). 1st ptg. * Midnight. New York, (1989). 1st ptg. * The Bad Place. New York, (1990). 1st ptg. * Hideaway. New York, (1992). 1st ptg. * Dragon Tears. New York, (1993). 1st ptg. * Mr. Murder. New York, (1993). 1st ptg. * Dark River. New York, 1994. 1st trade ed. * Intensity. New York, 1996. 1st trade ed. * Strange Highways. (New York) , 1997. 1st ed. * False Memory. New York, etc. , (1999). 1st ptg. * Fear Nothing. New York, etc. , (1998). 1st ptg. * Seize The Night. New York, etc. , (1999). 1st ptg. * From The Corner of His Eye. New York, etc. , (2000). 1st ptg. One Door Away From Heaven. (New York) , 2001. 1st ptg. * Brother Odd. (New York) , 2006. 1st ptg.
Thomas Koether (New York, FL / Europe, Australia): Thomas Koether (New York, FL / Europe, Australia) Abstract Painting. Sight size: 21 x 15. 5 inches. Oil on paper. Signed lower right. In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Student's League. In June of 1966 he graduated with honors from N. Y. U. and was accepted to the N. Y. U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of '71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces, one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness, landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974, Koether moved back to New York and worked in N. Y. C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO. , TECO PLAZA, Tampa, July 1 ? July 31, Marilyn Mars, Curator 1995 KOETHER ? NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N. S. W. , Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ?94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB. , Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N. S. W. , Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N. P. U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N. S. W. , Australia 1971 LE CENTER AMERICAN, Paris, France Condition * By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via wire transfer or cashier’s check, no other forms of payment will be accepted. - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through 6 online platforms and shipping can become backlogged. - All sales are final; no refunds will be given under any circumstances. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client, and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com
ROBERT GORDY (AMERICAN, 1933-1986)Robert Gordy
American, 1933-1986
Still Life with Brick , 1971
Acrylic on canvas, signed and dated lower right
The brick in a field of small fruits and nuts, framed.
Education:
1956 M.A., Louisiana State University, Baton Rouge, LA
1955 B.A., Lousiana State Univeristy, Baton Rouge, LA
1953 Studied with Hans Hoffman
Professional Experience:
1965 Instructor, University of New Orleans, LA
1963 Instructor, The Putney School, Putney, VT
1962 Instructor, Sterling College, Sterling, KS
1957 Instructor, University of Southern Louisiana, Lafayette, LA
Selected Awards:
1978, 1967 Fellowship, National Endowment of the Arts Purchase Award, Dallas Museum of Fine Arts, Dallas, TX
1973 Award Winner, "Artists Biennial," New Orleans Museum of Art, New Orleans, LA
1971 Purchase award, "Artists of the Southeast and Texas Biennial," New Orleans Museum of Art, New Orleans, LA
1971 Ford Foundation Fellowship
1954 Yale-Norfolk Fellowship, Yale University, New Haven, CT
Selected Solo Exhibitions:
1992, 1988, 1986, 1984 Arthur Roger Gallery, New Orleans, LA
1987 Texas Gallery, Houston, TX
1986 New Orleans Museum of Art, New Orleans, LA
1986 Masur Museum of Art, Monroe, LA
1985-86 "Monotypes of Robert Gordy," University of South Florida, Tampa, FL (traveling exhibition)
1985, 1979 Phyllis Kind Gallery, New York, NY
1984-85 "Prints and Paintings of Robert Gordy," New Orleans Museum of Art (traveling exhibition)
1984 The Fine Arts Museum of the South, Mobile, AL
1984 "Artworks '84," Louisiana World Exposition, New Orleans, LA
1983 Carol Shapiro Gallery, St. Louis, MO
1982-81 "Robert Gordy, Paintings and Drawings: 1960-1980," New Orleans Museum of Art, New Orleans, LA
1982-81 Montgomery Museum of Fine Arts, Montgomery, AL
1982-81 Jacksonville Museum of Fine Arts, Jacksonville, FL
1982-81 Southeastern Center for Contemporary Art, Winston-Salem, NC
1982-81 Cincinnati Museum of Contemporary Art, Cincinnati, OH
1982-81 Contemporary Arts Museum, Houston, TX
1979, 1977 Delahunty Gallery, Dallas, TX
1976 Phyllis Kind Gallery, Chicago, IL
1975 Long Beach Museum of Art, Long Beach, CA
1974, 1972 New Orleans Museum of Art, New Orleans, LA
1974 Pyramid Galleries, Washington, D.C.
1973, 1971, 1969 Galerie Simonne Stern, New Orleans, LA
1973, 1971, 1969 Hank Baum Gallery, San Francisco, CA
1972 "Drawings and Prints," Glascow College of Arts, Scotland
1970 Cranfill Gallery, Dallas, TX
1968 Atelier Chapman Kelley, Dallas, TX
1968, 1967 Glade Gallery, New Orleans, LA
Selected Group Exhibitions:
1986 "Artist/Printmaker," The Maryland Institute, College of Art, Baltimore, MD
1985 "The Exhibition at 112 Greene Street," Arthur Roger Gallery, New York, NY
1984 "Monotypes," The Weintraub Gallery, New York, NY
"The Art of New Orleans," Southeastern Center for Contemporary Art, Winston-Salem, NC
1983 "The Human Figure," Contemporary Arts Center, New Orleans, LA
"New Decorative Art," The Berkshire Museum, Pittsfield, MA and The University Art Gallery, State University of New York at Albany, Albany, NY
"Southern Fiction," Contemporary Art Museum, Houston, TX
"The American Artist as Printmaker: 23rd National Print Exhibition," Brooklyn Museum of Art, Brooklyn, NY
1980 "Image into Pattern," P.S.1 Gallery, New York, NY
"American Painting of the Sixties and Seventies: The Real, The Ideal, The Fantastic-Selections from the Whitney Museum of American Art," Montgomery Museum of Fine Arts, Montgomery, AL
"The Figurative Tradition: Paintings and Sculpture from the Permanent Collection," Whitney Museum of American Art, New York, NY
"American Figure Painting: 1950-1980," Chrysler Museum, Norfolk, VA
"American Drawings in Black and White: 1970-1980," Brooklyn Museum, Brooklyn, NY
"Louisiana Major Works," Contemporary Arts Center, New Orleans, LA, curated by Linda L. Cathcart, Contemporary Art Museum, Houston, TX
1978 "21st National Print Exhibition," Brooklyn Museum, Brooklyn, NY
"The 1970's: New American Painting," The New Museum, New York, NY (traveling exhibition)
1975 "Art USA: The South," New Orleans Museum of Art, New Orleans, LA (traveling exhibition)
1973 "Biennial Exhibition of Contemporary American Art," Whitney Museum of American Art, New York, NY
"Divergent Representation: Five Contemporary Artists," National Collection of Fine Arts, Washington, D.C.
"Extraordinary Realities," Whitney Museum of American Art, New York, NY
1968 "14 Artists, Award Winners in the Southeast and Southwest Regions Selected by the National Endowment for the Arts," Witte Memorial Museum, San Antonio, TX
"New Acquisitions," Whitney Museum of American Art, New York, NY
1967 "Annual Exhibition of American Painting and Sculpture," Whitney Museum of American Art, New York, NY
Selected Collections:
Alexandria Museum and Visual Art Center, Alexandria, LA
American Express Corp, New York, NA
Chicago Museum of Contemporary Art, Chicago, IL
Dallas Museum, Dallas, TX
Fort Worth Art Center, Fort Worth, TX
Gibber Museum of Art, Charleston, SC
Museum of Modern Art, New York, NY
Metropolitan Museum, New York, NY
National Collection of Fine Art, Washington, D.C.
Oklahoma Fine Arts Center, Oklahoma City, OK
Whitney Museum of American Art, New York, NY
Stretcher: 28 1/2 x 29 3/4 in. (72.4 x 75.6 cm.)
The Artist,
Ex Iowa Wesleyan University collection;
Bequeathed by the Alden Lowell Doud Estate, Washington D.C.
Alden Lowell Doud (American, 1935-1912) of Iowa City, formerly of Douds, was a former First Lieutenant and Captain of the U.S. Army Judge Advocate General Corp. After serving in the military, he joined the Office of the Legal Adviser in the U.S. State Department in 1967 where he became the first Assistant Legal Adviser for Environmental Affairs. He authored the first drafts of several important environmental treaties including the World Heritage Convention. He was also a member of the U.S. delegation in the negotiations forming the International Telecommunications Satellite Consortium (INTELSAT).
In 1973, Mr. Doud joined the World Bank Legal Department as its principal administrative attorney and rose to the title of Chief Counsel until his retirement in 1996. Post retirement,
he studied at the Courtlaud Institute of Art in London and continued art studies at Bard Graduate Center in New York City.
He moved to Iowa City in 1998 and served as Chairman of Board of Trustees of Iowa Wesleyan until 2005 when he received an honorary degree Ll. D. and was made Chairman Emeritus. He was a member of University of Iowa President's Club, the Members Council of the University Museum of Art, the Harvard Club of New York City, and other arts related organizations.
Condition:
Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.