A few examples of appraisal values for
THE GUARDIAN

• BEV DOOLITTLE LIMITED EDITION PRINT.
  BEV DOOLITTLE LIMITED EDITION PRINT. Dated 3-5-(19)89. "The Guardian," 3522/13238 and double signed by artist. 29"h. 27.25"w.
• CHINESE CARVED WOOD SCULPTURE OF GUAN
  CHINESE CARVED WOOD SCULPTURE OF GUAN YU A large Chinese carved wood and gilt polychrome sculpture of the guardian deity Guan Yu, late 19th century; 26"H
• SOL LEWITT (1928-2007): WALL DRAWING
  SOL LEWITT (1928-2007): WALL DRAWING #306The diagram and certificate of authenticity signed 'Sol LeWitt', 1977, together with related paperwork; and Sol LeWitt Wall Drawings, Stedelijk Museum, Amsterdam and Wadsworth Atheneum, Hartford, CT, 1984.. Each sheet 9 3/4 x 7 1/2 in., unframed. Literature: S. Singer, ed., Sol LeWitt Wall Drawings 1968-1984, 1984, p. 306 (not illustrated.). Note: Sol LeWitt's monumental wall drawings explore the idea of art as 'unique' and its permanence through its potential to be recreated. Each wall drawing is realized by a team of draughtsman who follow LeWitt's original diagram and instructions, creating the artist's vision on a space of the owner's choosing. Wall Drawing #306 was installed in the Rose apartment in October, 1977, by Jo Wantanabe. It is a three-part drawing in black pencil, described on the artist's certificate as follows: 1st panel: Arcs from two adjacent corners and the midpoint of one adjacent side between. (left side) (ACG 20); 2nd panel: Circles and arcs from four corners and the midpoints of two opposite sides (left and right) (ACG 95); 3rd panel: Arcs from two adjacent corners and the midpoint of one adjacent side between (right side) (ACG 20). Through his continued exploration of the core ideas innate to the wall drawings, LeWitt created a visual language uniquely his own. Once the image is 'written', LeWitt felt no need to confine the execution of the work to himself, allowing it to be realized by others who followed his instructions with discipline and precision. The coordinates for each drawing are laid out by the artist using the words ascribed to each work during its inception. In Wall Drawing #306 , the instructions dictate that the lines be enclosed in three rectangles, with arcs and circles moving from the corners to meet at various points along the straight outer lines. It is beautiful in its simplicity, and complex in its visual and philosophical meaning. LeWitt said of the installation process that "each person draws a line differently and each person understands words differently" (1). This observation exemplifies the conceptual nature of the wall drawings, and furthers the artist's continued exploration and conversation around ideas that explore the permanence of works of art, their ownership and their uniqueness. (1) Adrain Searle, Second Thoughts, The Guardian, December 7, 2006. Condition In very good condition. Catalogue with wear. Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• BIRGER SANDZEN 'THE GUARDIAN POPLAR'
  BIRGER SANDZEN 'THE GUARDIAN POPLAR' SIGNED LITHOGRAPHBirger Sandzen (Swedish-American, 1871-1954) The Guardian Poplar, 1929 Lithograph on paper Edition of 100 7 1/2" x 10 1/8" A pencil-signed and titled depiction of a mountain cabin surrounded by tall poplars, a scene from Ogden, Utah, executed on tan wove paper. In a painted wooden frame that measures 17 1/4" x 21 1/4". Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 125 Condition Not removed from the frame. Some toning across the image, which is visible from a past mat which was closer to the image edge. The frame has a few scuffs.
• BIRGER SANDZEN 'THE GUARDIAN POPLAR'
  BIRGER SANDZEN 'THE GUARDIAN POPLAR' SIGNED LITHOGRAPHBirger Sandzen (Swedish-American, 1871-1954) The Guardian Poplar, 1929 Lithograph on paper Edition of 100 7 1/2" x 10 1/8" A pencil-signed and titled depiction of a mountain cabin surrounded by tall poplars, a scene from Ogden, Utah, executed on white wove paper. Framed to archival standards in a wooden frame with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri, measuring 16 1/2" x 18 1/2" in total. Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 125 Condition Not removed from the frame. Appears to be in excellent condition.
• WEDGWOOD BLACK BASALT SCULPTURE, THE
  WEDGWOOD BLACK BASALT SCULPTURE, THE GRIFFINRare figure of the Griffin, the guardian of treasures and priceless possessions, seated in resting position with stretched open wings. Wedgwood impressed to base. Issued: 19th c. Dimensions: 3.75"L x 6.75"W x 12.25"H Manufacturer: Wedgwood Country of Origin: England Condition: Age related wear.
• OIL ON CANVAS, THE GUARDIAN ANGEL19th
  OIL ON CANVAS, THE GUARDIAN ANGEL19th C. oil on canvas, The Guardian Angel, 33" x 25" Condition: Good condition. Please contact gallery for further information or further condition of this lot, all items are sold as is, all sales are final.
• NATIVE AMERICAN POTTERY INCL. MARIA
  NATIVE AMERICAN POTTERY INCL. MARIA MARTINEZ PLUS GEORG...1st item: San Ildelfonso blackware low bowl by Maria Martinez (1887-1980) depicting the Guardian of the Water deity Awanyu to the body. Incised signature "Marie" or "Maria" on the base. 2 1/2" H x approx. 5 1/4" dia. 1st half 20th century. 2nd item: Santa Clara Pueblo blackware jar by Tammy Borts-Garcia (b. 1969) having heavily carved geometric designs to the upper shoulder. Signed on the base and dated 1990. 3 1/2" H x approx. 4 1/4" dia. 3rd-4th items: Pair of George Lopez (New Mexico, 1900-1993) carved cottonwood rabbits, both depicted sitting upright, one holding a carrot in his front paws. Both signed in ink on the base "George Lopez, Cordova, N Mex". Both: 6" H. Biography: "George Lopez came from several generations of wood-carvers. The work of his father, Jose Dolores Lopez, and that of his nephew Eluid Levi Martinez also appears in the collections of the Smithsonian American Art Museum. Lopez grew up in Cordova, New Mexico, but ran away from his home when he was nineteen to work on the railroad. He returned to New Mexico many years later and devoted his time to carving animals and traditional santos." (source: Smithsonian American Art Museum). The Collection of Dr. Joe Newsom Rawlings, Davisboro, GA; Martinez bowl acquired in 1991 at an auction in Minnesota from the estate of a physician who had wintered in the Southwest in the 1930s. Condition: 1st item: Minor scattered wear to surface, some minor glaze loss to rim. 2nd item: Minor scattered light wear to glaze. 3rd-4th items: Overall good condition with light wear.
• TOM MURRAY O/C, PHOTO REALISM WESTERN
  TOM MURRAY O/C, PHOTO REALISM WESTERN LANDSCAPE PAINTIN...Tom Murray (B. 1953-*), "The Guardians", oil on canvas photo-realistic western style landscape with trees and red rock buttes, signed lower right "Tom Murray" and verso "Tom Murray / Copyright / 2004". Housed in a giltwood molded frame with seamless corners. Sight: 15-3/4" H x 23-5/8" W. Framed: 23" H x 31" W. Note: The original purchase receipt from James Ratliff Gallery Sedona, AZ is available to the winning bidder. Condition: Very good overall visual condition
• LIBERIAN DAN MASKDan mask from Liberia
  LIBERIAN DAN MASKDan mask from Liberia with cowry (cowrie) shell tiara and three bells on chin; measures approximately 12" tall; please refer to photographs for condition. Dan masks are worn with full costumes covering the body. The masks have different functions. The "deangle" mask, for example, has a shallow, domed forehead with median ridge, slit eyes with a kaolin, painted horizontal strip, and a cowrie shell fiber cap. It becomes the guardian and intermediary of the uncircumcised boy's initiation camp. Carved figures known as "lu me" (wooden people) are rare, and are usually female. They are portraits of the preferred wife of the chief, and confer prestige to their owners. Early male figures are especially rare.
• LIBERIAN DAN MASKDan mask from Liberia
  LIBERIAN DAN MASKDan mask from Liberia with squinting eyes and having a pointed chin; measures approximately 7" tall; please refer to photographs for condition. Dan masks are worn with full costumes covering the body. The masks have different functions. The "deangle" mask, for example, has a shallow, domed forehead with median ridge, slit eyes with a kaolin, painted horizontal strip, and a cowrie shell fiber cap. It becomes the guardian and intermediary of the uncircumcised boy's initiation camp. Carved figures known as "lu me" (wooden people) are rare, and are usually female. They are portraits of the preferred wife of the chief, and confer prestige to their owners. Early male figures are especially rare.
• LIBERIAN DAN MASKDan mask from Liberia
  LIBERIAN DAN MASKDan mask from Liberia with open eyes and without ears; measures approximately 9" tall; please refer to photographs for condition. Dan masks are worn with full costumes covering the body. The masks have different functions. The "deangle" mask, for example, has a shallow, domed forehead with median ridge, slit eyes with a kaolin, painted horizontal strip, and a cowrie shell fiber cap. It becomes the guardian and intermediary of the uncircumcised boy's initiation camp. Carved figures known as "lu me" (wooden people) are rare, and are usually female. They are portraits of the preferred wife of the chief, and confer prestige to their owners. Early male figures are especially rare.