The Virginia Zabriskie Collection
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Deborah Rogal
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Todd Weyman
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Nigel Freeman
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THE VIRGINIA ZABRISKIE COLLECTION
We are honored to offer the collection of Virginia Zabriskie in this special single-owner auction that opens our 2021 fall season. Virginia Zabriskie built her personal collection during a pioneering career that spanned more than five decades, marked by audacity and innovation in a field that was seldom encouraging to professional women.
After acquiring her New York gallery in 1954, at the age of 26, Zabriskie inherited a promising roster of young artists, including Pat Adams, Clinton Hill and Lester Johnson, all well-represented in this auction. As a young art student, she had recognized her calling, musing later that, “My ability to interpret and criticize art grew faster than my ability to make it.
Pursuing art history, she became friends with and was mentored by the artist, critic and modern art promoter Walter Pach while she was a college student; through him, she met Marcel Duchamp, Edward Hopper and other contemporary artists in New York. Moreover, Pach had been instrumental assisting the artist Arthur B. Davies, president of the landmark 1913 “International Exhibition of Modern Art” also known as the Armory Show, as well as one of its founders, Walt Kuhn, by bringing together leading contemporary European and American artists for the show. This influence doubtlessly cemented Zabriskie’s connoisseurship and faith in artists’ visions and informed her groundbreaking exhibitions, developed around the juxtaposition of media and historical eras. The risks she took with artists outside the market mainstream and the opportunities she saw in promoting a new vision of modern art as a neophyte New York gallery owner certainly harkened back to reminiscences Walter Pach would have shared with her about the 1913 Armory Show and that watershed period in modern art. She is responsible for both launching the careers of artists and bringing forgotten, unappreciated artists to light. Zabriskie’s diverse program—a reflection of her unique curatorial vision and individual aesthetic—brought photography to the forefront at a time when the medium was still considered vanguard, and encompassed a wide range of work, from early 20th century Dada and Surrealist masters to American photography icons like William Klein and Harry Callahan.
In 1966, the Zabriskie Gallery, which had been in a small space on the second floor of 835 Madison Avenue that had originally been established by Marvin Korman (a fellow graduate student at the Institute of Fine Arts at New York University from whom she had acquired the gallery), relocated to 699 Madison Avenue, and after five years to 29 West 57th Street. By the early 1980s, Zabriskie Gallery had expanded into three spaces, two in New York, and one in Paris. The gallery at 724 Fifth Avenue specialized in painting; sculpture was highlighted at the 521 West 57th Street location. In addition to featuring contemporary and modernist American painters, Zabriskie’s trailblazing programming included the exhibition of sculpture by Mary Frank, Saul Baizerman, George Rickey, Kenneth Snelson, Theodore Roszak and Richard Stankiewicz, among others.
In 1977, Galerie Zabriskie opened in Paris at 29 rue Aubry le Boucher. It was the first gallery of its kind, joining an exhibition space for photographic works with a bookstore devoted to selling photo-related literature. Zabriskie not only presented individual American and French photographers, but also organized numerous landmark group shows which united these photographers from both sides of the Atlantic.
She was a champion of 19th-century photographers such as Felice Beato, Edouard Baldus and Eadweard Muybridge, and extraordinarily held the first commercial exhibition in France of Eugene Atget’s photographs of Paris (thanks in part to the photographer and Zabriskie Gallery artist Berenice Abbott, who had acquired Atget’s negatives, through the studio of Man Ray and the art dealer Julien Levy, both of whom were also intrinsically linked to Zabriskie). Through this trans-Atlantic exchange, Zabriskie introduced many modern and contemporary European photographers to America, and brought American photography to Europe, creating a wider audience for Harry Callahan, Alfred Stieglitz, Paul Strand, Lee Friedlander, Brassaï, Man Ray, Berenice Abbott, Robert Frank and Nicholas Nixon, all artists included among this auction.
Her full roster, most of whom appear in this auction, boasted a wide range of artists, including Abraham Walkowitz (Zabriskie held numerous exhibitions of his work and handled the artist’s estate), Elie Nadelman, Alexander Archipenko, Marcel Duchamp, Joseph Stella, Ralston Crawford, Lucas Samaras, Nell Blaine, Milton Resnick, Ben Vautier, and many others.
The Paris gallery closed in 1998 with “Au Revoir Paris,” a group show highlighting all the American photographers whose first European exposure came at Galerie Zabriskie. In 1999 Virginia Zabriskie received the Médaille de la Ville de Paris, presented at the Hotel de Ville in Paris, for her significant contribution to French culture. Zabriskie continued to helm her New York gallery, at its last public exhibition space, in the Fuller Building on Madison Avenue, until its closing in December 2010. She continued to work as a private art dealer thereafter.
Though Zabriskie had said “to survive is to succeed,” it is universally acknowledged that through her unwavering vision and determination, she left a legacy that has transformed our industry, both visually and professionally, which will persist for generations to come.
- Swann Auction Galleries would like to express our sincerest thanks to Deborah Eigen, Assistant Gallery Director, Zabriskie Gallery, New York, from 1975 to 1990, for her extraordinary efforts and assistance with this auction. During her fifteen years at the gallery, an important time of its growth to prominence, Deborah Eigen was Virginia Zabriskie’s close assistant, collaborator, friend and confidante. She was instrumental to the groundbreaking exhibition program and the acquisition of numerous key works, central to the gallery’s focus. After the New York gallery was closed in 2010, Deborah returned to work with Virginia Zabriskie as her assistant and steadfast friend until Ms. Zabriskie’s death in 2019. Over a period of more than twenty-five years working with Virginia Zabriskie, and now as an advisor to the Estate of Virginia Zabriskie, Deborah has upheld the legacy of this renowned New York gallery and its storied owner. She has been an indefatigable source of knowledge, inspiration and care for all things Zabriskie, to many of us at Swann, through the preparation of this catalogue and the organization of this “Collection of Virginia Zabriskie” auction.
- Hans Namuth, Virginia Zabriskie before a painting by Pat Adams on the occasion of Zabriskie Gallery’s 25th Anniversary, silver print, 1978.
- Virginia Zabriskie, Self Portrait, etching, 1949. Courtesy the Estate of Virginia Zabriskie.
- Paul Maurer, Zabriskie Gallery, New York, silver print.
- Paul Maurer, Pierre Boucher, Pierre Jahan, Virginia Zabriskie and others at Galerie Zabriskie, Paris, silver print, 1978.
- Paul Maurer, Virginia Zabriskie’s apartment, including works by Sidney Geist, Man Ray, Timothy Woodman, William Klein and others, New York, silver print.
- Timothy Woodman, Virginia Zabriskie, painted aluminum, 1979. Courtesy the Estate of Virginia Zabriskie.
Alfred stieglitz (1864-1964)
Reflections: Night - New York * The Glow of Night - New York.
Together 2 photogravures, the images measuring 209.6x273.1 and 120.7x235 mm; 8¼x10¾ and 4¾x9¼ inches, the sheets 241.3x285.8 and 393.7x495.3 mm; 9½x11¼ and 15½x19½ inches, each with Stieglitz’s printed copyright and date, on recto. 1897.
Both of these photogravures appeared in Stieglitz’s portfolio Picturesque Bits of New York And Other Studies, which dramatically highlighted the aesthetic clashes of the era and of Stieglitz’s own work in realistic, glistening urban scenes.
Estimate
$2,000 – $3,000
Arthur b. davies (1862-1928)
Field near Montrose, Colorado.
Oil on panel. 135x240 mm; 5¼x9½ inches. Signed in oil, lower left recto. Circa 1905.
Provenance: Charles Wharton Stork, Philadelphia, with the label verso.
Estimate
$1,200 – $1,800
Arthur b. davies (1862-1928)
Portrait of a Woman.
Oil on canvas. 185x150 mm; 7¼x6 inches. Circa 1905.
Provenance: Ferargil Gallery, New York, with the label on the frame back; gifted from the artist Walter Pach to Virginia Zabriskie; according to the latter, Pach thought the sitter resembled a young Ms. Zabriskie.
Pursuing art history at New York University, Zabriskie became friends with and was mentored by the artist, critic and modern art promoter Walter Pach (1883-1958); through him, she met Marcel Duchamp, Edward Hopper and other contemporary artists in New York, significantly influencing her future path as a trailblazing gallery owner.
Moreover, Pach had been instrumental assisting Davies, the president of the landmark 1913 "International Exhibition of Modern Art" also known as the Armory Show, as well as one of its founders, Walt Kuhn, by bringing together leading contemporary European and American artists for the show.
Estimate
$1,200 – $1,800
Eugène atget (1857-1927)
Le Soldat Laboureur par Lemaire (Tuileries, Paris).
Albumen print, the image measuring 215.9x177.8 mm; 8½x7 inches, with Atget's title and inventory number, in pencil, on verso. Circa 1910.
Atget's fin de siècle photography was exhibited alongside Berenice Abbott's New York imagery at the newly-opened Galerie Zabriskie, Paris as early as 1977, representing, extraordinarily, the first commercial exhibition for the French photographer. Abbot and Atget are inextricably linked, Abbott first encountering the elderly French photographer's work in 1925 at the Man Ray Studio. After Atget’s death, in 1927, she collaborated with Julien Levy, of New York’s Julien Levy Gallery, to buy most of Atget’s negatives and prints, bringing them back to New York in 1929. Abbott’s initiative preserved Atget's archive, which, given its influence on the avant-garde, has become an important chapter of Abbott’s legacy.
Estimate
$3,000 – $5,000
Eugène atget (1857-1927)
St. Cloud (cascade).
Albumen print, the image measuring 219.1x181 mm; 8⅝x7⅛ inches, with Atget's title and inventory number, in pencil, on verso. 1923.
Estimate
$5,000 – $8,000
ABRAHAM WALKOWITZ
Walkowitz was born in Tyumen, Sibera to Jewish parents and immigrated to the Lower East Side of New York with his mother in 1889. He was trained in the academic style at the National Academy of Design, New York, and at the Académie Julian in Paris, though his style was most influenced by his experiences outside of the studio. During his time in Paris from 1906-07, Walkowitz saw Isadora Duncan (1877-1927) dance at Auguste Rodin’s (1840-1917) Paris studio and made his first drawings of her. He later recalled, “She was a Muse. She had no laws. She didn’t dance according to rules. She created. Her body was music. It was a body electric, like Walt Whitman.” Like Duncan’s dancing, Walkowitz’s drawings and watercolors were created by quick and spontaneous lines and washes of color. In Paris, Walkowitz was also impressed by the landmark 1907 Paul Cézanne (1839-1906) retrospective exhibit at the Salon d’Automne and by his introduction to the work of Henri Matisse (1869-1954) and Henri Rousseau (1844-1910). By the time Walkowitz returned to New York, his style was heavily influenced by European Modernism, with emphasis on gestures, simplified forms and flat planes of bold color. His first solo exhibition was held at Haas Gallery, the back of a modest frame shop, in New York in 1908.
In 1912, Walkowitz met Alfred Stieglitz (1864-1946) through Marsden Hartley (1877-1943) and became involved with the 291 Gallery, New York, which served as a hub of American modernism. Stieglitz was so impressed by the young artist, that he sent him to study art in Greece, Italy and North Africa in 1914. His style became more abstract; its reduced linear forms lent themselves to the city’s rush skyward, prematurely anticipating the New York School and the Abstract Expressionists.
In 1913, Walkowitz was represented at the Armory Show and in the 1916 Forum exhibition. Walkowitz was concerned with politics and artists’ rights and was active in various artist’s groups, founding the People’s Art Guild and the Society of Independent Artists (he became director of the latter from 1918 to 1938). In 1920, he exhibited at the Société Anonyme alongside Man Ray (1890-1976), Hartley and Joseph Stella (1877-1946). Despite local and international recognition, Walkowitz was not nearly as well-known as his contemporaries. Virginia Zabriskie was among the many figures in the field, including Stieglitz, Henry McBride, Carl Van Vechten and Lloyd Goodrich, who thought that Walkowitz deserved more recognition than he received.
Walkowitz painted into the 1940s, when his eyesight began to fail. Zabriskie represented him during the last six years of the artist’s life. She admired him for the breadth of his art and for his passion and conviction. Zabriskie Gallery held thirteen exhibitions of Walkowitz’s work and placed him in the collections of major institutions. In promoting his legacy, Zabriskie grew close to the aging artist, accompanying him to the Academy of Arts and Letters award ceremony in May 1962, where Walkowitz was given the Marjorie Peabody Waite Award for a distinguished elderly artist, to a standing ovation. After his death, Zabriskie purchased the Abraham Walkowitz Estate, including numerous watercolors and paintings left undiscovered in his studio. Zabriskie organized Walkowitz’s memorial service and remembered him as a devoted, often feisty artist whose work was not fully understood in his lifetime.
Abraham walkowitz (1878-1965)
Self Portrait.
Etching with additions in pencil. 150x115 mm; 6x4½ inches, wide margins. Signed and dated "1900" in pencil, lower right. A very good, richly-inked, proof-like impression. Circa 1900-02.
With— Group of 4 etchings, including Fruit Market * Saturday Afternoon * In the Marketplace * Bathers. Each signed in pencil or ink, lower margin. Various sizes. Each circa 1900.
Provenance: Artist's estate, New York.
Estimate
$700 – $1,000
Abraham walkowitz (1878-1965)
Crouching Male Nude.
Bronze. 155 mm; 6⅛ inches (height), excluding base. Edition of only 3 cast in 1968. With the artist's initials, numbered "2-3" and "© 1900 Ex NY 68" incised at the lower edge. 1900.
Another cast of this sculpture, numbered "1-3", sold at Christie's, New York, March 4, 2008, lot 130. The third and final cast of this bronze is in the collection of the Hirshhorn Museum and Sculpture Garden, Washington, D.C.
Provenance: Artist's estate, New York.
Though the majority of Walkowitz's œuvre are paintings and works on paper, the artist was also a sculptor. He likely received instruction in sculpture during his formal training in New York and Paris and supplemented his knowledge of the human form with anatomy classes at the Flower Fifth Avenue Hospital in New York. In Paris, Walkowitz visited Auguste Rodin's (1840-1917) studio and may have been influenced by his work, though he placed great importance on portraying naturalized, non-idealized bodies, such as New York laborers. Walkowitz exhibited his early sculptures into the 1920s but was always known best as a painter.
Walkowitz's painting and drawing style of expressing the essence of the subject by using simplified, almost naive forms carried over into his sculpture. The present work recalls Oscar Bluemner's 1913 essay on Walkowitz in Camera Work. He wrote that Walkowitz, "can increase the vibration of strong charcoal-tones— say the motif of a muscular back— to a degree that one imagines a thunderstorm."
Estimate
$3,000 – $5,000
Abraham walkowitz (1878-1965)
Wharf Scene (Gloucester).
Oil on canvas. 360x460 mm; 14x18 inches. Signed in oil, lower left recto. Circa 1905.
Provenance: Artist’s estate, New York.
Exhibited: “Abraham Walkowitz Retrospective,” Utah Museum of Fine Art, University of Utah, Salt Lake City, October 27-December 1, 1974, and Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, May 7-June 29, 1975, with the labels on the frame back.
Estimate
$2,500 – $3,500
Abraham walkowitz (1878-1965)
Street View with Church Steeple.
Oil on canvas. 305x460 mm; 12x18¼ inches. Circa 1910.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Abraham walkowitz (1878-1965)
Two watercolor and gouache landscapes.
Volendam, Holland. 480x655 mm; 19x25⅞ inches. Signed, titled and dated in ink, lower right recto. 1906 * Anticoli Corrado, Italy. 475x655 mm; 18¾x25¾ inches. Signed, titled, dated and inscribed “Italy” in ink, lower right recto, and signed in ink, verso. 1906-07.
Provenance: Artist’s estate, New York.
Estimate
$2,500 – $3,500
Abraham walkowitz (1878-1965)
Anticoli Corrado.
Oil on canvas. 460x540 mm; 18x21¼ inches. Signed in oil, lower left recto. Circa 1906-07.
Provenance: Artist's estate, New York.
Exhibited: "Abraham Walkowitz Retrospective," Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, May 7-June 9, 1975, with the label on the frame back; "Abraham Walkowitz: Walkowitz in Europe 1906-1907", Zabriskie Gallery, New York, March 17-April 18, 1998.
Anticoli Corrado is a hillside community located roughly 25 miles northeast of Rome. The picturesque Italian town has been popular with artists since the 19th century, and its young inhabitants often posed as models for the community of artists who lived near the Piazza di Spagna in Rome during the late 19th and early 20th centuries.
Estimate
$3,000 – $5,000
Abraham walkowitz (1878-1965)
Two watercolors.
Landscape, France (Abstraction), watercolor on cream laid paper. 303x475 mm; 12x18¾ inches. Signed, titled, dated and inscribed "Paris" in ink, lower right recto. 1906 * Provincetown Rooftops, Abstraction, watercolor on cream wove paper. 295x390 mm; 11½x15¼ inches. Circa 1912.
Provenance: Artist's estate, New York.
Exhibited: (Provincetown Rooftops, Abstraction) "Provincetown Painters 1890s-1970s," Everson Museum of Art, Syracuse, New York, April 1-June 26, 1977, with the label on the frame back.
Estimate
$2,000 – $3,000
Abraham walkowitz (1878-1965)
Park Scene.
Oil on canvas. 405x560 mm; 16x22 inches. Circa 1908.
Provenance: Artist's estate, New York.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 91 (illustrated).
Estimate
$3,000 – $5,000
Abraham walkowitz (1878-1965)
Bathers in a Landscape.
Oil on canvas board. 505x605 mm; 20x23¾ inches. Circa 1910.
Provenance: Artist’s estate, New York.
Estimate
$1,000 – $1,500
Abraham walkowitz (1878-1965)
Figures Gathering (Strollers).
Oil on canvas. 355x275 mm; 14x11 inches. Circa 1908.
Provenance: Artist’s estate, New York.
Exhibited: “Abraham Walkowitz: The Early Years 1895-1925,” Zabriskie Gallery, New York, January 9-February 3, 1973, number 18 (illustrated).
Estimate
$2,000 – $3,000
Abraham walkowitz (1878-1965)
Group of 4 watercolors of Isadora Duncan.
Each watercolor and pen and ink on paper. Each signed in ink, lower recto. Various sizes. Each circa 1910-20.
Provenance: Artist’s estate, New York.
Estimate
$2,000 – $3,000
Abraham walkowitz (1878-1965)
Group of 5 watercolors of Isadora Duncan.
Each watercolor and pen and ink on paper. Each 227x145 mm; 9x5¾ inches. Each signed in ink, lower recto. Each circa 1910-20.
Provenance: Artist’s estate, New York.
Estimate
$2,500 – $3,500
Arthur b. davies (1862-1928)
Draped Female Figures.
Charcoal and color pastels on two-joined sheets of gray paper mounted on card. 325x530 mm; 12¾x20⅞ inches. Circa 1920.
Estimate
$1,000 – $1,500
Abraham walkowitz (1878-1965)
New York.
Collage, pen and ink and brush and ink on paper. 370x300 mm; 14½x12 inches. Signed repeatedly and dated “1909” and “1913” in ink, recto. Circa 1909-13.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Abraham walkowitz (1878-1965)
Abstract Cityscape.
Charcoal on paper. 408x270 mm; 16⅛10⅝ inches. Circa 1908-15.
Provenance: Artist’s estate, New York.
Estimate
$1,000 – $1,500
Abraham walkowitz (1878-1965)
Abstract Cityscape.
Pencil on cream wove paper. 435x280 mm; 17⅛x11 inches. Circa 1910-20.
Provenance: Artist's estate.
Estimate
$3,000 – $5,000
Abraham walkowitz (1878-1965)
Abstract Cityscape.
Pen and ink and pencil on cream wove paper. 355x215 mm; 14x8½ inches. Signed in ink, lower center recto. 1910.
With—Abstract Composition, pen and ink on cream wove paper. 202x125 mm; 8x5 inches. Initialed in ink, lower right recto. Circa 1910.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Abraham walkowitz (1878-1965)
Two pen and ink abstract cityscapes.
Both 350x213 mm; 13⅞x8½ inches. Both signed in ink, lower center recto. Both circa 1910-20.
Provenance: Artist's estate, New York.
Estimate
$2,500 – $3,500
Abraham walkowitz (1878-1965)
Two abstract pencil drawings.
Both 435x283 mm; 17x11 inches. One signed in pencil, lower left recto, the other signed and dated in ink, lower center recto. Both circa 1912.
Provenance: Artist’s estate, New York.
Estimate
$1,000 – $1,500
Abraham walkowitz (1878-1965)
Group of 5 pencil drawings of abstract compositions.
Each signed and four dated “1915” or “1916” in pencil, lower center recto. Various sizes. Each circa 1915-16.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Abraham walkowitz (1878-1965)
Group of 5 drawings of abstract compositions.
Each pencil, chalk and color pastels on cream wove paper. Various sizes. Each circa 1915-20.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Abraham walkowitz (1878-1965)
Abstract Composition (Landscape).
Watercolor and pencil on cream wove paper. 415x480 mm; 16½x18¾ inches. Signed in ink and dated in pencil, lower right recto. 1931.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Abraham walkowitz (1878-1965)
Three ink drawings of abstract compositions.
Each brush and ink and wash on cream wove paper. 170x135 mm; 6¾x5¼ inches. Each signed and dated in ink, lower recto; two initialed in ink, lower recto, and signed in ink, verso. Each 1932.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Abraham walkowitz (1878-1965)
Three ink drawings of abstract compositions.
Each brush and ink and wash on cream wove paper. 170x135 mm; 6¾x5¼ inches. Each signed, initialed and dated in ink, lower right recto; two signed in ink, verso. Each 1932.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Abraham walkowitz (1878-1965)
Three ink drawings of abstract compositions.
Each brush and ink and wash on cream wove paper. 170x133 mm; 6¾x5¼ inches. One initialed, signed and dated “1932” in ink, lower edge. Each circa 1932.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Carl van vechten (1880-1964)
Abraham Walkowitz.
Silver print, the image measuring 254x190.5 mm; 10x7½ inches, with Van Vechten’s signature, in ink, and his blind stamp, on recto, and his 101 Central Park West hand stamp with a notation, in ink, and his credit and the sitter’s name, in pencil, on verso. 1937.
Estimate
$800 – $1,200
Arnold newman (1918-2006)
Abraham Walkowitz in front of New York Stock Exchange * Portrait of Ibram Lassaw.
Together, 2 silver prints, the images measuring 247.7x196.9 mm; 9¾x7¾ inches, the former on a mount 393.7x323.9 mm; 15½x12¾ inches, with Newman's signature, in pencil, on mount recto, and the latter flush mounted with Newman's copyright hand stamp, the sitter's credit, in pencil, and the negative date, in ink, on mount verso. Circa 1960 and 1977; the latter printed 1980s.
Published: (Abraham Walkowitz) Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 110 (illustrated).
Zabriskie Gallery, New York held an exhibition titled "Photographic Portraits of Walkowitz," September 8-October 17, 1992, including work by Newman alongside those of Lotte Jacobi, Alfred Stieglitz and Carl van Vechten.
Estimate
$3,000 – $5,000
William zorach (1887-1966)
Washington Square Park, New York.
Pencil on thin cream wove paper. 280x213 mm; 11x8½ inches. Signed, titled and dated in ink, lower recto. 1913.
Estimate
$1,500 – $2,500
William zorach (1887-1966)
Flowering Tree.
Watercolor and pencil on cream wove paper. 280x217 mm; 11x8½ inches. Inscribed “By William Zorach per Tessim Zorach” in pencil, verso. 1913.
Estimate
$3,000 – $5,000
William zorach (1887-1966)
Standing Nude.
Pencil on cream wove paper. 610x455 mm; 24x18 inches. Signed in pencil, lower right recto. Circa 1940.
Provenance: Artist’s estate; Marguerite Zorach, the artist’s wife; The Downtown Gallery, New York, with the label verso.
Estimate
$1,000 – $1,500
Eugenie baizerman (1899-1949)
Young Artist (Portrait of Saul Baizerman).
Oil on canvas. 505x430 mm; 20x17 inches. Signed, titled and dated in ink, verso. 1918.
As a teenager, Eugenie immigrated with her family from Poland to the United States. Having completed formal training at the Odessa Art School, Eugenie continued her studies in New York at the National Academy of Design and at the Educational Alliance. Classically trained, with Old Master artists as her model, Eugenie’s early output was more muted and figural than the vivid abstractions of her mature œuvre.
Saul Baizerman (1889-1957) was born in Vitebsk, Russia and moved to Odessa with his family as an adolescent. He wished to become a sculptor from an early age, watching his father, a harness maker by trade, hammer metal and leather hides. Saul was surrounded by revolutionary activity and political turmoil in Odessa. At age sixteen, he was imprisoned, though escaped to the United States after serving one and half years for his revolutionary ties. In 1910, Saul settled in New York, where he continued his artistic training at the Beaux-Art Institute of Design and attended much of the same schools as Eugenie, Moses Soyer (1899-1974), Raphael Soyer (1899-1987) and Chaim Gross (1902-1991).
Saul and Eugenie married in 1920, at a time when Saul was beginning to become noticed for his small hammered bronze sculptures of the working class. The two artists traveled through Europe during the early 1920s, Saul exhibiting his “Labor Series” in London and Paris before the couple’s daughter was born in New York in 1926.
Saul’s physically arduous technique of hammering sheets of copper related directly to his portraits of New York laborers. His exertion, evident in the works themselves, is reflected by his subjects. Saul was impeded by a studio fire in 1931 which destroyed all of his copper works in progress, though he was widely exhibited through the 1930s and 1940s.
Eugenie’s abstract paintings, which put color theory before form, borrowed from Expressionism. When she did include subjects, they were characterized as being “buried under a blanket of petals” so that the scenes shrunk into the background. She exhibited independently at the Artists Gallery, New York in 1938 and 1950, though she never sold a work. In 1948, the Baizermans exhibited together Saul’s monumental hammered work and Eugenie’s broadly painted colorful canvases at the Artists Gallery.
Eugenie died in 1949 and Saul’s health began to decline. His career in the 1950s was marked by high praise and honors. In 1953, the Walker Art Center, Minneapolis, organized his first retrospective. By the time Saul remarried in 1955, he had already withdrawn from his artistic work. When he died in 1957, he left behind a studio of large sculpture and a group of critics, collectors, and gallerists dedicated to his work, including Virginia Zabriskie and Joseph Hirshhorn. Though Eugenie remained an obscure artist, Krasner Galleries held a favorably received retrospective exhibition of her work in 1961 and Zabriskie Gallery exhibited her paintings from 1969 through 1988 and most recently in 2000.
Estimate
$1,500 – $2,500
Eugenie baizerman (1899-1949)
Enjoyment (Two Nudes).
Oil on canvas. 760x970 mm; 30x38 inches. Dated and indistinctly inscribed in oil, lower left recto, and signed, titled and dated ink, verso. 1926.
Estimate
$1,000 – $1,500
Carl sprinchorn (1887-1971)
Three brush and ink and wash drawings.
Box Holders, Carnegie Hall, New York. 330x270 mm; 13x10½ inches. Signed in ink, lower left recto and with a lithographed culinary illustration on the verso. Circa 1925-30 * Actor. 252x205 mm; 10x8 inches. Initialed and inscribed "213" in pen and ink, lower left recto and with a pen and ink sketch of a woman in a coat and muff, verso * Woman of Ancient Rome, with pencil. 167x105 mm; 6½x4 inches. Signed and initialed in pen and ink, lower edge recto and with pen and ink sketches of faces verso.
Provenance: (Box Holders, Carnegie Hall, New York) Passedoit Gallery, New York, 1930; (Actor and Woman of Ancient Rome) Kenneth Dickerson, The Little Gallery, New York, each with the ink stamp on the frame back.
Estimate
$1,500 – $2,500
Elie nadelman (1882-1946)
Standing Nude in Profile.
Pencil on tan wove paper. 265x195 mm; 10½x7⅝ inches. Circa 1920.
Provenance: Weyhe Gallery, New York; Robert Isaacson Gallery, New York; Allan Frumkin Gallery, New York.
Estimate
$2,000 – $3,000
Elie nadelman (1882-1946)
Standing Woman in Profile.
Pencil on thin wove paper. 280x215 mm; 11x8½ inches. Circa 1920.
Estimate
$1,500 – $2,500
Elie nadelman (1882-1946)
Head.
Bronze on marble base. 240 mm; 9½ inches (height, including base). Artist’s signature and “© 1965 AMR” incised on the lower edge of the portrait head. Circa 1925 (recast 1965).
Estimate
$3,000 – $5,000
Paul manship (1885-1966)
The Flight of Europa.
Bronze cast medallion. 140 mm; 5½ inches (diameter). Second state (of 3). With the artist's signature and date cast on the underside of the bull. 1919.
Provenance: Artist's estate.
Inspired by Titian's oil on canvas The Rape of Europa, 1559-1562, in the collection of the Isabella Stewart Gardner Museum, Boston.
Estimate
$700 – $1,000
Léon hartl (1889-1973)
Still Life with Grapes and Glass Bowl.
Oil on canvas. 405x515 mm; 16x20¼ inches. Signed and dated in oil, upper right recto. Signed, dated and annotated "Noir brisé sur Blanc" in oil, verso (obscured by restoration). 1921.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 82 (illustrated).
Hartl, born in Paris and trained as a master dyer, was admired by fellow artists for his untrained innate talent and sense of color. The artist Fairfield Porter (1907-1975) wrote admiringly of his career and technique in Art News in 1953, noting that Hartl drew directly with paint and never added medium to his pigments, only using turpentine for erasing. He told Porter, "Art is a feeling of things, not a description of them. When you are young you are sensual, later your exaltation is more spiritual."
When Hartl came to the United States in 1912, he turned to painting to assuage his homesickness. At first, he painted French flowers and birds from memory. Even his mature work was autobiographical of either his life in France or New York. Hartl used real-life references to inform his color choices (an apple and fallen leaves for a landscape scene) and usually worked on multiple paintings at once. Though his career spanned the Abstract movement in the United States, Hartl remained steadfast with representative art. In 1920, he exhibited in group shows at the New Gallery alongside Ernest Fiene (1894-1965), Arnold Friedman (1879-1946), Joseph Stella (1877-1946) and Carl Sprinchorn (1877-1971). He was represented by Juliana Force of the Whitney Studio Galleries (formerly Whitney Studio Club) from its formation in 1928 through its metamorphosis into the Whitney Museum in 1931. Hartl had numerous solo exhibitions in New York, with one at Zabriskie Gallery in 1967.
Estimate
$3,000 – $5,000
JOSEPH STELLA AND COLLAGE
Stella completed more than sixty-five collages during his career, using items like dirty paper, cigarette wrappers, theater tickets and leaves, all tremendously avant-garde for their time. They highlight each element’s tactility in a relatively unaltered state by the artist, allowing their natural decomposition and decay to show. They were not exhibited during Stella’s lifetime, and he spoke and wrote very little of them. Not until a selection was first exhibited at the Zabriskie Gallery in 1960-61 were they brought to the attention of the broader artistic community. The following year, Zabriskie Gallery lent two collage works by Stella for “The Art of Assemblage” travelling exhibition organized by the Museum of Modern Art, New York.
During his lifetime, Stella was primarily known for his Futurist works as well as his interest in Precisionism in the 1920s and 1930s. He started making these intimate, experimental and personal collages around 1918 and likely continued throughout his career. Joann Moser, in writing about Stella’s collages, has noted that they “. . . anticipated some of the more important developments in the medium over the past fifty years and represent some of the more significant and innovative achievements of his entire career (“The Collages of Joseph Stella: ‘Macchie/Macchine Naturali’,” American Art, Summer 1992, vol. 6, no. 3).
Joseph stella (1877-1946)
Untitled.
Paper collage. 140x125 mm; 5½x5 inches. Circa 1920-25.
Exhibited: "Joseph Stella: Paintings and Works on Paper," Pensler Galleries, Washington, D.C., Fall 1990, number 73 (illustrated), with the label on the frame back.
Zabriskie Gallery lent two collage works by Stella for "The Art of Assemblage" travelling exhibition organized by the Museum of Modern Art, New York, October 2, 1961- April 15, 1962.
Estimate
$1,500 – $2,500
Joseph stella (1877-1946)
Untitled.
Paper collage and oil on board. 293x225 mm; 11⅝x9 inches. Circa 1920.
Zabriskie Gallery lent two collage works by Stella for "The Art of Assemblage" travelling exhibition organized by the Museum of Modern Art, New York, October 2, 1961- April 15, 1962.
Estimate
$1,500 – $2,500
Joseph stella (1877-1946)
Leader Brand.
Paper collage and oil on board. 300x225 mm; 11¾x8⅞ inches. Circa 1920.
Exhibited: "Joseph Stella: Paintings and Works on Paper," Pensler Galleries, Washington, D.C., 1990, number 70 (illustrated), with the label on the frame back.
Zabriskie Gallery lent two collage works by Stella for "The Art of Assemblage" travelling exhibition organized by the Museum of Modern Art, New York, October 2, 1961- April 15, 1962.
Estimate
$2,000 – $3,000
Joseph stella (1877-1946)
Four Leaves.
Collage of leaves on paper. 248x98 mm; 9¾x3⅞ inches. Circa 1920.
Exhibited: "Joseph Stella: Paintings and Works on Paper," Pensler Galleries, Washington, D.C., Fall 1990, number 81; "Joseph Stella: Flora," Eaton Fine Art, Inc., West Palm Beach, January 9-March 6, 1998, with both labels on the frame back.
Zabriskie Gallery lent two collage works by Stella for "The Art of Assemblage" travelling exhibition organized by the Museum of Modern Art, New York, October 2, 1961- April 15, 1962.
Estimate
$1,500 – $2,500
Joseph stella (1877-1946)
Bathers.
Mixed media and oil on paper collage. 335x422 mm; 13⅛x15⅝ inches. Circa 1925-30.
The oil on paper was made by Louis Michel Eilshemius (1964-1941) around 1920-21 and appropriated by Stella for this collage.
Exhibited: "Joseph Stella: Paintings and Works on Paper," Pensler Galleries, Washington, D.C., Fall 1990, number 83, with the label on the frame back.
Zabriskie Gallery lent two collage works by Stella for "The Art of Assemblage" travelling exhibition organized by the Museum of Modern Art, New York, October 2, 1961- April 15, 1962.
Estimate
$1,500 – $2,500
Joseph stella (1877-1946)
Chaussette.
Watercolor on paper and mixed media collage. 390x245 mm; 15¼x9¾ inches. Circa 1930s.
Exhibited: "Joseph Stella: Paintings and Works on Paper," Pensler Galleries, Washington, D.C., Fall 1990, number 72, with the label on the frame back.
Zabriskie Gallery lent two collage works by Stella for "The Art of Assemblage" travelling exhibition organized by the Museum of Modern Art, New York, October 2, 1961- April 15, 1962.
Estimate
$2,000 – $3,000
Joseph stella (1877-1946)
Two portrait drawings.
Man in Hat, pencil on cream wove paper. 108x95 mm; 4¼x3¾ inches. Signed in pencil, lower left recto * Man in Profile, color pencil on cream wove paper mounted on cardstock. 235x185 mm; 9¼x7¼ inches. Signed in pencil, lower right. Both circa 1910.
Estimate
$800 – $1,200
JOHN GRAHAM
Graham’s significant, influential career of four decades was marked by reinvention and a commitment to his vision of the endless possibilities of American Art.
Born Ivan Dabrowsky in Kiev, Graham was a law student and a czarist soldier in the 1917 revolution. After imprisonment and the downfall of Nicholas II, Graham left Russia and arrived in the United States in 1920. Though it is unclear if he showed artistic inclination in Russia, Graham recreated himself as an art student in New York. He attended the Art Students League from 1922 to 1924, where he studied under John Sloan (1871-1951). In a meteoric rise to recognition, Graham’s first solo museum exhibition was organized by Duncan Philips in 1929.
Like many early career artists, Graham traveled to Paris (his work would later be exhibited at Galerie Zabriskie, Paris) and he came under the influence of the Surrealists and their psychoanalytical approach, however he remained dedicated to his mission of creating a new American Art. Along with Stuart Davis (1892-1964) and Arshile Gorky (1904-1948), Graham would provide a foundation for American Modernism and would be sought out by a new generation of the New York School (his watershed 1937 treatise, System and Dialectics of Art had advanced the Abstract Expressionist movement).
During the 1940s, Graham departed from his post-Cubist style, and adopted a new loosened, abstract style. At this time, he served as a mentor to younger artists such as Jackson Pollock, Willem de Kooning and Arshile Gorky, whose works would shape the Abstract Expressionist movement. Graham was also considered influential to Lee Krasner, David Smith, Dorothy Dehner, and Mark Rothko.
In his mature career, he found inspiration in Old Master works and he approached his canvases with a measure of dignity and mysticism. His portraits are powerful, standing out boldly from their flattened back drops. Simultaneously, Graham conveyed a delicate luminosity and vulnerability; his sitters’ askew eyes act to ground the figure in a plane between fantasy and reality. This merging of worlds characterizes not only Graham’s work but also his storied, monumental life.
John graham (1886-1961)
Two color crayon portrait drawings.
Poet Armand. Signed and titled in crayon and pencil, upper left recto * Erskine (sculptor). Titled in pencil, upper left recto. With a pencil drawing of a man in profile, verso. Both 268x205 mm; 10¾x8¼ inches. Both circa 1934-35.
Estimate
$2,000 – $3,000
John graham (1886-1961)
Two color pencil portrait drawings.
Adolf Basler * Judge Wells, with crosshatching in pen and ink, left recto. Titled in pencil, upper left recto. Both on beige sketch paper. Both 270x210 mm; 10⅝x8¼ inches. Both circa 1934-35.
Adolphe Basler (1876-1951) was a Paris-based critic and art dealer who discovered and promoted the work of emerging artists in the vibrant and cosmopolitan artistic scene of Montparnasse in the 1910s and 1920s.
Estimate
$2,000 – $3,000
John graham (1886-1961)
Sketchbook with approximately 40 drawings.
Spiral-bound sketchbook with approximately 40 pencil, crayon or pen and ink drawings. 270x210 mm; 10½x8¼ inches. Signed, dated “1960” and inscribed in ink on the front cover. With a pen and ink and crayon portrait of the artist David Burliuk on the front cover and a color crayon portrait of the artist Paul Manship on the rear cover. Circa 1930s-40s.
The drawings in this sketchbook appear to date from the 1930s, when Graham was making work in the abstract, post-Cubist style of Pablo Picasso (1881-1973), to the 1940s, when his abstract style (there are several pencil drawings in the sketchbook of loosely rendered landscapes over which the artist has scrawled abstract color crayon lines) became a strong influence on Abstract Expressionist artists who he counted among his friends and acquaintances, such as Willem de Kooning (1904-1997), Jackson Pollock (1912-1956), Lee Krasner (1908-1984), Mark Rothko (1903-1970) and David Smith (1906-1965), in addition to stylized portraits of artists and other figures he sketched in New York and Paris during the 1930s-40s, including the portraits of David Burliuk (1882-1967) and Paul Manship (1885-1966) on the covers.
Estimate
$5,000 – $8,000
Yasuo kuniyoshi (1889-1953)
Girl and Boy.
Pencil on paper. 280x215 mm; 11x8½ inches. Signed “Yasuo Kuniyoshi (by S.M.K.)” by Sara M. Kuniyoshi, the artist’s wife, in pencil, lower right recto. Circa 1920s.
Provenance: Artist’s estate, New York; thence to Sara M. Kuniyoshi, Woodstock, until 1986.
Reproduced in Yasuo Kuniyoshi papers, 1906-2016, bulk 1920-1990. Archives of American Art, Smithsonian Institution, Box 5, folder 19.
With— Circus Performer Balanced on a Ball, lithograph. 359x260 mm; 14⅛x10¼inches, full margins. Edition of 100. Printed by George Miller, New York. 1930.
Davis 49.
Estimate
$1,000 – $1,500
KATHERINE SHUBERT-KUNIYOSHI SCHMIDT
Schmidt began her training at the Art Students League in New York, where she met her husband Yasuo Kuniyoshi (1889-1953). Throughout the 1920s, she received critical praise for her still lifes, landscapes and portrayals of New York urban life, exhibiting frequently at prominent, modern New York galleries such as the Downtown Gallery, the Daniel Gallery and the Whitney Studio Club (of which she was a founding member and where she had her first solo exhibition in 1923). She became dissatisfied with her work from around 1939 until 1960, producing less though still participating in group exhibitions, when a crumpled paper towel on a table inspired her to explore the motif of dead leaves and discarded paper, the style of which approached “magical realism.” She is known for her impeccable technique and her elevation of everyday, overlooked subjects.
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Snake in the Grass.
Oil on canvas. 640x760 mm; 25¼x30 inches. Circa 1920.
Estimate
$800 – $1,200
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Still Life # 16 (Brioche and Petit Pain).
Oil on canvas. 455x595 mm; 23½x17¾ inches. Signed in oil, lower left recto, and signed in oil and titled in pencil on the stretcher, verso. Circa 1930.
Provenance: Daniel Gallery, New York, with the label on the frame back.
Exhibited: "Charles Daniel and the Daniel Gallery 1913-1932," Zabriskie Gallery, New York, December 22, 1993-February 19, 1994, number 42, with the label on the frame back.
Estimate
$1,500 – $2,500
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Study of a Brown Paper Bag.
Oil on canvas board. 403x305 mm; 15⅞x12 inches. Circa 1960.
Estimate
$800 – $1,200
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Two drawings.
Portrait of a Woman, color pastels and pencil on tan laid paper. 330x248 mm; 13x9¾ inches * Leaf Study, carbon pencil and white chalk on blue laid paper. 482x315 mm; 19x12½ inches. Signed in pencil, upper left recto. Circa 1960.
Estimate
$800 – $1,200
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Two figure studies.
Woman in a Chair, pencil on wove paper. 285x195 mm; 11⅛x7¾ inches. Initialed and dated in pencil, lower right recto. 1935 * Man in a Raincoat, oil and pencil on canvas board. 355x255 mm; 14x10 inches. Signed in oil, lower center recto. Circa 1940.
Estimate
$800 – $1,200
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Two drawings of women.
Woman with a Shopping Bag, pencil on cream wove paper. 427x352 mm; 16⅞x13¾ inches. Signed and dated in pencil, lower right recto. 1955 * Young Woman in Profile, charcoal and white heightening on tan laid paper. 326x252 mm; 13x10 inches. Signed in pencil, upper left recto.
Estimate
$700 – $1,000
Katherine Shubert-Kuniyoshi Schmidt (1899-1978)
Two pen and ink drawings.
Farm of the Back Road, Provincetown. 230x305 mm; 9x12⅛ inches. Initialed and dated in ink, lower right recto, and titled in pencil, verso * Landscape with Farm Equipment. 280x390 mm; 11x15¼ inches. Initialed and dated in ink, lower left recto. Both 1935.
Estimate
$700 – $1,000
Konrad cramer (1888-1963)
Two drawings.
Garage, pen and ink on cream wove paper. 165x255 mm; 6½x10 inches (folded). With an ink drawing of a nude figure in the interior fold. Inscribed “Ink drawings by my father, Konrad Cramer, c. 1930” by the artist’s daughter. Circa 1930 * Rural Landscape with a House, charcoal on ivory laid paper. 240x350 mm; 9½x13¾ inches. Inscribed “Drawing by Konrad Cramer” by the artist’s daughter in pencil and with the artist’s ink stamp, verso. Circa 1930.
Provenance: Artist’s estate, New York.
Estimate
$1,000 – $1,500
Berenice abbott (1898-1991)
Cherry Street, NYC.
Silver print, the image measuring 120.7x171.5 mm; 4¾x6¾ inches, the sheet slightly larger, with Abbott’s credit, title, and notation, in pencil, and a Gamma Agency, Inc. label, on verso. Circa 1935; printed circa 1960.
Estimate
$2,000 – $3,000
Berenice abbott (1898-1991)
Washington Arch, Looking Up 5th Avenue, Greenwich Village, NYC.
Silver print, the image measuring 235x190.5 mm; 9¼x7½ inches, with Abbott's 50 Commerce Street, Gamma Picture Agency, and Gamma hand stamps, and a Gamma Agency, Inc. label, on verso. Circa 1945.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 183 (illustrated).
Estimate
$4,000 – $6,000
Berenice abbott (1898-1991)
Pierre Mac Orlan.
Silver print, the image measuring 114.3x82.55 mm; 4½x3¼ inches, with a Berenice Abbott Photograph hand stamp and the title, in pencil, on verso. 1925-30.
An exhibition of Abbott’s photographs titled “Berenice Abbott: Portraits from the Twenties” was held at Galerie Zabriskie, May 22-June 30, 1979.
Mac Orlan (1882-1970) was a French novelist and songwriter as well as a noted figure in bohemian art circles in Paris during the 1910s and 1920s.
Estimate
$1,200 – $1,800
Edward weston (1886-1958) / cole weston (1919-2003)
China Cove.
Silver print, the image measuring 190.5x241.3 mm; 7½x9½ inches, the mount 330.2x381 mm; 13x15 inches, with the Negative by Edward Weston hand stamp with Cole Weston’s signature, in pencil, and the title, date, and negative number, also in pencil, on mount verso. 1938; printed 1980s.
Estimate
$1,000 – $1,500
Raphael soyer (1899-1987)
Rooftops in Cape Cod.
Watercolor and pencil on cream wove paper. 232x283 mm; 9⅛x11⅛ inches. Signed in ink, lower left recto. Circa 1925-30.
Soyer was born in Russia and immigrated to New York at the age of twelve. He studied at Cooper Union, the National Academy of Design and with Guy Pène du Bois (1884-1958) at the Art Students League. He is known as a Social Realist, depicting the daily struggles of those living in New York City. His chosen subject matter became especially poignant at the onset of the Great Depression, and, after he began to exhibit his work in the late 1920s, he cemented his reputation among the top realist painters of the 20th century.
His time spent at Cape Cod, however, reveals a different side of the artist. He traveled there throughout his life where he visited friends, including Edward Hopper (1882-1967), and his visits allowed him to experiment with pure landscape scenes. These works diverge from his figural, social realist work and show a colorful and modern approach to depicting the vivid New England scenery.
Estimate
$2,000 – $3,000
George c. ault (1891-1948)
Landscape with Tall Tree.
Watercolor on paper. 354x173 mm; 14x6¾ inches. Initialed and dated in pencil, lower right recto. 1931.
Estimate
$1,500 – $2,500
George c. ault (1891-1948)
Kitchen Table.
Pencil on cream wove paper. 380x255 mm; 15x10 inches. Signed and dated in pencil, lower right recto, and signed, titled and dated in pencil, verso. 1931.
Estimate
$2,000 – $3,000
Konrad cramer (1888-1963)
Interior with a Stove.
Pencil on cream wove paper. 280x215 mm; 11x8½ inches. Circa 1930.
Estimate
$1,000 – $1,500
Wood gaylor (1884-1957)
Three watercolors.
Chickens, Woodstock. 232x305 mm; 9⅛x12 inches. Signed and inscribed “Woodstock—1920” in pencil, lower right recto. 1920 * Standing Woman. 302x225 mm; 12x8⅞ inches. Signed in pencil and with the artist’s ink stamp, recto. With an additional figure study in pencil, verso * Sunflower. 365x275 mm; 14½x10⅞ inches. Signed in pencil, lower right recto.
Provenance: Artist’s estate, New York.
Estimate
$1,500 – $2,500
Wood gaylor (1884-1957)
Three watercolors.
Woman Opening a Door. 455x302 mm; 18x12 inches. Signed, dated and inscribed in pencil, lower right recto. 1931 * Bena Frank (Mrs. Ralph Mayer). 363x280 mm; 14¼x11 inches. Signed and inscribed in pencil, lower center recto, titled in pencil, verso * Woman with a Pink Coat. 210x158 mm; 8¼x6¼ inches. Inscribed “Wood Gaylor” and signed by the artist’s wife, Adelaide Lawson Gaylor in pencil, lower right.
Estimate
$1,200 – $1,800
EMILE BRANCHARD
Branchard was born in Greenwich Village and lived in a boarding house in the area that was run by his mother and catered to artists. Before becoming an artist, he worked as a stevedore, truck driver, and policeman on the Home Defense Fund during World War I. He contracted tuberculosis early in his career, and confined to his home for long periods, began to paint. A self-taught artist, his only exposure to art had been during his childhood when he used to watch his stepfather paint. A fellow boarder saw Branchard’s work and helped get his paintings into the “Society of Independent Artists Exhibition” of 1919 where they were appreciated by the critic and art dealer Stephan Bourgeois. This led to further exhibitions, including at the Marie Harriman Gallery and The MoMA’s “Masters of Popular Painting” show in 1938. His style, marked by flat forms with subtle, undulating contours, recalls Symbolist abstraction and the Precisionist artists working in New York during the 1920s and 1930s.
Emile branchard (1881-1938)
At the Lake.
Oil on canvas. 915x610 mm; 36x24 inches. Signed in oil, lower left recto. Circa 1930-37.
Exhibited: Beth Urdang Gallery, Wellesley, Massachusetts, with the label on the frame back.
Estimate
$3,000 – $5,000
Emile branchard (1881-1938)
The Old Barn.
Oil on canvas. 605x910 inches; 24x36 inches. Signed in oil, lower left recto. Circa 1930-40.
Estimate
$2,000 – $3,000
Emile branchard (1881-1938)
Mountain Landscape.
Oil on board, double-sided. 235x333 mm; 9¼x13 inches. Circa 1930.
Estimate
$1,000 – $1,500
Emile branchard (1881-1938)
Mother and Child.
Oil on canvas. 640x455 mm; 24x18 inches. Signed in oil, lower left recto. Circa 1930-40.
Estimate
$1,200 – $1,800
ARNOLD FRIEDMAN
Friedman was born in Corona, Queens and worked at the post office while painting on the weekends and in the evenings. While maintaining his full-time job to support his family, he developed his art career, first taking classes at the Art Students League in 1905 under Robert Henri (1865-1929) and Kenneth Hayes Miller (1876-1952) and then, in 1909, taking a leave of absence from his job to go to Paris where he was introduced to Impressionism and burgeoning modern art movements such as Cubism. His style evolved throughout his career, but he maintained his focus on color and nature, paying tribute to Impressionism, particularly Camille Pissarro (1820-1903). He did not dedicate himself full-time to art until 1933 when he was 59 years old.
Arnold friedman (1879-1946)
Two watercolors.
Nudes in a Landscape, with pen and ink on card. 240x340 mm; 9½x13¼ inches * Nude Group in a Landscape, with pen and ink and heightening in gouache on the verso of the printed cover for the Marie Harriman Gallery, New York exhibition "Poésies de Stéphane Mallarmé. Eaux-fortes originales de Henri Matisse." 205x255 mm; 8x10 inches. Both dated and inscribed "Original watercolor by Arnold Friedman," by Elizabeth Friedman, the artist's daughter, in pencil, verso. Both circa 1934.
With— Figure Study, conté crayon on cream wove paper, folded. With an additional figure study of dancers in the centerfold. Circa 1930.
Provenance: (the first two works) Artist's estate, New York.
Estimate
$1,000 – $1,500
Arnold friedman (1879-1946)
Three watercolors.
Flushing Bay I * Flushing Bay II. Circa 1936 * Afternoon, New York. Circa 1938. Each 267x362 mm; 11¼x14¼ inches. Each dated and inscribed "Original watercolor by Arnold Friedman," by Elizabeth Friedman, the artist's daughter, in pencil, verso.
Provenance: Artist's estate, New York.
Estimate
$1,500 – $2,500
Arnold friedman (1879-1946)
Industrial Landscape on a River.
Color pastels and pencil on tan card stock. 300x410 mm; 11¾x16⅛ inches. Inscribed "Original drawing c 1935/by Arnold Friedman" by Elizabeth Friedman, the artist's daughter, in pencil, verso. Circa 1935.
Provenance: Artist's estate, New York.
Estimate
$1,000 – $1,500
Arnold friedman (1879-1946)
Coastal Landscape with a Red Boat.
Watercolor on cream wove paper. 300x380 mm; 12x15 inches. Signed in pencil, lower right recto. Circa 1925-30.
Estimate
$1,000 – $1,500
Arnold friedman (1879-1946)
Wooded Hillside.
Oil on canvas. 610x475 mm; 24x18¾ inches. Signed in oil, lower left. Circa 1945.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 89 (illustrated).
Estimate
$5,000 – $8,000
TURKU TRAJAN
Trajan was born in Hungary and moved to New York at age 21, where he remained for his entire career. Though he earned his living as a cook and baker, his passion was for art, and he pursued both painting and sculpture actively. He had his first solo exhibition in 1944 in New York and was exhibited frequently at Zabriskie Gallery. His richly-colored, thickly-impastoed oils show the influence of Post Impressionist movements including Fauvism and Expressionism. Despite having little commercial success throughout his career, Trajan’s work was supported fervently by Virginia Zabriskie, going against popular currents as she frequently did, and he thereby became an important influence on the new generation of New York abstract artists.
Turku trajan (1887-1959)
Three abstract oils on canvas.
Each 305x408 mm; 12x16 inches; or 408x305 mm; 12x16 inches. Each mounted on board. Each with artist's catalogue number stamp recto and verso. Each circa 1920-30.
Provenance: Artist's estate.
Estimate
$1,000 – $1,500
Turku trajan (1887-1959)
Three oils on canvas board.
Brooklyn Bridge. 305x408 mm; 16x12 inches * Abstract Cityscape * Abstract Composition. Both 408x305 mm; 16x12 inches. Each with artist's catalogue number stamp recto and verso. Each circa 1920-30.
Estimate
$1,000 – $1,500
VIRGINIA ZABRISKIE AND PHOTOGRAPHY
Virginia Zabriskie’s groundbreaking contributions to the photography market stemmed from her distinctive sensibilities and audacious spirit. Beginning with a trove of Alfred Stieglitz photogravures she discovered, Zabriskie began to consider the ways in which photography was marketed and exhibited, and how growing commercial interest in the medium related to its classification as an art form. The result was both innovative exhibitions that juxtaposed and corresponded photography to other mediums and photo-centric shows that brought both historical and modern material to public in innovative and dynamic ways.
Perhaps most interestingly, Zabriskie’s program established a connection between sculpture and photography, likening their sense of reality, depiction of three-dimensional space, and subject matter. One of her notable, early shows that included photography titled Sculpture: A Photographer’s Vision, shown in 1977, paired Mary Frank with Jerry Thompson, Brancusi with Brancusi, Rodin with Steichen, and Gaston Lachaise with Paul Strand. The exhibition drew connections between form, line, space, and movement and helped establish the gallery as a serious authority in the medium of photography.
In 1977, Zabriskie’s association with photography grew further significant with her opening of Galerie Zabriskie in Paris. At Galerie Zabriskie, Virginia endeavored to introduce photography as a significant art form to the European market. Due to the gallery’s low ceilings and small square footage, the space naturally lent itself to photographic exhibitions, and for the first few years of Galerie Zabriskie photographic shows were the only exhibitions mounted. Her attention to the conceptual and research aspects of the program promptly made Galerie Zabriskie one of the most important photography galleries in Europe at the time. The space became a Parisian sanctuary for individuals who were serious about practicing, curating, and collecting photography. The popular openings often attracted a crowd that would spill out onto the streets, and many principal minds of the medium had their first encounter at Galerie Zabriskie. Perhaps the most important consequence of those introductions was the melding of American and French photographers.
One of Galerie Zabriskie’s goals was to introduce both contemporary and historical American photography to the French and vice versa. By the closing of Galerie Zabriskie in 1998, Virginia had introduced 26 American photographers to the European market by giving them their first international exhibition. Of those artists were historical names such as Berenice Abbott, Diane Arbus, Lee Friedlander, Robert Frank, Walker Evans, Alfred Stieglitz, and more. Zabriskie performed the same exchange for French photographers in New York. Laure Albin-Guillot, Brassaï, Georges Hugnet, Claude Cahun, Francois Kollar, and more, all had their first American exposure at the Zabriskie Gallery. She was the first gallerist to exhibit Eugène Atget’s work in a commercial setting in France; the show paired Atget’s albumen prints of Paris with Berenice Abbott’s New York cityscapes. Zabriskie’s talent for research, impeccable curatorial skills, and a discerning eye lead to museum quality exhibitions that spurred new conversations and ideas across the Atlantic.
Virginia Zabriskie changed the way we perceive and understand 20th-century photography. She introduced new photographers to the market, explored trans-Atlantic connections, and related the medium to a broader art historical cannon. With immense energy and care Virginia Zabriskie and her galleries played a major role in the expansion of the photography market and collector base.
- Virginia Zabriskie in front of Galerie Zabriskie, Paris, chromogenic print, circa 1980. Courtesy the Estate of Virginia Zabriskie.
- Paul Maurer, Brassai and Harry Callahan at Galerie Zabriskie, Paris, silver print, 1978.
Ilse bing (1899-1998)
Tours, France.
Silver print, the image measuring 285.8x196.9 mm; 11¼x7¾ inches, the mount 419.1x349.3 mm; 16½x13¾ inches, with Bing's signature and date, in white ink, on print recto, her title and date, in pencil, on mount recto, and her signature, title, dates, and inscriptions "To Virginia as a token of my affection" and "this photo was taken on my first excursion with Konrad," in pencil, on mount verso. 1935.
Bing was first exhibited by Zabriskie Gallery in simultaneous group exhibitions held in New York and Paris in December 1979, and she had a solo exhibition of her photographs at Galerie Zabriskie, Paris in May-July 1981.
Ilse Bing, a self-taught photographer, acquired a Leica camera in 1929, just three years after its introduction to the market. She became known as "Queen of the Leica" in Paris, her adopted home, where she roamed the streets and experimented with composition, technique, and printing, establishing herself alongside other avant-garde artists. Bing said, “It was a time of exploration and discovery ... We wanted to show what the camera could do that no brush could do, and we broke every rule. We photographed into the light—even photographed the light, used distorted perspective, and showed movement as a blur. What we photographed was new, too—torn paper, dead leaves, puddles in the street—people thought it was garbage! But going against the rules opened the doors to new possibilities.” Bing gifted this print to Zabriskie, noting her early excursion with Konrad Wolff, the pianist and musicologist who would become her husband.
Estimate
$2,500 – $3,500
Brassaï (1899-1984)
Self Portrait.
Silver print, the image measuring 304.8x228.6 mm; 12x9 inches, with Brassaï’s signature (twice), dates, inscription, and numeric notation, in pencil, and his 81, Faubourg St-Jacques copyright hand stamp, on verso. 1932; printed 1981.
An exhibition of Brassaï’s work entitled “Brassaï: Celebrations: Photographs” was held at Zabriskie Gallery, New York, September 13-October 6, 1984.
Estimate
$4,000 – $6,000
Brassaï (1899-1984)
Un Fiacre devant le Café Le Dome, Montparnasse.
Silver print, the image measuring 228.6x177.8 mm; 9x7 inches, with his Photo Brassai/Gyula Halasz/74, rue de la Glacière hand stamp, on verso. 1931-32.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 194 (illustrated).
Estimate
$5,000 – $8,000
Brassaï (1899-1984)
Le Désir * Loctudy.
Together, 2 silver prints, the images measuring 292.1x228.6 and 158.8x114.3 mm; 11½x9 and 6¼x4½ inches, the former with the sheet slightly larger and Brassaï’s signature, in ink, on recto, and the latter with Gilberte Brassaï’s inscription “Pour Virginia,” in pencil, on verso, each with his 81, Faubourg St-Jacques copyright hand stamp and the title, date, and various numeric notations, in pencil or ink, on verso. 1935-36 and 1953; printed circa 1980.
Estimate
$1,500 – $2,500
Brassaï (1899-1984)
Matisse, Sketching.
Silver print, the image measuring 292.1228.6 mm; 11½x9 inches. 1944.
Hommage. Dessins de Matisse. With text by André Rouveyre and Paul Éluard and a frontispiece by Leonor Fini. Illustrated with reproductions of Matisse’s drawings. Small folio, printed green wrappers; contents loose as issued. ONE OF 1000 COPIES ISSUED WITH AN ORIGINAL PHOTOGRAPH OF MATISSE.
(Monaco): Hommage, 1944.
Portraits of artists by Brassaï were included in a group exhibition entitled “Arists by Artists – Photographs” at Zabriskie Gallery, New York, December 2-January 3, 1976.
Estimate
$1,000 – $1,500
Albert eugene gallatin (1881-1952)
Henri Matisse, Nice.
Silver print, the image measuring 254x203.2 mm; 10x8 inches, the sheet 406.4x330.2 mm; 16x13 inches, with Gallatin’s signature, location Nice, and date, in ink, on mount recto, and the sitter’s credit, in pencil, on verso. 1932.
Provenance: Artist’s estate.
Gallatin was an important critic, art collector and painter. He made frequent trips to Paris where he visited and purchased work from iconic avant-garde artists of the period, including Matisse, Picasso and Cézanne. He exhibited his works publicly in New York, eventually opening NYU’s Gallery of Living Art (1927-1942), which was the first institution in the United States to exhibit works by Pablo Picasso (1881-1973), Fernand Léger (1881-1955), Joan Miró (1893-1983) and their avant-garde contemporaries.
Estimate
$1,000 – $1,500
Émile savitry (1903-1967)
Brassaï.
Silver print, the image measuring 336.6x279.4 mm; 13¼x11 inches, with Savitry’s copyright hand stamp and his credit, in pencil, on verso. 1935.
Estimate
$500 – $750
Julio gonzález (1876-1942)
Paysanne à la Sarcle.
Watercolor, pen and ink and crayon on thin cream wove paper. 145x105 mm; 5¾x4 inches. Inscribed “‘Paysanne à la Sarcle’/crayon noir plume et aquarelle vers 1930-35/Dessin de Julio Gonzalez” by Roberta González, the artist’s daughter, in ink, verso. Circa 1930-35.
Published: Josette Gibert, Julio González, 1975, volume 9, page 200.
Estimate
$3,000 – $5,000
Jacques villon (1875-1963)
Nature Morte.
Oil on panel. 155x122 mm; 6⅛x4¾ inches. Signed and dated in oil, lower left recto. 1926.
Estimate
$3,000 – $5,000
FRANÇOIS KOLLAR
François Kollar, a native of Hungary, established a gallery in Paris in 1930. He began his career in advertising and fashion, photographing famous models and creating ads for iconic fashion lines, most notably in Harper’s Bazaar. His first model was his wife, who worked closely with him throughout his life. Kollar, who had early experience working in factory and industrial settings, also became well-known as a master of industrial reportage. His imagery examined the changing nature of work during the transitional early 20th century, representing in expressive and modern compositions the changing landscape and the place of the individual. All of Kollar’s compositions demonstrate his deft treatment of light and texture, and feature numerous modern techniques, including abstracted lighting, superimosition, double exposures and solarization.
François kollar (1904-1979)
Lilas Blanc.
Silver print, the image measuring 495.3x393.7 mm; 19½x15½ inches, the mount 584.7x431.8 mm; 23x17 inches, with Kollar's signature and date, in ink, and his title, in pencil, on mount recto, and his Photo Kollar hand stamp and notation "Photo Unique," in ink, on mount verso. 1932.
Estimate
$1,500 – $2,500
François kollar (1904-1979)
Hands and Brooch.
Silver print, the image measuring 276.2x165.1 mm; 10⅞x6½ inches, with Kollar's signature, publication name, and date, in ink, and his credit and reproduction hand stamps, on verso. 1936.
Exhibited: Zabriskie Gallery, New York, July 14-September 18, 1993.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 146 (illustrated).
Estimate
$1,500 – $2,500
Roger parry (1905-1977) & fabian loris (1906-1979)
Banalité.
Text by Léon-Paul Fargue. Illustrated with 16 photogravures after Parry’s photographs, utilizing multiple exposure, photogram, photomontage, solarization, and negative print. Folio, printed cream dust jacket over wrappers. Parr/Badger I 101; Auer 156. ONE OF 332 NUMBERED COPIES ON HOLLANDE PANNEKOEK PAPER, SIGNED BY PARRY.
Paris: Éditions de la Nouvelle Revue Française, (1930).
Estimate
$2,000 – $3,000
Albert Renger-Patzsch (1897-1966)
Amphitheater.
Silver print, the image measuring 171.5x228.6 mm; 6¾x9 inches, with Renger-Patzsch's very faint hand stamp and numeric notation, in pencil, on verso. Circa 1935.
Albert Renger-Patzsch was a practitioner and advocate of the Neue Sachlichkeit (New Objectivity) movement in Germany, which aimed to depict the world in a frank, objective manner. His photographs of landscapes and industrial studies intended to capture the essence of the object through his texturally detailed and realistic style.
Estimate
$1,500 – $2,500
Albert Renger-Patzsch (1897-1966)
A group of 5 industrial studies.
Silver prints, four images measuring approximately 171.5x228.6 mm; 6¾x9 inches, and the reverse, one measuring 171.5x127 mm; 6¾x5 inches, each with a Renger-Patzsch or Renger-Foto hand stamp and numeric notation, in pencil, one with an Ingelstadt hand stamp, and one with a Nur Fur Werkgebrauch and Schubert & Salzer hand stamp, on verso. Circa 1940s-60s.
Estimate
$3,000 – $5,000
George l. k. morris (1905-1975)
Composition #9.
Oil on canvas. 360x250 mm; 14⅛x9⅞ inches. Signed in oil, lower right recto and signed, titled and dated in oil, verso. 1936.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 86 (illustrated).
Morris was born in New York into a prominent family (he was a direct descendant of Lewis Morris, a signed of the United States Declaration of Independence). He attended Yale University and studied with John Sloan (1871-1951) and Kenneth Hayes Miller (1876-1952) at the Art Students League of New York in 1928-29. In 1929, he traveled to Paris where he studied with Fernand Léger (1881-1955) and Amédée Ozenfant (1866-1966) and devoted himself to abstract art. He practiced his own form of Cubism, which was steadfast throughout his career even as Expressionism became the preferred form of abstraction. He also advocated for the recognition of an American abstract art, relaunching the Partisan Review (of which he was an editor and contributed as a writer) and was a founding member of the American Abstract Artists, acting as its president in the 1940s.
Estimate
$30,000 – $50,000
BALCOMB AND GERTRUDE GREENE
Balcomb (1904-1990) and Gertrude Greene (1904-1956) were among the earliest American artists to produce abstract art, creating experimental, non-objective works in the 1930s. Balcomb began his career studying and teaching psychology, while Gertrude focused her early studies on sculpture at the Leonardo da Vinci School in New York. When the couple married in 1926, they moved to Vienna where Balcomb continued his studies in psychology before moving to New Hampshire for three years when Balcomb was hired by Dartmouth. After his tenure at the university, Balcomb recognized his true passion was painting and in 1931 he went to Paris to study at the Academie de la Grande Chaumière. During this time, Gertrude was committed to her work as a sculptor and was inspired by abstract movements such as Constructivism and Neo-plasticism.
Both artists produced and championed abstract art in their artistic output as well as through activism, particularly during the 1930s. Gertrude continued her three-dimensional work through the 1930s to the mid-1940s before pivoting to painting for the remainder of her career. Balcomb focused on non-objective art through the 1940s before reintroducing the figure into his work later in his career. They were founding members of the American Abstract Artists group when it was formed in 1937. Gertrude was its first paid employee, working the desk at the Squibb Gallery exhibition in 1937 (the organization’s first yearly show), and Balcomb was its first chairman. Its mission was to gain acceptance of abstract art within the mainstream artistic communities. In addition to its group exhibitions, the Greenes along with other members took a more active approach and routinely picketed art museums that did not feature abstract art.
Balcomb greene (1904-1990)
Untitled.
Collage. 225x305 mm; 8⅞x11⅞ inches. Signed and dated "38 C2" in pencil, lower right recto. 1938.
Estimate
$2,000 – $3,000
Gertrude greene (1904-1956)
Untitled.
Paper collage. 178x153 mm; 7x6 inches. Signed, dated inscribed "22" in pencil, lower right recto. 1939.
Another collage version of this composition by Greene sold at Christie's, New York, January 14, 2009, lot 397.
Estimate
$3,000 – $5,000
THEODORE ROSZAK
Theodore Roszak was a Polish-born American artist who experimented in several mediums including photography, sculpture, painting, and print making throughout his career. During a fellowship in Prague, Roszak was introduced to the aesthetics and ideology of Constructivism. He explored the Constructivist movement mainly through three-dimensional structures created from plaster, metal, and wood. Roszak was first introduced to the practice of photography in the 1930s when he began photographing his sculptural work in the studio. Inspired by Moholy-Nagy, Roszak quickly began experimenting with photograms and incorporated his constructivist style into his photographic compositions. Virginia Zabriskie was drawn to artists who could successfully demonstrate the link between sculpture and photography and the similarity of their depiction of formal compositional elements. Zabriskie was an early supporter of Roszak’s career and continued to work extensively with the Theodore Roszak Estate.
Theodore roszak (1907-1981)
Untitled photogram.
Silver print, the image measuring 254x203.2 mm; 10x8 inches, with Sara Jane Roszak's initials and credit "Theodore Roszak," in pencil, on verso. 1937-41.
Provenance: Artist's estate.
An exhibition of Theodore Roszak titled "Theodore Roszak: Photograms" was held at Zabriskie Gallery, New York from October 9-November 10, 1984. He was also exhibited in Paris in 1986, which coincided with a book published by Zabriskie Editions.
Estimate
$1,200 – $1,800
Theodore roszak (1907-1981)
Studies for Constructions.
Pencil on graph paper. 210x275 mm; 8⅜x10¾ inches. Annotated, signed and dated in pencil, recto, and signed, dated and inscribed "N.Y.C." in pencil, verso. 1933.
Provenance: Artist's estate.
Multiple studies on a single sheet for an unidentified Construction and likely Involution (White Construction), the latter 1932-33, plaster, wood, enamel and fiberglass, held by the Theodore Roszak Estate, New York.
Estimate
$1,500 – $2,500
Sidney geist (1914-2005)
Untitled.
Painted balsa wood and wire on a wooden base. 470 mm; 18½ inches (height including base). Signed in ink on the underside. Circa 1940.
Geist was known as a sculptor and a leading authority on the work of Romanian sculptor Constantin Brancusi (1876-1957). He was born in Paterson, New Jersey and studied at St. Stephen’s College (now Bard College) in Annandale-on-Hudson, New York. In 1931, he started an apprenticeship with Paul Fiene (1899-1949), which lasted several years. He also worked with William Zorach (1889-1966) at the Art Students League of New York and studied in Paris at the Academie de la Grande Chaumière with the sculptor Ossip Zadkine (1890-1967).
While he never identified with a particular style or movement, he found inspiration in Indigenous carvings of the Pacific Northwest, American folk art and American and European modern art movements. His sculptures depicted abstract and figural totems as well as robust female forms, and he worked with natural materials such as wood, stone and clay, eschewing machinery. He also worked in two dimensions, creating collages, paintings and works on paper. He was an accomplished writer, publishing extensively on Brancusi, among other artists, and taught at several institutions, including the University of California, Berkeley, Pratt Institute and Vassar College.
Estimate
$1,500 – $2,500
PAULE VÉZELAY
Vézelay was born Marjorie Watson-Williams in Bristol, England. She studied at the Slade School of Fine Art and the London School of Art before starting her career in London, as a figurative painter, where she had her first show in 1921.
In 1926, she moved to France and changed her name to Paule Vézelay, possibly with the intention of aligning herself with the avant-garde School of Paris. Her move to Paris coincided with her abandonment of figurative painting in 1928 and she dedicated herself exclusively to abstraction. While living in France she gained success and recognition, and in the 1930s she became a member of the French abstract movement, Abstraction-Création. During her time in Paris she also met and fell in love with André Masson (1896-1987) with whom she had a relationship for several years.
The onset of World War II forced her return to London where she had difficulty gaining the same type of respect from the British art community as she had in France. Nevertheless, she remained committed to abstract art, often in the form of floating, quasi-biomorphic shapes. She engaged in innovative approaches to abstraction through her thread and wire constructions, which are seen as a significant contribution to the modern abstract artistic movement and rank among her most original works.
In 1952, the artist and publisher André Bloc (1896-1966) invited her to form a London branch of the Parisian Constructivist abstract movement Groupe Espace. She also formed a small group of British abstract artists who held an exhibition in 1955 at the Royal Festival Hall, which predated and anticipated the watershed 1956 Whitechapel Gallery exhibition, “This is Tomorrow.” She was one of the first British artists to commit wholly to abstraction and her achievements were recognized with a retrospective exhibition at the Tate, London in 1983.
Paule vézelay (1892-1984)
Untitled.
Pencil and color pencils on thin cream wove paper. 160x210 mm; 6¼x8¼ inches. Signed and dated in pencil, lower right recto. 1934.
Provenance: Artist's estate, London.
Estimate
$3,000 – $5,000
Paule vézelay (1892-1984)
Six Forms (No. 9, 1936).
Pencil on thin Japan paper. 240x205 mm; 9½x7¾ inches. Signed, titled and dated in pencil, lower recto. 1936.
Provenance: Artist's estate, London.
Estimate
$2,000 – $3,000
Paule vézelay (1892-1984)
Six Forms in Six Compartments.
Gouache, watercolor and pencil on paper laid down on card. 195x280 mm; 7¾x11 inches. Signed, dated, titled and inscribed "composition sketch" in pencil, lower edge recto. 1936.
Provenance: Artist's estate, London.
Estimate
$3,000 – $5,000
Paule vézelay (1892-1984)
Trois formes.
Pencil on cream wove paper mounted on cardstock. 415x240 mm; 16¼x9½ inches. Signed and dated in pencil, lower right recto. 1948.
Provenance: Artist's estate, London.
Estimate
$2,000 – $3,000
Paule vézelay (1892-1984)
Lines in Space No. 42 (One White Plastic and One Copper Line in Space on White).
Copper and plastic coated wire and painted wood relief box construction. 340x415 mm; 13¼x16¼ inches. With the artist's signed label verso. 1964.
Provenance: Artist's estate, London.
Estimate
$5,000 – $8,000
Paule vézelay (1892-1984)
Lines in Space No. 24 (Red, White and Blue Plastic Curved Lines Against Red Background).
Plastic coated wire, wool and painted wood box construction. 220x270 mm; 8⅝x10⅝ inches. With the artist's signed label verso. 1953.
Provenance: Artist's estate, London.
Exhibited: "Paule Vézelay," The Tate Gallery, London, February 23-May 22, 1983, number 88, with the label on the frame back; "Paule Vézelay Paintings and Constructions," Annely Juda Fine Art, London, April 9-May 16, 1987, number 32, with the label on the frame back.
Estimate
$5,000 – $8,000
Paule vézelay (1892-1984)
Lines in Space No. 11 (Sept Angles sur Fond Noir).
Cotton and nylon thread box construction. 240x350 mm; 9½x13¾ inches. Signed in pencil on the stretcher bar, verso and with the artist's signed label verso. 1950.
Provenance: Artist's estate, London.
Exhibited: Salon des Réalités Nouvelles, Paris, 1950; "Paule Vézelay Retrospective: Drawings, Collages, Paintings, Sculptures and Constructions 1916-1968," Grosvenor Gallery, London, October 22-November 16, 1968, number 44.
Estimate
$3,000 – $5,000
ELLA BERGMANN-MICHEL
Born in Paderborn, Germany, Bergmann-Michel was an early espouser of Constructivism. She started making collages by 1915 and from 1917-20 studied at the Weimar Hochschule für Bildenden Kunste under the German painter Walther Klemm (1893-1957). Throughout her career, she introduced innovations to the collage medium, including incorporating poetry and being among the first artists to utilize photography. Together with her husband, Robert Michel (1897-1983), she became known as a pioneer of using photographs in collage. In 1920, the couple moved to Vockenhausen, near Frankfurt, Germany, where she continued her work in photo-collages and ink drawings in the Constructivist style, however, during World War II her artistic output waned until the political climate was safer for her to continue to make and promote abstract art.
Ella Bergmann-Michel (1896-1972)
Fadencollage–Studie II.
Leather, vinyl, paper and thread collage on plywood sheet. 320x407 mm; 12½x16 inches. Signed and dated in ink, lower right recto and inscribed in ink with the artist's "Heimatmuseum of Modern Art" ink stamp on the frame back. 1965.
Provenance: Artist's estate, from the artist's daughter, Ella Rautenberg.
Exhibited: "Paintings and Prints: Ella Bergmann-Michel and Robert Michel," Galouste Gulbenkian Gallery, Newcastle upon Tyne, April 24-May 8, 1967, number 13; "Ella Bergmann-Michel / Robert Michel Retrospective 1917-1966," Annely Juda Fine Art, London, May 10-June 30, 1972, number 17; "Ella Bergmann-Michel & Robert Michel," Galerie Bargera, Köln, September-November 1974, number 30.
Estimate
$2,000 – $3,000
Ella Bergmann-Michel (1896-1972)
Film von Sündenfall zu Basel.
Pen and ink with colored pencil on Japan paper laid down on canvas with acrylic ground. 155x130 mm; 6¼x5 inches. Initialed and dated in ink, lower right recto and inscribed in ink and with the artist's "Heimatmuseum of Modern Art" ink stamp on the frame back. 1962.
Provenance: Artist's estate, from the artist's daughter, Ella Rautenberg.
Estimate
$1,200 – $1,800
Eileen agar (1899-1991)
My Muse.
Ink on paper collage and found objects on card. 155x211 mm; 6x8⅜ inches. Signed in ink, lower right recto. 1936.
Provenance: The New Art Centre, London, with the label on the frame back; Marlborough Fine Art, Ltd., London, with the label on the frame back; Galerie 1900-2000, Paris, with the label on the frame back.
Exhibited: "Objects from a Landscape- Ploumanach and Port-Cros," New Art Centre, London, November 29, 1985-January 11, 1986; "1936 Surrealism: Objects, Photographs, Collages, Documents," Zabriskie Gallery, New York, February 18-April 4, 1986; "Collages Surréalistes," Galerie Zabriskie, Paris, March 22-May 3, 1990.
Agar was born in Buenos Aires, the daughter of a Scottish father and American mother. Educated in Britain as a child, she studied art under Henry Tonks (1862-1937) at the Slade School of Art. Inspired by André Breton’s (1896-1966) manifesto, she painted her first surrealist work in 1930. She exhibited with the Surrealists in England and abroad, including at the 1936 International Surrealist Exhibition at the New Burlington Galleries in London, where she was the only British woman to be included. Throughout her career, she worked in painting, collage, photography, and sculpture, incorporating imagery from the natural world, found objects and classical art. While she at times rejected the label “Surrealist” she believed in the playful nature of art and gained a reputation of being among the most adventurous and influential artists of the Surrealist movement in Britain.
Estimate
$7,000 – $10,000
DADA AND SURREALISM
Dada was an art movement that rode on a wave of anti-war sentiment and the existential crisis following World War I. It was officially called “Dada” in 1916 and applied to a group of avant garde artists and intellectuals who were devoted to the abstract and having authentic emotional and spiritual experiences. According to Dadaists, authority and institutions stifled the full spectrum of human experience and needed to be re-examined. The intention of Dada, or Neo-Dada after 1945, was to shock or disorient the viewer and force them to question hierarchies, mainstream culture, and the hypocrisy of progress. Collage, assemblage, photography, film and “readymades” presented the paradoxes of creation and destruction and cross examined precious versus discarded materials.
Neo-Dada was a contemporary movement to the early years of Zabriskie Gallery, which welcomed these ideas and provided a historical context through programming which allowed for comparisons between the artists of the 1950s and 60s with their post-World War I predecessors. Zabriskie Gallery, with New York as a backdrop, set a unique stage for works inspired by the Dada Manifesto as the multifaceted, urban environment rejected stillness and uniformity. It is wholly appropriate that Zabriskie Gallery, which challenged the status quo with the spirit and tenacity of Virginia Zabriskie at the helm, would gravitate towards this zeitgeist. Zabriskie’s genuineness to her own independent ideas and aesthetic was a great part of the gallery’s success.
Zabriskie Gallery would present several exhibitions that explored these ideas by featuring Man Ray and Marcel Duchamp’s “readymades”; assemblages by Joseph Cornell, Karl Mann, Alfonso Ossorio, Paule Vézelay, Maurice Henry, and Daniel Spoerri; collages by Joseph Stella, A.E. Gallatin, Bruce Connor, Eileen Agar, Balcomb and Gertrude Greene, and Ella Bergmann-Michel; and sculptures by Richard Stankiewicz and Wilfrid Zogbaum, among others.
Through a succession of exhibitions, Virginia Zabriskie expanded the public’s knowledge of Dada and Surrealism as an integrated literary and artist movement. She was first made aware of Dada and Surrealist photographs through her interest in Man Ray’s work. As she expanded her understanding of this photography, she cleverly tracked down some other French photographers involved in the movement using the Parisian phonebook and added them to her roster. In 1985 after establishing strong relationships with both popular and lesser-known Dada and Surrealist artists in France, Galerie Zabriskie, Paris hosted an exhibit titled “Surrealist Photographs” which included the works of Hans Bellmer, Pierre Boucher, Brassaï, Georges Hugnet, André Kertész, François Kollar, Roger Parry, Man Ray, and others. Just one year later Zabriskie Gallery, New York held a major show titled “Surrealism 1936-Objects, Photographs, Collages and Documents” that furthered the understanding of Surrealism as a multidisciplinary school of thought and significantly widened the visibility of several French artists in America.
Jean cocteau (1889-1963) & man ray (1890-1976)
L’Ange Heurtebise.
Man Ray's photogravure after a Rayogram, L'Ange Heurtebise, the image measuring 295.3x235 mm; 11 5/8x9¼ inches, with Man Ray's printed credit; bound in; accompanied by Cocteau's important poem. Folio, the original cream wrappers in a modern decorative binding. FIRST EDITION, ONE OF 250 COPIES ON VELIN D'ARCHES, FROM A TOTAL EDITION OF 300.
Paris: Librarie Stock, 1925.
Estimate
$1,000 – $1,500
Man ray (1890-1976)
New York 1920.
Glass beaker, steel ball-bearings, wood, cork, cotton wool and tape. 255x56 mm; 10⅛x2¼ inches. One of a small number of early replicas assembled in the 1960s, with the hand-written label, aside from the edition of 9 published by Studio Marconi, Milan in 1976. Signed, titled and dated "1920-65" in pen and ink on the tape around the cork stopper. 1920-65. Conceived in 1920, executed in 1965.
Martin 20.
Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that it will be included in the Catalogue of Objects & Sculptures of Man Ray, currently in preparation. Man Ray Expertise Committee reference: 00184-O-2021.
Provenance: Acquired from Juliet Man Ray, the artist's widow, Paris.
Exhibited: "Man Ray," Museum Boymans-van Beuningen, Rotterdam, September 24-November 7, 1971, number 142 (presented in its original condition); “Man Ray”, Louisiana Museum, Humlebaek, 1972, number 134 (presented in its original condition); "Man Ray: Objects of My Affection," Zabriskie Gallery, New York, January 23-February 23, 1985.
The original object New York was conceived in the eponymous city in 1920. Man Ray replaced olives in a cylindrical glass jar, his original concept to memorialize New York and its soaring skyscrapers, with steel balls in a glass test tube and brought it with him to Paris in 1921, where he told the French customs officer that the jar would give him the illusion of having something to eat. The first version has been destroyed.
In 1925, Ray recreated New York and called it New York II (alternately titled Export Commodity, Roulement Habile, and New York 20). Zabriskie Gallery, New York acquired this 1925 version from Juliet Man Ray, Paris. This version was broken and replaced by Zabriskie to be shown in the 1988 exhibition "Man Ray-The New York Years." There was also one replica created in 1962 and the present work created in 1965. The present work from 1965 was also in the collection of Juliet Man Ray and acquired by Zabriskie.
In 1973, Man Ray would direct the edition of 9 with a printed linen tape label from Studio Marconi, which had produced multiples for Ray in the past. These were made by Lucien Treillard, Paris, Man Ray's assistant who had sourced the glass tubes and ball bearings.
Estimate
$20,000 – $30,000
(man ray) (1890-1976)
Portrait of Man Ray in the apartment of Lee Miller and Tanja Ramm, Paris.
Silver print, the image measuring 133.4x88.9 mm; 5¼x3½ inches, with Man Ray’s credit and a notation, in ink, in an unknown hand, on verso. 1930-31; printed later.
Provenance: Acquired from Juliet Man Ray, the artist’s widow, Paris.
Man Ray lent items to decorate Lee Miller and Tanja Ramm’s apartment, which was located at 12 rue Victor-Considérant. Behind Man Ray is a tapestry after one of his Rayographs.
Estimate
$3,000 – $5,000
Man ray (1890-1976)
Jacques Villon.
Silver print, the image measuring 285.8x235 mm; 11¼x9¼ inches, with Man Ray’s signature, title, and date, in pencil, and his Rue Férou name stamp (M33), on verso. 1922.
Virginia Zabriskie wrote her graduate thesis on the Duchamp brothers, Marcel, Gaston (who changed his name to Jacques Villon) and Raymond. Villon was a Cubist and abstract painter and printmaker.
Estimate
$5,000 – $8,000
Man ray (1890-1976)
La Photographie n’est pas l’Art.
Foreword by André Breton. Illustrated with 12 reproductions of Man Ray’s photographs. 8vo, stamped blue wrappers, sunned; with the black die-cut outer wrapper, light edgewear and soft handling creases; contents loose as issued. Parr/Badger I 108. FIRST EDITION.
[Paris]: Editions GLM, 1937.
Estimate
$1,000 – $1,500
Man ray (1890-1976)
Françoise Rosay.
Solarized silver print, the image measuring 254x196.9 mm; 10x7¾ inches, with Man Ray’s Photograph Man Ray (M25) and posthumous copyright (M30) hand stamps, and the title, in pencil, on verso. 1946.
Provenance: Acquired from Juliet Man Ray, the artist’s widow, Paris.
Françoise Rosay was a French opera singer and actress who enjoyed a film career of over sixty years and who became a legendary figure in French cinema. From 1911 to 1974 she appeared in over 100 movies during her long and illustrious career.
Estimate
$5,000 – $8,000
Man ray (1890-1976)
The studio on rue Férou featuring a painted screen by Man Ray, titled “The Twenty Days and Nights of Juliet.”
Silver print, the image measuring 171.5x222.3 mm; 6¾x8¾ inches, with a numeric notation, in pencil, on verso. 1952.
Provenance: Acquired from Juliet Man Ray, the artist’s widow, Paris.
The large screen dividing the kitchen and living room at Man Ray’s studio on 2 bis, rue Férou was completed in 1952.
Estimate
$2,500 – $3,500
Man ray (1890-1976)
Venus Restaurée.
Silver print, the image measuring 165.1x114.3 mm; 6½x4½ inches, with Man Ray's credit, description, and date, in ink, in an unknown hand, on verso. 1936.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 16 (illustrated).
The same image is included in the inventory of the catalogue of the objects: MAN RAY Objets de mon affection, 1983, p. 62, cat. 58, and in the inventory of the earlier Italian catalogue of the objects: Man Ray Oggetta d'affezione, 1970, plate 38.
A print identical to this one was included in the auction, "A Collection of DADA Art." Sotheby's, London, December 4, 1985.
Man Ray's Surrealist imagery was included in the "The Surreal Image" exhibition in May 2-June 9, 1989 at Zabriskie Gallery, New York.
The object depicted in this photograph is a 1936 cast based on what is cited as the Venus de Milo or the Venus de Medici. The object was used in a number of Man Ray photographs (before it was bound in twine). The original object was lost, but in 1971 Venus Restaurée was issued in an edition of 10. In this iteration the torso was affixed to a base and included the rope.
Estimate
$8,000 – $12,000
Man ray (1890-1976)
Perpetual Motif.
Metronome with lenticular printed eye. 230x110 mm; 9x4⅜ inches. Signed and numbered 32/40 in felt-tip pen and ink on the underside. Published by Galleria Il Fauno, Turin. Conceived circa 1922-33, executed 1970-71.
Martin 31.
Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that the edition of this work will be included in the Catalogue of Objects & Sculptures of Man Ray, currently in preparation. Man Ray Expertise Committee reference: 00185-O-2021.
Provenance: Acquired from Julien Levy, New York.
The original 1922-23 object, titled Object to be Destroyed (Objet à détruire) consisted of a photograph of an eye attached with a paperclip to a metronome. Man Ray created the object spontaneously as he was painting in rhythm with a metronome in his studio. The act of destruction was an additional conceptual component to the art object, the dismantling also viewed as a creative act (most of Man Ray's original objects only exist in photographs). In 1932, after it had already been destroyed by Man Ray in his studio, he remade Object to be Destroyed to exhibit, this time with a photograph of the eye of his former lover, Lee Miller. Another replica was created after the 1932 version was lost when Man Ray fled Paris for New York in 1940. This replica was created for Julien Levy Gallery, New York in 1945, and called Lost Object (also called Last Object). It was one of 10 “Objects of my Affection” exhibited at the gallery in April 1945. In the cataloguing for Lost Object was the artist’s intent, “It is still my earnest desire, some day while the eye is ticking away during a conversation, to lift my hammer and with one well-aimed blow to completely demolish the metronome.” Anti-Dada demonstrators attending the 1957 Dada exhibition at the Galerie de l'Institut in Paris removed Lost Object and destroyed it.
Some years later, Man Ray collaborated with artist Daniel Spoerri, who had founded his publishing house Edition MAT (multiplication d’art transformable), Paris in 1959. Spoerri was a pioneer in producing “multiples,” or editions of three-dimensional art objects and specialized in kinetic works. Spoerri produced Man Ray’s Lampshade, in 1965 and subsequently Edition MAT recreated Lost Object, this time with the title Object indestructible in an edition of 100. In 1970, Man Ray authorized another 40 objects to be produced by Luciano Anselmino of Galleria il Fauno, Turin and Milan. This next iteration of the object, the edition from which the current lot is part, was called Perpetual Motif and featured Lee Miller’s eye as a double printed image, made to blink as the pendulum swings. Perpetual Motif was followed by Do Not Destroy, the last lifetime edition of 100 issued for the New York Cultural Center’s 1974 retrospective.
Estimate
$40,000 – $60,000
Man ray (1890-1976)
Matchbox (Boîte d’allumettes).
Card stock, wood and paper tape matchbox with photograph (gelatin silver print, 1932, printed later) on upper cover and stamp and advertisement collage and two striking surfaces on the underside and sides, containing felt samples in various colors. 80x55x35 mm; 3x2¼x1½ inches. Inscribed "Feutre" in ink on the stamp element. Executed circa 1955-65.
Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that it will be included in the Catalogue of Objects & Sculptures of Man Ray, currently in preparation. Man Ray Expertise Committee reference: 00186-O-2021.
Provenance: Acquired from Juliet Man Ray, the artist's widow, Paris.
Man Ray made a number of matchboxes mounted with photographs of many of his well-known images (of which 25 are known). Some were used by the artist to store small items in his rue Férou studio, others were offered as gifts to visitors to the studio when they asked for a light for their cigarette. This matchbox is adorned with a portrait of Jacqueline Goddard, taken in 1932, and printed later.
There is a small collection of nine of Man Ray's Boîtes d'allumettes now in the Centre Pompidou, Paris, accessioned in 1994.
Estimate
$15,000 – $20,000
Man ray (1890-1976)
Enough Rope II.
Rope and wooden baton presented in a wooden box. 595x65x80 mm; 23⅝x2½x3⅛ inches. Edition of 5. Signed, titled and inscribed "E.A" in ink on the wooden baton. Published by Il Fauno, Turin. Conceived in 1962, executed in 1973.
Martin 141.
Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that the edition of this work will be included in the Catalogue of Objects & Sculptures of Man Ray, currently in preparation. Man Ray Expertise Committee reference: 00187-O-2021.
Provenance: Juliet Man Ray, Paris; acquired Sotheby's, London, March 23, 1995, lot 158.
This object intends to interpret the colloquial expression “Give him enough rope and he’ll hang himself”. Man Ray described his object Enough Rope as being the contrary to the saying, since the amount of rope provided ‘is a very small portion of the total length allotted’.
Estimate
$12,000 – $18,000
Man ray (1890-1976)
Phare de la Harpe.
Iron ready-made with chrome finish. 170x110 mm; 6¾x4⅜ inches. Edition of 50. Incised with the artist's signature, title and date. 1921-67.
We have found only one other example of this work at auction: sold Christie's, London, December 7, 1999, lot 278; to Dr. Arthur Brandt, New York; sold Sotheby's, Paris, October 21, 2017, lot 129.
Schwarz 337; Martin 165.
Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that the edition will be included in the Catalogue of Objects & Sculptures of Man Ray, currently in preparation. Man Ray Expertise Committee reference: 00188-O-2021.
Provenance: Acquired from Julien Levy, New York.
Exhibited: "Man Ray: Objects of My Affection," Zabriskie Gallery, New York, January 23-February 23, 1985.
Just as Duchamp found success in re-creating his readymades at Galleria Schwarz in Milan in the 1960s and 70s, Man Ray also had multiples made from his lost original objects. The two artists worked closely with Arturo Schwarz in these replications, with the knowledge that the multiples would allow the artist to hold more complete exhibitions of his œuvre and further his legacy.
In order to defamiliarize the viewer with an object, Man Ray used repetition with some variation. To subvert the meaning of a hand iron, Man Ray used the iconic Cadeau, an iron with tacks affixed to the sole in 1921. To reference the original readymade and its later replicas, Man Ray later created two other iron readymades, Le Fer rouge (1966) and Phare de la harpe (1967). Keeping in the Dada tradition, the title of the present work is an anagram, an exercise in visual and literal meaning.
Estimate
$20,000 – $30,000
Man ray (1890-1976)
Lèvres d’Or.
Hollowed out leather bound book jewelry box with mirror. 385x256x70 mm; 15⅛x10⅛x2¾ inches. Edition of only 7, plus a personal example for Juliet Man Ray (the artist’s wife). Signed on the interior of the book. Titled in gold leaf on the front cover and inscribed with the artist's name, title and numbered "VI/VII" in gold letters on the spine. Bound by Mercher, Paris. Published by Jean Petithory, Paris. 1967.
Martin 166.
Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that the edition of this work will be included in the Catalogue of Objects & Sculptures of Man Ray, currently in preparation. Man Ray Expertise Committee reference: 00189-O-2021.
Provenance: Acquired from Marion Meyer via art dealer Marcel Zerbib, Paris.
Exhibited: "Man Ray: Objects of My Affection," Zabriskie Gallery, New York, January 23-February 23, 1985.
After Lee Miller left Man Ray for New York in 1932, he used art to cope with his despair. Man Ray became obsessed with Miller's lips and spent two years painting l'Heure de l'Observatoire, the 1934 oil on canvas of Miller's monumental disembodied floating lips (held by a private collection). Her lips would also appear in the lead and rope 1933 object Lovers and in the illustrated anthology of poems by Paul Éluard, Les mains libres. It was during this post-break up that Man Ray would create his Object indestructible , the metronome with Miller's eye on the ticking arm.
Late in his career, and long after Man Ray and Miller reconciled as friends, he worked with several publishers to create editions of his early readymades. Lovers was reproduced in an edition of 9 by Lucien Treillard in 1973; Object indestructible was issued as a multiple in 1965, 1970, and 1974; and A l'Heure de l'Observatoire would be reproduced as a limited edition print. Ray also created new, original designs for editioned multiples to coincide with the revivals of his earlier concepts. The outline of Miller's lips were applied to Lèvres d'Or, the title being a play on the French words "lèvres" (lips) and "livres" (book).
Estimate
$25,000 – $35,000
Man ray (1890-1976)
Pain peint (Blue Bread) (Catalogue d’exposition Man Ray qui s’est tenue à la Galerie Alexandre Iolas à Paris en 1973-74).
Exhibition catalogue with complete text, a multiple of a miniature baguette painted in blue on the front cover and numerous color illustrations, including illustrations based on Man Ray's Revolving Doors collages from 1916-17 (reproduced as color pochoirs in 1926). 240x170 mm; 9½x6¾ inches. 1973.
Martin 127
Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work and that the edition will be included in the Catalogue of Objects & Sculptures of Man Ray, currently in preparation. Man Ray Expertise Committee reference: 00190-O-2021.
Provenance: Gift from the artist Dorothea Tanning to Virginia Zabriskie.
Pain peint, a painted blue baguette, was conceived by Man Ray in 1958; this exhibition catalogue with a miniature replica of Pain peint on the front cover was published in 1973 as the commemorative exhibition catalogue for the one-man show Man Ray held at the Galerie Alexandre Iolas, Paris, 1973-74.
Man Ray described the readymade Pain peint in 1972 as follows, "You see, when I painted a local bread blue, the idea of a title came to me almost immediately and almost automatically: in French 'pain peint', painted bread, because it sounds also like the kids running down the street after a fire engine and imitating the sound of the sirens: 'pain–pain–pain–pain–pain–pain', you know."
Estimate
$3,000 – $5,000
Man ray (1890-1976)
Les Six Masques Voyants.
Portfolio with complete text and six color lithographs on cream wove paper. 700x505 mm; 27½x20 inches (sheets), full margins, loose as issued. One of 80 copies numbered in Arabic numerals, from the total edition of 120. Each lithograph signed and numbered 63/80 in pencil, lower margin. Printed by Multirevol, Milan. Published by Studio Marconi, Milan, with the blind stamp. 1970. Anselmino 72.
Estimate
$1,500 – $2,500
Marcel duchamp (1887-1968)
Rotoreliefs.
Set of 12 offset color lithographs printed on 6 double-sided cardboard discs, black circular holder and a black circular viewer, lacking collapsible cardboard stand with instructions. Each printed disc 200 mm; 7¾ inches (diameter); holder 245 mm; 9¾ inches (diameter); viewer 135 mm; 5⅜ inches (diameter). Schwarz's Edition A. Edition of 1000 (of which approximately 600 sets were accidentally destroyed). 1935-53.
Schwarz 441.
Duchamp's Rotoreliefs were meant to spin on a turntable to achieve the ideal optical illusion. When viewed with one eye, each of the 12 rotating disks creates for the viewer a startling vision of depth and pulsating movement. Rotoreliefs can be considered as an extension of the same experimentation that had motivated the creation of Duchamp's Rotary Demisphere, an elaborate motorized construction made in 1925. Duchamp first published Rotoreliefs, in an edition of 500, in 1935, and initially displayed and offered them for sale at the Concours Lépine inventor’s fair in Paris. He sold only several sets. Duchamp and Man Ray had filmed early versions of the spinning discs for the short film Anémic Cinéma, 1926. One of the discs entitled Corolles was printed in red and black and adorned the cover of the French surrealist magazine Minotaure, no. 6, 1935.
Estimate
$7,000 – $10,000
Marcel duchamp (1887-1968)
La Moustache sans la Joconde (Non vouloir).
Folded sheet with printed poem by Georges Hugnet and pochoir ready-made on China paper. 193x290 mm; 7⅝x11½ inches (unfolded). Edition of 200. 1939-41.
Schwarz A 310.
Estimate
$1,500 – $2,500
Marcel duchamp (1887-1968)
Certificat de lecture.
Color lithograph printed in pink on Japon nacré. 330x505 mm; 13x20 inches (sheet), full margins. The deluxe edition, aside from the regular edition of 100 printed in black. Signed and numbered 6/41 in pencil, lower margin. Published by Galleria Schwarz, Milan. From Il Reale Assoluto by Arturo Schwarz. 1964.
Schwarz 592.
Estimate
$2,000 – $3,000
Marcel duchamp (1887-1968)
The Large Glass and Related Works.
Two volume portfolio with complete text and 18 etchings with aquatint (1 printed in colors, 2 double-page), 420x250 mm; 16½x10 inches (sheets), full margins, loose as issued.
One of 135 numbered copies on cream wove paper. Both volumes signed by both the artist and publisher and numbered “14” in pencil, on the justification pages. Printed by Giorgio Upiglio, Milan. Published by Arturo Schwarz, Milan. Both volumes with the original printed paper folder and linen portfolio folder; volume two with the linen slipcase. 1967-68.
Very good impressions. Schwarz 395 and 408.
Estimate
$8,000 – $12,000
NAOMI SAVAGE
Born Naomi Siegler, Savage was a native of Princeton, New Jersey. Her parents were Samuel Siegler and Elsie Siegler (née Radnitzky), a sister of Man Ray. She first studied photography under Berenice Abbott at the New School for Social Research in 1943, and afterward attended Bennington College from 1944 until 1947 to study art, photography and music. She spent a year after her graduation in California with her uncle, Man Ray, studying his techniques. In 1950 she married the architect and sculptor David Savage, with whom she moved to Paris, living there for some years. Savage was heavily influenced by Man Ray, prompting her to experiment with the medium of photography, combining traditional techniques with more unusual processes, including some of her own design.
Naomi savage (1927-2005)
Marcel Duchamp and Man Ray.
Silver print, the image measuring 190.5 mm; 7½ inches square, the sheet 254x203.2 mm; 10x8 inches, with Savage's signature and date, in pencil, on verso. 1963.
Provenance: Acquired from Naomi Savage.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 57 (variant illustrated).
Estimate
$1,000 – $1,500
Naomi savage (1927-2005)
There are more Duchamp scholars than there are Duchamp collectors.
Glass and glazed ceramic bead necklace on a ball chain. 1560 mm; 61⅜ inches (length).
Made for Virginia Zabriskie by the artist.
With—Two prints. There are more Duchamp scholars than there are Duchamp collectors. 90x175 mm; 3½x7 inches. Signed, titled and dated in pencil, lower margin. 2002 * I'll Sell When You Catch Up to My Prices, laminated. 267x355 mm; 10½x14 inches. Signed, dated and dedicated to Virginia in ink, verso. 1997.
Estimate
$800 – $1,200
Alexander liberman (1912-1999)
Marcel Duchamp’s Hands, New York City.
Silver print, the image measuring 158.8x241.3 mm; 6¼x9½ inches, the sheet 203.2x254 mm; 8x10 inches, with Liberman’s copyright hand stamp, and numeric notations, in pencil, on verso. 1959-60; printed 1960s.
Estimate
$700 – $1,000
Henri Cartier-Bresson (1908-2004)
Bowery (A short time only).
Silver print, the image measuring 168.3x241.3 mm; 6⅝x9½ inches, with Cartier-Bresson’s hand stamp and the title and a numeric notation, in pencil, on verso. Circa 1940s; printed 1980s.
Estimate
$3,000 – $5,000
Robert frank (1924-2019)
Paris (Lovers on a Bench).
Silver print, the image measuring 111.1x260.3 mm; 4⅜x10¼ inches, flush mounted, with Frank's signature, in ink, and the Robert Frank Archive hand stamp with the title and negative date, in pencil, and the copyright hand stamp with Frank's credit and a later date, in ink, on mount verso. 1949.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 185 (illustrated).
Estimate
$15,000 – $20,000
LAURE ALBIN-GUILLOT
Laure Albin-Guillot’s work is not easily categorized. She produced well-known portraits of celebrities of her day, as well as modernist nudes, microphotography of fauna, still lifes, landscapes, and portfolios of work in tandem with noted French writers. Her visual approach is best characterized as semi-pictorialist, with soft, luxurious values and a quiet gaze, her technical skill rendering the imagery in both beautiful and precise terms. She published and exhibited widely, and had the first one-person exhibition at the Salon d’Automne in Paris in 1925, which garnered her increasing attention and helped establish her reputation. Her fashion work appeared in Vogue (the first in 1922), and other imagery was published in both Vu and Arts & Metiers Graphiques magazines. She was named president of the French Société des Artistes, among other key posts, and served as president of the Union féminine des carrières libérales et commerciales, an organization bent on supporting the interests of women in professional life.
Laure Albin-Guillot (1879-1962)
Panorama of New York City.
Silver print, the image measuring 152.4x393.7 mm; 6x15½ inches, the sheet 247.7x393.7 mm; 9¾x15½ inches, with Albin-Guillot's signature, in pencil, on recto. Circa 1930s.
A solo exhibition of Albin-Guillot's work was held at Galerie Zabriskie, Paris, November 9-December 10, 1994.
Estimate
$1,000 – $1,500
Laure Albin-Guillot (1879-1962)
Arbres.
The portfolio complete with 18 collotype prints, the images measuring 304.8x241.3 mm; 12x9½ inches, each preceded by a printed title page. 4to-sized clamshell box with the embossed title, wear at edges; with the printed title page, preliminary pages, and dialogue by Paul Valéry, the colophon page signed and inscribed by Albin-Guillot and Valéry, in ink; contents loose as issued. ONE OF 50 NUMBERED +30 H.C. COPIES, THIS H.C. FOR JEAN-DENIS MAILLART AND SPECIALLY INSCRIBED AND SIGNED BY THE COLLABORATORS.
Bordeaux: Rousseau Frères Éditeurs, 1943.
L'Allée Centenaire * L'ombre de l'Arbre * Le Reflet des Arbres * La Vie et la Mort * Le Sacrifice * Les Arbres Gardiens du Tombeau * L'Arbre en Fleurs * L'Arbre au Milieu des Champs * Le Arbres du Château * Les Peupliers * Le Grand Arbre * L'Arbre Couvert de Givre * Les Arbres du Parc * L'Arbre à Contre Jour * L'Olivier * Les Cyprès * Les Arbres Romantiques * Un Arbre Parisien.
Estimate
$1,500 – $2,500
Laure Albin-Guillot (1879-1962)
Ciels.
The portfolio complete with 16 collotype prints, the images measuring approximately 260.4x215.9 mm; 10¼x8½ inches, the sheets 304.8x241.3 mm; 12x9½ inches, each with Albin-Guillot's signature, in pencil, on recto, and housed in a folder with the printed title and accompanying poem by Marcelle Maurette. 4to-sized clamshell box with the printed title, the backstrip perished; with the title page and preliminary pages, the colophon page signed, inscribed, and dated by Albin-Guillot, Marcelle Maurette, and the editor Henri Colas, in ink; contents loose as issued. ONE OF 50 NUMBERED +20 H.C. COPIES, THIS ONE UNNUMBERED AND SPECIALLY INSCRIBED AND SIGNED BY THE COLLABORATORS.
Paris: Chez Henri Colas, Éditeur, et Bourdeaux: Chez Rousseau Frères, 1944.
Le Ciel * Ciel de Fête * Ciel d'Amour * Ciel Historique * Ciel de Paris * Ciel de Versailles * Ciel de Province * Ciel d'Aout * Ciel d'Hiver * Ciel d'Orage * Ciel a Travers les Branches * Ciel Champêtre * Ciel de Montagne * Ciel Prisonnier * Ciel de Gloire * Ciel Lunaire.
Estimate
$1,500 – $2,500
Laure Albin-Guillot (1879-1962)
Portrait of a Woman.
Fresson print, the image measuring 292.1x215.9 mm; 11½x8½ inches, the sheet 304.8x228.6 mm; 12x9 inches, with Albin-Guillot's signature, in black pencil, on recto, and an inventory number, in pencil, in an unknown hand, on verso. Circa 1930.
An exhibit titled "Laure Albin-Guillot: Fresson Prints" was held at Zabriskie Gallery, New York, September 14-October 15, 1994.
Estimate
$1,000 – $1,500
André breton (1896-1966) & marcel duchamp (1887-1968)
Le Surréalisme en 1947.
Bound volume with 24 printed plates by various artists. 240x205 mm; 9½x8¼ inches. Numbered 203 (out of the edition of 950, aside from the signed edition) on the justification page. With a dedication to Virginia Zabriskie from Enrico Donati in ink on the title page. Published by Pierre à Feu, Paris.
Includes 5 color lithographed plates by Victor Brauner, Max Ernst, Jacques Hérold, Wifredo Lam, and Joan Miró (his first color lithograph; Cramer 11); 5 etched plates by Hans Bellmer, Marcel Jean, Maria, Yves Tanguy and Dorothea Tanning; 2 woodcut plates by Jean Arp; and 12 black-and-white lithographed plates by Serge Brignoni, Alexander Calder, Bruno Capacci, Elizabeth van Damme, Julio de Diego, Enrico Donati, David Hare, Jacqueline Lamba, Roberto Matta, Kay Sage, Yves Tanguy and Toyen (Marie Cermínováen), but lacking Duchamp's three-dimensional cover. Some signatures still unopened with plates including lithographs bound between pages. 1947.
Provenance: Gifted by the artist Enrico Donati to Virginia Zabriskie.
Estimate
$2,500 – $3,500
Alexander archipenko (1887-1964)
Torso, Female Torso.
Terracotta with black paint. 610x135x130 mm; 24x5⅜x5⅛ inches. Inscribed “Archipenko © 1948” on the base. 1948.
This work is accompanied by a letter of authenticity from The Archipenko Foundation and will be included in the catalogue raisonné as work number 6328.
Archipenko was born in Kiev and studied painting and sculpture at the Kiev Art School from 1902-05. Moving to Paris in 1908, he continued his studies at the École des Beaux-Arts for a short time before studying independently through visits to the Musée du Louvre. During these early years, he was drawn to Ancient and early Gothic sculpture, but he took a modern approach to his own work, being one of the first sculptors to adopt the principles of Cubism by showing a figure in multiple views and utilizing sculptural voids and negative space. In 1913, four of his sculptures and five of his drawings were exhibited at the Armory Show in New York. In 1923, he moved to New York, where he was deeply influential on young American modernist artists, and continued to create sculptures, innovating the medium through his use of color, unexpected mediums and incorporating collage of various objects.
Estimate
$20,000 – $30,000
Saul baizerman (1889-1957)
Two bronze sculptures.
Kneeling Boy. 95x165x70 mm, 3¾x6¾x3 inches (excluding base). Incised with initials at ankle. 1922 * Standing Figure. 170x58x45 mm; 6¾x2¼x1¾ inches (excluding base). Incised with signature at the lower hem of the dress. Circa 1920-30. Both from The City and the People.
Provenance: Artist’s estate.
Estimate
$2,000 – $3,000
Saul baizerman (1889-1957)
Large Head (Self Portrait).
Hammered copper on wood base. 560x330x190 mm; 22x13x7½ inches. Circa 1950.
Exhibited: "Early Twentieth Century American Sculpture," Zabriskie Gallery, New York, February 22-March 13, 1975.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 114 (illustrated).
Estimate
$3,000 – $5,000
Barbara morgan (1900-1992)
Beaumont Newhall, Ansel Adams, and Willard Morgan - in Barbara’s Studio.
Silver print, the image measuring 333.4x425.5 mm; 13⅛x16¾ inches, the sheet 406.4x508 mm; 16x20 inches, with Morgan’s signature, title, and date, in ink, on recto, and her copyright hand stamp, on verso. 1942; printed 1980s.
Estimate
$1,000 – $1,500
Barbara morgan (1900-1992)
Pearl Primus - Speak to me of Rivers.
Silver print, the image measuring 339.7x447.7 mm; 13⅜x17⅝ inches, the sheet 406.4x508 mm;16x20 inches, with Morgan's full title, partial title, and negative date, in ink, on recto, and her copyright hand stamp, on verso. 1944; printed 1980s.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 207 (illustrated).
An exhibit titled "Barbara Morgan: Dance and Photomontage" was held at Galerie Zabriskie, Paris, October 27-December 31, 1981.
Estimate
$2,000 – $3,000
Barbara morgan (1900-1992)
Martha Graham, American Provincial * Doris Humphrey with My Red Fires, Matriarch * José Limón, Chaconne * Martha Graham, Ekstasis.
Together, 4 silver prints, the images measuring 342.9x431.8 to 495.3x381 mm; 13½x17 to 19½x15½ inches, and the reverse; the sheets 406.4x508 mm; 16x20 inches, three with Morgan’s signature and negative date, in ink, and one with her signature, title, and negative date, in pencil, on recto, each with her signature, title, and negative date, in ink, her inventory number, in pencil, and her copyright hand stamp, one with her initials and print date, in ink, on verso. 1935-44; printed 1976 & 1980s
Estimate
$4,000 – $6,000
Earl kerkam (1891-1965)
Three figure drawings.
Standing Nude, brush and ink and color pastels on cream wove paper. 447x360 mm; 17½x14¼ inches. Signed in crayon, lower left recto * Standing Nude, brush and ink on tan wove paper. 370x270 mm; 14⅝x10⅝ inches * Seated Nude, brush and ink and color pastels on tan wove paper. 405x340 mm; 16x13½ inches. Each circa 1950.
Estimate
$1,500 – $2,500
Konrad cramer (1888-1963)
Group of 4 works on paper.
Draped Model. Acrylic and pen and ink. Signed by Aileen Cramer, daughter of the artist, dated and inscribed "Work by my father, Konrad Cramer," in pencil, and with the estate stamp, verso. Circa 1940 * Abstract with Profiles. Pen and ink with wash mounted on card. Signed in sepia ink, recto and with the estate stamp, twice verso. Circa 1950 * Abstract Composition (July '51). Watercolor, pen and ink with wash and wax crayon resist mounted on card. Signed and dated in pen and ink, lower right recto. 1951 * Abstract Composition. Watercolor, pen and ink with wash, charcoal and wax crayon resist mounted on card. Signed and dated in pen and ink, lower right recto. Circa 1950. Various sizes.
Provenance: Artist's estate, Woodstock.
Estimate
$2,000 – $3,000
Konrad cramer (1888-1963)
Nude Figure.
Watercolor and brush and ink on cream wove paper mounted on thin card stock. 475x310 mm; 18¾x12⅛ inches. Signed and dated in ink, lower right recto. 1952.
Estimate
$800 – $1,200
Konrad cramer (1888-1963)
Study of Construction #4.
Silver print mounted to wooden support, the image measuring 352.4x241.3 mm; 13⅞x9½ inches, flush mounted to a wooden support, with Cramer's studio credit label and Zabriskie Gallery label, on mount verso. Circa 1958.
Between December 2, 1975-January 3, 1976, Zabriskie Gallery, New York exhibited "Artist by Artist - Photographs," which included photography by Konrad Cramer.
Though he started his career in painting, Cramer began photographing in the mid-1930s and maintained a focus on the medium for the remainder of his life. He established the Woodstock School of Miniature Photography and also taught photography at Bard College in the 1940s. Cramer experimented widely with photography including solarization, collages, composite printing and more.
Estimate
$1,000 – $1,500
WILFRID ZOGBAUM
Zogbaum studied art at the Rhode Island School of Design and Yale School of Art, but it was his time spent with Hans Hofmann that greatly influenced his career. After his studies, he won a Guggenheim Fellowship and traveled extensively throughout Europe, meeting artists such as Wassily Kandinsky and Fernand Léger, which cemented his interest in pursuing abstraction as an art form. Returning to New York, he worked professionally as a commercial photographer, while continuing to create his own abstract art before dedicating himself exclusively to his career as an artist in 1948. Having begun his career as a painter, he switched to sculpture in the 1950s. He gained his reputation mostly for his sculptural work, which was extremely innovative for its time, and incorporated found objects such as machine parts and natural elements like stones.
Wilfrid zogbaum (1915-1965)
Still Life.
Oil on canvas board. 400x500 mm; 16x19¾ inches. With the artist's ink stamp, verso. Circa 1935.
Provenance: Acquired from the artist's family, New York.
Estimate
$1,500 – $2,500
Wilfrid zogbaum (1915-1965)
Untitled.
Oil on board. 475x384 mm; 18¾x15 inches. With the artist's ink stamp, verso. Circa 1935-40.
Provenance: Acquired from the artist's family, New York.
Estimate
$2,000 – $3,000
Wilfrid zogbaum (1915-1965)
Abstract Composition.
Oil on board. 300x760 mm; 12x30 inches. Circa 1945-50.
Provenance: Acquired from the artist's family, New York.
Estimate
$1,500 – $2,500
Wilfrid zogbaum (1915-1965)
Brackets.
Painted steel and stone. 770x660x355 mm; 30⅜x26x14 inches. 1960-62.
Provenance: Acquired from the artist's family, New York.
Exhibited: "Zogbaum at Zabriskie," Zabriskie Gallery, New York, April 3-May 5, 1979.
Estimate
$3,000 – $5,000
Wilfrid zogbaum (1915-1965)
Untitled.
Charcoal on cream laid paper. 630x480 mm; 24¾x19 inches. Signed and dated in charcoal, lower right recto. 1955.
Provenance: Acquired from the artist's family, New York.
Estimate
$1,000 – $1,500
Wilfrid zogbaum (1915-1965)
Two abstract charcoal drawings.
One 630x480 mm; 25x19 inches; the other 423x550mm; 16⅝x21¾ inches. Both signed and dated in charcoal, lower recto. Both 1955.
Provenance: Acquired from the artist's family, New York.
Estimate
$1,000 – $1,500
Wilfrid zogbaum (1915-1965)
Untitled.
Wash on heavy cream wove paper. 793x575 mm; 31½x22½ inches. Signed, dated and dedicated in pencil, verso. 1961.
Provenance: Acquired from the artist's family, New York.
Estimate
$1,000 – $1,500
Harry callahan (1912-1999)
Weed, Aix-en-Provence.
Silver print, the image measuring 304.8x241.3 mm; 12x9½ inches, the sheet 355.6x279.4 mm; 14x11 inches, with Callahan’s signature, in pencil, on recto. 1958; printed 1960s.
Estimate
$4,000 – $6,000
Paul strand (1890-1976)
Lupin, the Garden, Orgeval.
Silver print, the image measuring 244.5x193.7 mm; 9⅝x7⅝ inches, flush mounted, with Strand's signature, title, and date, in ink, on mount verso. 1959.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 146 (illustrated).
Zabriskie Gallery, New York held an exhibition of Strand's photographs of the gardens at Orgeval in November 18-January 12, 1993.
Estimate
$6,000 – $9,000
Josef sudek (1896-1976)
From the series Labyrinths, 1948-1973.
Silver print, the image measuring 177.8x238.1 mm; 7x9⅜ inches, the sheet 279.4x355.6 mm; 11x14 inches. 1948; printed 1950s.
Estimate
$2,000 – $3,000
Ralston crawford (1906-1978)
Coney Island.
Etching. 75x140 mm; 3x5½ inches, full margins. Signed, titled, inscribed “2nd St.” and numbered 4/15 in pencil, lower margin (presumably the editioned, second state of two). 1949.
A very good impression of this extremely scarce, early etching.
We have not found another impression at auction in the past 30 years.
Estimate
$1,000 – $1,500
Ralston crawford (1906-1978)
Untitled (Sails).
Watercolor and pen and ink on thin cream wove paper. 350x240 mm; 14x9½ inches. Signed in ink, upper right recto, and dated in pencil, lower right recto. 1938.
Estimate
$4,000 – $6,000
Ralston crawford (1906-1978)
Anchor on the Coast.
Pen and ink and watercolor on cream wove paper. 288x364 mm; 11⅜x14¼ inches. Signed and dedicated in ink (signature partially trimmed), lower right recto. 1955.
Estimate
$4,000 – $6,000
Ralston crawford (1906-1978)
Lovely Stornoway (Memories).
Pen and ink on thin cream wove paper. 240x355 mm; 9½x13⅞ inches. Signed, dated and titled in ink, lower recto. 1970.
Stornoway is the main town in the Hebrides or Western Isles of Scotland. An avid traveler, Crawford depicted Stornoway and other Scottish locales in sketches and photographs from the early 1970s.
Estimate
$2,000 – $3,000
Sidney gordin (1918-1995)
Study for Sculpture.
Pencil on tan wove paper mounted on thick cream wove paper. 360x275 mm; 14¼x11 inches. Signed in pencil, lower right recto. Circa 1942.
Estimate
$1,000 – $1,500
Albert eugene gallatin (1881-1952)
Collage No. 15.
Collage, oil and pencil on card stock. 455x330 mm; 18x13 inches. Signed and dated "Nov. 1940" in pen and ink, verso. 1940.
Provenance: Artist's estate.
Exhibited: "Albert Eugene Gallatin and his Circle," The Berkshire Museum, Pittsfield, Massachusetts, March 1-April 23, 1986, with the label on the frame back, The Grey Art Gallery and Study Center, New York University, May 5-June 28, 1986; The Lowe Art Museum, University of Miami, Coral Gables, October 8-November 23, 1986; The Phoenix Art Museum, January 9-February 22, 1987; "New York Cubists: Works by A. E. Gallatin, George L. K. Morris, and Charles G. Shaw," Hirschl & Adler Galleries, Inc., New York, January 16-February 27, 1988, number 11, with the label on the frame back; "The Park Avenue Cubists: Gallatin, Morris, Frelinghuysen, and Shaw," Grey Art Gallery, New York University, January 14-March 29, 2003; Addison Gallery of American Art, Phillips Academy Andover, April 22-July 31, 2003; Harn Museum of Art, University of Florida, Gainesville, September 2, November 30, 2003, with the label on the frame back.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 108 (illustrated).
An oil on board study of this composition was sold at Swann Auction Galleries, June 4, 2015, sale 2386, lot 191.
Estimate
$8,000 – $12,000
Albert eugene gallatin (1881-1952)
No. 11 (Spheres).
Oil on canvas. 762x890 mm; 30x35 inches. Signed, titled and dated in oil, verso. 1949-52.
Provenance: Artist’s estate.
Estimate
$6,000 – $9,000
Albert eugene gallatin (1881-1952)
No. 13.
Oil on canvas. 510x610 mm; 20x24¼ inches. Signed and dated “March 1949 Nov. 1950 March 1950” in oil, verso. 1949-50.
Provenance: Artist’s estate.
Estimate
$5,000 – $8,000
Albert eugene gallatin (1881-1952)
No. 10.
Oil on canvas. 510x610 mm; 20x24 inches. Signed and dated “April 1950” in oil, verso. 1950.
Provenance: Artist’s estate.
Estimate
$5,000 – $8,000
Albert eugene gallatin (1881-1952)
No. 71.
Oil on board. 200x250 mm; 8x10 inches. Signed, titled and dated in ink, verso. 1950.
This work is a smaller version of Gallatin’s oil painting No. 10.
Provenance: Artist’s estate.
Estimate
$2,500 – $3,500
Zoran antonio music (1909-2005)
Barchi, Venezia (Boats, Venice).
Gouache, watercolor and brush and ink on beige wove paper. 137x123 mm; 5⅜x4⅞ inches. Signed in ink, lower right recto. Circa 1950.
Estimate
$1,500 – $2,500
Alfonso ossorio (1960-1990)
Untitled (Reflection Symmetry).
Lithograph on wove paper. 215x160 mm; 8¾x6⅛ inches, full margins. Trial proof, likely for an unrealized edition. Signed, dated and inscribed “T/P” in pencil, lower margin. 1951.
A very good impression of this scarce lithograph.
With—Poems and Wood Engravings by Alfonso Ossorio. Artist’s book with color wood engravings and letterpress. Printed by E. Walters, London. 1935.
Estimate
$1,000 – $1,500
André villers (1930-2016)
Jacques Prévert and Picasso, Cannes.
Silver print, the image measuring 396.9x298.5 mm; 15⅝x11¾ inches, with Villers' credit hand stamp, on verso. 1960; printed 1980s.
Villers first began photographing in 1952, when he received a camera as a therapy tool after recovering from tuberculosis. A chance meeting with Pablo Picasso on a Vallauris street in 1953 formed a strong friendship and collaboration between the two artists. Villers photographed Picasso frequently, and the two created a renewed life around Cubism, experimenting with the camera's role in the artist movement.
Estimate
$600 – $900
Pablo picasso (1881-1943)
Bird on a Branch.
Partially glazed terre-de-faïence round ash-tray painted in black and white. 150 mm; 5⅞ inches (diameter). Edition of 500. Inscribed “Edition Picasso” in black and with the Madoura Plein Feu and Edition Picasso stamps on the base. 1952.
Ramié 175.
Estimate
$1,500 – $2,500
Pablo picasso (1881-1943)
Hen Subject.
Glazed terre-de-faïence turned, shaped piece painted in blue and white. 137x170 mm; 5⅜x6¾ inches. Edition of 500. Inscribed “Edition Picasso” in black and with the Madoura Plein Feu and Edition Picasso stamps on the base. 1954.
Ramié 250.
Estimate
$3,000 – $5,000
Carl walters (1883-1955)
Two glazed terre-de-faïence works.
Duck. 230 mm; 9 inches * Untitled (Bowl). 100x180 mm; 3⅞x7 inches. Both painted in green and black. Both signed and dated and with the artist’s maker’s mark incised in the clay on the underside. Both 1948.
Estimate
$2,000 – $3,000
George spaventa (1918-1978)
Cat.
Bronze. 110x166x150 mm; 4⅜x6½x5⅞ inches (including base). Edition of 6. With the artist’s partial signature and numbered 2/6 on the bronze edge. Circa 1964.
Provenance: Acquired from the artist.
Estimate
$1,000 – $1,500
Enrico donati (1908-2008)
Surrealist Composition.
Oil on canvas. 455x455 mm; 18x18 inches. Signed in oil, lower right recto, and signed, dated and inscribed in felt-tip pen and ink, verso. 1995.
Provenance: Acquired from the artist.
Estimate
$2,500 – $3,500
Enrico donati (1909-2008)
Decalcomania.
Brush and ink on smooth white wove paper. 245x350 mm; 9½x14 inches. Signed, dated and dedicated to Virgina Zabriskie in ink, verso. 1945.
Provenance: Gifted from the artist to Virginia Zabriskie, New York.
Estimate
$1,000 – $1,500
Sideo fromboluti (1920-2014)
Fog at Gay Head.
Oil on canvas. 860x1065 mm; 33¾x42 inches. Signed in oil, lower right recto, and titled in ink, verso. 1959.
Fromboluti was born in Hershey, Pennsylvania of Italian immigrants during the Great Depression. He was the first of his family to attend college having won the only scholarship offered by his high school to the Tyler College of Art, Philadelphia. He subsequently earned a BFA and Masters degree. He was drafted into the Army during World War II, completing his service in Junction City, Kansas. Following the war, Fromboluti moved with his wife, the artist Nora Speyer, whom he met and married while at the Tyler College of Art, and they built a summer home and studio on Higgins Pond in Wellfleet in 1966 after previous summers in Woodstock and Martha’s Vineyard. Both artists painted in lush, impastoed surfaces, and Fromboluti’s abstract style was in synch with the New York School of Abstract Expressionism.
Estimate
$1,500 – $2,500
Ludwig sander (1906-1975)
Untitled.
Charcoal on Strathmore Artist paper. 480x630 mm; 18⅞x24¾ inches. Signed in charcoal, lower left recto. 1954.
Exhibited: “17 Abstract Artists of East Hampton: The Pollock Years, 1946-56,” Parrish Art Museum, Southampton, July 20-September 14, 1980, number 49, with the label on the frame back.
Estimate
$1,500 – $2,500
ROBERT CONOVER
Conover was born in Philadelphia and studied at the Philadelphia Museum School before moving to New York where he attended the Art Students League and the Brooklyn Museum School. His first solo exhibition was held at Laurel Gallery, New York in 1950 and before long Conover became noticed for his flat, angular abstractions. Only a year after being represented in The Museum of Modern Art’s “Abstract Painting and Sculpture in America,” Conover was lauded by one critic as “one of our most talented newcomers.” Conover exhibited at the New Gallery, New York and his prints were exhibited at The MoMA in the 1953 “Young American Printmakers” exhibition before showing his paintings at Zabriskie Gallery in 1960.
Robert conover (1920-1998)
Untitled.
Watercolor on paper. 605x455 mm; 23¾x18 inches. Signed and dated in pencil, lower left recto. 1954.
Estimate
$1,000 – $1,500
Robert conover (1920-1998)
Untitled.
Watercolor and gouache. 365x460 mm; 14¼x18 inches. Signed and dated in pencil, lower right recto. 1954.
With— Three woodcuts on Japan paper. Vertical Structure, 1954 * Collision, 1958 * Looking Out, 1959. Each from an edition of 25. Each signed, numbered, titled and dated in pencil, lower margin. Various sizes and conditions.
Estimate
$1,000 – $1,500
Robert conover (1920-1998)
Abstract Composition.
Oil and gouache on cream wove paper. 450x600 mm; 17¾x23¾ inches. Signed and dated in pencil, lower right recto. 1959.
Estimate
$700 – $1,000
David smith (1906-1965)
Study for Man and Woman in the Cathedral.
Felt-tip pen and ink and pencil on paper. 270x210 mm; 10⅝x8¼ inches. Dated and extensively annotated in ink, recto. 1955-56.
Study for the same-titled steel sculpture, 1956, Yale University Art Gallery, New Haven.
Estimate
$5,000 – $8,000
RICHARD STANKIEWICZ
Zabriskie Gallery represented Stankiewicz from 1972 to 2009, and promoted his work with conviction. Often called “Junk Art”, Stankiewicz’s works were created from discarded scrap metal welded together into abstract figures. He titled his works in reference to what the figures were according to his imagination, which often had a sense of humor. As the separate scraps come together in rhythmic, buoyant forms, the culmination transcends the “Junk Art” label.
Stankiewicz’s work is an extension of his biography. In 1928, Stankiewicz and his mother moved from Philadelphia to the Rust Belt city of Detroit. During the Great Depression, they lived in a small apartment neighboring a foundry dump, where Stankiewicz used to play and create his own toys from the scrap. He studied mechanical drafting before entering the Navy in 1941. While he was stationed in the Pacific, Stankiewicz would carve figures from found wood and animal bones. After his service, he moved to New York and studied under Hans Hofmann, followed by instruction from Fernand Léger and sculptor Ossip Zadkine in Paris. Back in New York by 1952, Stankiewicz helped to found the Hansa Gallery alongside Wolf Kahn, where he would show his welded scrap metal sculptures. He was widely exhibited in New York and internationally, though Stankiewicz felt that the market for his work had cooled in 1965 since he had moved to Massachusetts. Deciding the change his affiliation with Stable Gallery, he did not exhibit in New York until connecting with Zabriskie in 1972. His work came back to New York with new vigor. Stankiewicz had discovered new materials and was working at a larger scale with the same lyric expression as before, occasionally including kinetic elements in his works. The Zabriskie Gallery held eighteen solo exhibitions of Stankiewicz’s work over two decades.
Richard stankiewicz (1922-1983)
Untitled (Nail Construction).
Welded iron nails. 130x120 mm; 5⅛x4¾ inches. Circa 1955.
Provenance: Acquired from the artist.
Estimate
$3,000 – $5,000
Richard stankiewicz (1922-1983)
Untitled (Nail Construction).
Welded iron nails. 170x145 mm; 6¾x5¾ inches. Circa 1955.
Provenance: Acquired from the artist.
Estimate
$3,000 – $5,000
Richard stankiewicz (1922-1983)
Untitled.
Wire and plaster. 250x205x140 mm; 10⅝x8⅛x5½ inches. Circa 1952.
Provenance: Acquired from the artist.
Exhibited: "Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965," New York University Abu Dhabi Art Gallery, Saadiyat Island, Abu Dhabi, October 4, 2017-January 13, 2018.
Estimate
$4,000 – $6,000
Richard stankiewicz (1922-1983)
Wind Gong.
Welded steel. 1520x914x914 mm; 60x36x36 inches. Indistinctly incised with the artist's initials and date on the base. Circa 1960.
Provenance: Private collection to Virginia Zabriskie.
Estimate
$40,000 – $60,000
Richard stankiewicz (1922-1983)
Untitled.
Brush and Sumi ink on imitation Japan paper. 1880x455 mm; 74x18 inches. Circa 1960.
Estimate
$1,500 – $2,500
Richard stankiewicz (1922-1983)
Three brush and Sumi ink drawings.
Each on imitation Japan paper. Untitled (Hand). 512x305 mm; 20⅛x12 inches. Initialed and dated “14/2/60” in red ballpoint pen and ink, lower right recto. 1960 * Untitled. 735x310 mm; 29x12 inches. Dated “20 Feb. ‘62” in red ballpoint pen and ink, lower right recto. 1962 * Untitled. 825x310 mm; 32½x12 inches. Dated “20 Feb. ‘62” in red ballpoint pen and ink, lower right recto. 1962.
Estimate
$2,000 – $3,000
Richard stankiewicz (1922-1983)
Three brush and Sumi ink drawings.
Two Untitled, on wove paper. 560x205 mm; 21x8⅛ inches. Both circa 1960 * Untitled (Hand), on imitation Japan paper. 437x205 mm; 17¼x8⅛ inches. Initialed and dated “5/2/50”in pencil, lower right recto. 1950.
Estimate
$1,500 – $2,500
Richard stankiewicz (1922-1983)
Two brush and Sumi Ink drawings.
Untitled (Vertical Stripes). 557x560 mm; 22x22 inches * Untitled. 560x205 mm; 22x8⅛ inches. Both circa 1960.
With—Untitled, aquatint on synthetic paper, 2 impressions. 995x675 mm; 39⅛x26⅝ inches (sheet), full margins. Both artist’s proofs, aside from the edition of 20. 1964.
Estimate
$1,000 – $1,500
Lucas samaras (1936 - )
Interior.
Color pastels on tan wove paper. 230x305 mm; 9x12 inches. Signed and dated in pencil, verso. 1958.
Provenance: Acquired from the artist, New York.
Estimate
$7,000 – $10,000
Lucas samaras (1936 - )
Still Life #2.
Color pastels and silver metallic paint on red wove paper. 230x305 mm; 9x12 inches. Initialed and dated in pencil, verso. 1958.
Provenance: Acquired from the artist, New York.
Estimate
$7,000 – $10,000
Lucas samaras (1936 - )
Abstract #2.
Brush and ink on cream wove paper. 280x215 mm; 11x8½ inches. Initialed and dated in pencil, verso. 1961.
Provenance: Acquired from the artist, New York.
Estimate
$6,000 – $9,000
Costantino nivola (1911-1988)
Untitled.
Painted sand cast sculpture. 280x215x155 mm; 11x8½x6⅛ inches. Inscribed “S.G.” in paint on the underside.
Estimate
$2,000 – $3,000
Harry shunk (1924-2006) & jános kender (1938-2009)
Christo and Raymond Hains, Néo-Dada emballe, Eiffel Tower, Paris (collage).
Silver print collage, the image measuring 228.6x161.9 mm; 9x6⅜ inches, the sheet slightly larger, with a Shunk-Kender hand stamp, on verso. 1961-63; printed early 1970s.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 194 (illustrated).
Harry Shunk's photographs were exhibited at Zabriskie Gallery, New York, May 17-July 8, 1988 in an exhibition titled "Harry Shunk: Photographs of the Nouveaux Réalistes."
Between 1957 and 1987, Harry Shunk and János Kender formed an artistic collaboration (Shunk-Kender). The pair documented artists and exhibitions, capturing decades of rapid shifts in what constituted art, including nouveau réalisme, pop art, minimalism, postminimalism, conceptual art, and performance. This image depicts the artists Christo and Raymond Hains in front of the Eiffel Tower. A wrapped horse is collaged into the image, possibly Hains' work Néodada emballé par Christo, a horse in planks and posters, later wrapped by Christo, which was put on display in front of the Museum of Modern Art in Paris for the 1963 Salon des Comparaisons.
Estimate
$500 – $750
Willy ronis (1910-2009)
Salle des Pas Perdus de la Gare Saint Lazare, Paris.
Silver print, the image measuring 266.7x393.7 mm; 10½x15½ inches, flush mounted, with Ronis’ signature and title, in ink, the negative date and a notation, in pencil, and his copyright hand stamps, on mount verso. 1955; printed 1960s.
Estimate
$2,000 – $3,000
LESTER JOHNSON
Johnson came to New York in 1947 after studying at the Minneapolis School of Art and the St. Paul Art School. He was befriended by his neighbors Wolf Kahn and Larry Rivers during the 1950s before moving to Columbus as an Artist-in-Residence at Ohio State University from 1961-62. He followed this post with a residence at the University of Wisconsin and a supplementary academic career at Yale University.
Johnson was one of a group of young New York School artists who summered in Springs, East Hampton in the 1950s and 60s. He would return to Springs throughout his career and counted Saul Steinberg and Willem and Elaine Kooning as neighbors.
Though Johnson’s work was characterized as Abstract Expressionism, he departed from this already loosely defined canon by including figures and interior forms. His physically vigorous technique of action painting created portraits with a breadth of tangible presences–from exuberant joy to isolated stoicism to existential despair. In the 1970s Johnson moved to portraying colorful narrative crowded street scenes.
Like Pat Adams (born 1928) and Clinton Hill (1922-2003), Johnson was represented by Korman Galleries before the roster was inherited by Virginia Zabriskie. His work would be shown by Zabriskie in New York and Paris several times from 1954 to 1985, helping to cement his position as a leading figure in the New York school.
Lester johnson (1919-2010)
Studio Interior.
Brush and ink on cream wove paper. 480x607 mm; 18⅞x24 inches. Signed and dated in pencil, lower right recto. 1955.
Provenance: Acquired from the artist, New York.
Estimate
$1,000 – $1,500
Lester johnson (1919-2010)
Interior.
Gouache on cream wove paper. 162x198 mm; 6⅜x7¾ inches. Circa 1954.
Provenance: Acquired from the artist, New York.
Estimate
$1,000 – $1,500
Lester johnson (1919-2010)
Coastal Scene with Ships.
Watercolor on cream wove paper. 353x425 mm; 13⅞16¾ inches. Signed and dated in pencil, lower right recto. 1955.
Estimate
$1,000 – $1,500
Lester johnson (1919-2010)
Window Abstraction.
Brush and ink on paper. 933x625 mm; 36¾x24½ inches. Signed and dated in pencil, lower center recto. 1959.
Provenance: Acquired from the artist, New York.
Estimate
$1,000 – $1,500
Lester johnson (1919-2010)
Untitled (Man).
Brush and ink and tempera on board. 1010x655 mm; 40x25¾ inches. Signed and dated in pencil, upper right recto. 1960.
Provenance: Acquired from the artist, New York.
Estimate
$1,500 – $2,500
Lester johnson (1919-2010)
Nude.
Charcoal on cream laid paper. 605x475 mm; 23¾x18¾ inches. Circa 1960.
Provenance: Acquired from the artist, New York.
Estimate
$800 – $1,200
Lester johnson (1919-2010)
Three lithographs.
Self Portrait. 385x290 mm; 15⅛x11½ inches, full margins. Numbered 17/30 in pencil, lower margin * A Man, Summer. 340x250 mm; 13½x9⅞ inches, full margins. Numbered 1/23 in pencil, lower margin * A Man. 385x290 mm; 15⅛x11½ inches, full margins. Numbered 10/30 in pencil, lower margin. Each signed, titled and dated in pencil, lower margin. Each 1960.
Very good impressions.
Provenance: Acquired from the artist, New York.
Estimate
$1,000 – $1,500
Lester johnson (1919-2010)
Three lithographs.
Self Portrait. 470x290 mm; 18½x11½ inches, full margins. Numbered 4/21 in pencil, lower margin * A Man, Summer. 340x250 mm; 13½x9⅞ inches, full margins. Numbered 5/23 in pencil, lower margin * Head. 340x265 mm; 13⅜x10⅜ inches, full margins. Numbered 3/15 in pencil, lower margin. Each signed, titled and dated in pencil, lower margin. Each 1960.
Very good impressions.
Provenance: Acquired from the artist, New York.
Estimate
$1,000 – $1,500
Lester johnson (1919-2010)
Three watercolors.
Men at a Lunch Counter. 360x260 mm; 14⅛x10¼ inches. Signed and dated in pencil and additionally signed in watercolor, lower right recto. 1961 * Yellow Figure. 305x230 mm; 12x9 inches. Signed "Lester" in watercolor, lower right recto. Circa 1960 * Southampton Landscape. 225x303 mm; 8⅞x12 inches. Signed "Lester" in watercolor, lower right recto. Circa 1960.
Provenance: Acquired from the artist, New York.
Estimate
$1,500 – $2,500
Lester johnson (1919-2010)
Two Men in Hats.
Brush and atomizer and ink with wash, charcoal and pastel on thin wove paper. 760x610 mm; 30x24 inches. Signed and dated in pencil, lower left recto. 1970.
Provenance: Acquired from the artist, New York.
Estimate
$1,500 – $2,500
Lester johnson (1919-2010)
Bittersweet.
Oil on canvas. 440x510 mm; 17¼x20⅛ inches. Signed and dated in oil, verso. 1955.
Provenance: Gifted from the artist, New York, to Virginia Zabriskie.
Exhibited: "American Paintings 1945-1957," Minneapolis Institute of Art, June 18-September 1, 1957.
According to a note in the Zabriskie Gallery archives, Johnson painted this still life from a bittersweet plant given to him by Virginia Zabriskie on the birth of his daughter, Leslie Marie. This is one of two versions of the bittersweet still life made by Johnson at the time and owned by Zabriskie; she gifted the other to Leslie Marie on her sixteenth birthday.
Estimate
$3,000 – $5,000
Lester johnson (1919-2010)
Still Life in Milford #4.
Oil on canvas. 1018x810 mm; 40x32 inches. Signed, titled and dated in oil, verso. 1965.
Provenance: Acquired from the artist, New York.
Estimate
$3,000 – $5,000
Lester johnson (1919-2010)
Still Life with a Tabletop.
Brush and ink, crayon, oil and varnish on hand-toned paper. 640x475 mm; 25¼x18¾ inches. Signed and dated in pen and ink, lower right recto. 1968.
Provenance: Acquired from the artist, New York.
Estimate
$2,000 – $3,000
Robert de niro, sr. (1922-1993)
Still Life with Lemons.
Charcoal on cream laid paper. 635x475 mm; 25x18¾ inches. Signed and dated in charcoal, lower right recto. 1960.
Provenance: Acquired from the artist, New York.
Estimate
$1,500 – $2,500
Robert de niro, sr. (1922-1993)
Group of 4 lithographs.
Pensive Woman * Seated Nude * Nude Study. Each 340x260 mm; 13⅜x10¼ inches, full margins. Each signed, dated and numbered 15/25 in pencil, lower margin * Woman in an Interior, printed in color. 350x410 mm; 13¾x16⅛ inches, full margins. Signed, dated and numbered 13/25 in pencil, lower margin. Each 1968.
Very good impressions.
Estimate
$1,500 – $2,500
André masson (1896-1987)
Portrait of Virginia Zabriskie.
Pen and brown ink on cream wove paper. 265x190 mm; 10½x7½ inches. Inscribed “Virginia” in ink, lower center recto. Circa 1970.
Provenance: Gifted from Diego Masson, the artist’s son, to Virginia Zabriskie, 2004.
Estimate
$1,000 – $1,500
Ellen lanyon (1926-2013)
Untitled (Portrait of Virginia Zabriskie).
Painted found tin box. 260x55 mm; 10¼x2⅛ inches. Circa 1965.
Provenance: Gift from the artist to Virginia Zabriskie.
Lanyon was born and educated in Chicago. She received her early training in a work-study program at the Ox-Bow School of Art, in Saugatuck, Michigan, and at the Museum for the Contemporary Arts and the Art Institute Department of Prints and Drawings, Chicago. She spent the early years of her career in her hometown, where she was often identified with the Chicago Imagists and painted primarily modernist cityscapes and portraits. In the 1970s, Lanyon moved to New York and became a member of the Heresies Collective, which created Heresies: A Feminist Publication on Art and Politics. Over the course of her career, Lanyon has had over seventy-five solo gallery exhibitions and eleven museum exhibitions, including three major traveling retrospectives. Her work is in the collections of the Art Institute of Chicago; the Museum of Contemporary Art, Chicago; the Brooklyn Museum; the Metropolitan Museum of Art, New York; the National Museum of American Art, Washington, D.C.; the National Museum of Women in the Arts, Washington, D.C.; the Walker Art Center, Minneapolis; the Milwaukee Museum of Art; and the Wadsworth Atheneum, Hartford, among others.
Estimate
$800 – $1,200
EMILIO CRUZ
A New York native, Cruz began his career associated with New York artists Lester Johnson, Jan Muller and Bob Thompson–artists who all applied the principles of Abstract Expressionism to figurative imagery. Of Cuban descent, Cruz spent the majority of his life in New York, excluding the 1970s when he taught at the School of the Art Institute of Chicago. His work is also found in the collections of the Museum of Modern Art, the Brooklyn Museum, the Studio Museum in Harlem, New York and the Hirshhorn Museum, Washington, D.C.
Emilio cruz (1938-2004)
Figural Composition.
Felt-tip pen and ink and wash on cream wove paper. 455x610 mm; 18x24 inches. Signed and dated in ink, lower right recto. 1962.
Provenance: Aquired from the artist, New York.
Estimate
$1,000 – $1,500
Emilio cruz (1938-2004)
Three Figures.
Color pastels on cream wove paper. 295x365 mm; 11 1/2x14 1/2 inches. Signed and dated in ink, lower right recto. 1965.
Provenance: Aquired from the artist, New York.
Estimate
$2,000 – $3,000
Emilio cruz (1938-2004)
Four Figures.
Oil on paper mounted on board. 400x500 mm; 15¾x19¾ inches. With a Museum of Modern Art Lending Service, New York label on the frame back. Circa 1963.
Provenance: Aquired from the artist, New York.
Estimate
$4,000 – $6,000
Milton resnick (1917-2004)
House.
Oil on paper. 180x260 mm; 7⅛x10¼ inches. Signed, dated, titled and dedicated "to Virginia" in felt-tip pen and ink, verso. 1984.
Resnick trained at the Pratt Institute, New York, where he studied commercial art, before transferring to the American Artists School to focus on painting. Among the first generation of the New York School artists, he was friends with Abstract Expressionists such as Arshile Gorky and Willem de Kooning. Resnick sought to dissolve form and image, employing the sculptural elements of the paint. He eclipsed the traditional modes of Abstract Expressionism in the mid 1940s and created dense and heavily impastoed paintings that sometimes weighed more than 300 pounds. His foray into the materiality of paint was predictive of artists such as Cy Twombly and Frank Stella who focused on process and an "all-over" approach to developing a canvas.
Estimate
$3,000 – $5,000
SHIRLEY GOLDFARB
Goldfarb was represented by Virginia Zabriskie in Paris and New York. Goldfarb was a contemporary of the New York School, attending the Art Students League in 1949 where she met Jackson Pollock (1912-1956). Goldfarb did not stay in New York for long after her studies. She continued to paint in the Abstract Expressionist style into the 1960s. In 1954, she moved to Paris, where she forged her career as an abstract artist with an unshakable identity. Goldfarb embraced the Parisian art scene and was welcomed into the same circles as Man Ray (1890-1976) and other American ex-pats. Distance from New York perhaps led her to develop her unique style which blended French pointillism, sophisticated color theory, and her roots in abstraction.
Shirley goldfarb (1925-1980)
Untitled.
Oil on canvas. 180x140 mm; 7x5½ inches. Signed and dated in ballpoint pen and ink on the stretcher bar, verso. 1962.
Estimate
$1,500 – $2,500
Shirley goldfarb (1925-1980)
Two oils on canvas.
LA 3. 305x230 mm; 12x9 inches. Signed, titled and dated in crayon, verso * LA 9. 250x200 mm; 10x7¾ inches. Signed, dated and titled in crayon, verso. Both 1969.
Estimate
$3,000 – $5,000
Wolf kahn (1927-2020)
Purple Trees.
Color pastels on tan wove paper. 350x435 mm; 14x17 inches. Signed in pastel, lower right recto. Circa 1960-65.
Provenance: Acquired from the artist, New York.
Estimate
$4,000 – $6,000
Clinton hill (1922-2003)
Gradient Study
Watercolor on cardstock. 65x710 mm; 2⅝x28 inches.
With—ALLEN TRAN. Untitled, painted metal sculpture. 755x65 mm; 29½x2⅝ inches. Incised with initials "tr" recto and incised with dedication to Virginia Zabriskie and initialed "h&t" verso.
Provenance: Gifted from the artist to Virginia Zabriskie.
Hill met his life partner of more than 50 years, Allen Tran, while serving as a commanding officer in the Navy. Their works are now overseen by the Clinton Hill/Allen Tran Foundation, Palm Springs.
Estimate
$1,000 – $1,500
Clinton hill (1922-2003)
Re-Enter.
Oil on linen. 1275x1655 mm; 50¼x65⅛ inches. Signed, titled and dated in oil, verso. 1968.
Estimate
$1,000 – $1,500
Nell blaine (1922-1996)
Floral Abstract.
Oil on paper. 262x146 mm; 10⅜x5¾ inches. Signed, dated and dedicated to Virigina Zabriskie, lower recto. 1973.
Provenance: Gifted from the artist to Virginia Zabriskie.
Estimate
$3,000 – $5,000
Herman rose (1909-2007)
Little Blue Bottle.
Oil on canvas. 460x430 mm; 18x17 inches. Signed in oil, lower left recto. 1968.
Provenance: Acquired from the artist, New York.
Known for small-scale, modernist landscapes that represent the jumble of textured urban architecture, Rose was born in Brooklyn and worked much of his career in New York. After assisting Arshile Gorky in the Works Progress Administration's Mural Division, he went on to teach at Brooklyn College, the New School of Social Research and the Pratt Institute.
Estimate
$1,200 – $1,800
Léon hartl (1889-1973)
Still Life with Pitcher.
Oil on canvas. 445x705 mm; 17½x27¾ inches. Signed and dated in oil, lower right recto. 1962.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 98 (illustrated).
Hartl, born in Paris and trained as a master dyer, was admired by fellow artists for his untrained innate talent and sense of color. The artist Fairfield Porter (1907-1975) wrote admiringly of his career and technique in Art News in 1953, noting that Hartl drew directly with paint and never added medium to his pigments, only using turpentine for erasing. He told Porter, "Art is a feeling of things, not a description of them. When you are young you are sensual, later your exaltation is more spiritual."
When Hartl came to the United States in 1912, he turned to painting to assuage his homesickness. At first, he painted French flowers and birds from memory but even his mature work was autobiographical of either his life in France or New York. Hartl used real-life references to inform his color choices (an apple and fallen leaves for a landscape scene) and usually worked on multiple paintings at once. Though his career spanned the Abstract movement in the United States, Hartl remained steadfast with representative art. In 1920, he exhibited in group shows at the New Gallery alongside Ernest Fiene (1894-1965), Arnold Friedman (1879-1946), Joseph Stella (1877-1946) and Carl Sprinchorn (1877-1971). He was represented by Juliana Force of the Whitney Studio Galleries (formerly Whitney Studio Club) from its formation in 1928 through its metamorphosis into the Whitney Museum in 1931. Hartl had numerous solo exhibitions in New York, with one at Zabriskie Gallery in 1967.
Estimate
$1,000 – $1,500
Alvin ross (1920-1975)
Light Bulbs in Basket.
Oil on canvas mounted to panel. 185x250 mm; 7½x9¾ inches. Signed in oil, lower right, and signed, titled and inscribed “#41171” and with dimensions in ink, verso. Circa 1960.
Provenance: Peridot Gallery, New York, with the label on the frame back.
Ross was born in Vineland, New Jersey, and graduated from the Tyler School of Arts, Temple University, Philadelphia in 1944. He also studied at the Barnes Foundation in Merion, Pennsylvania. In the late 1940s, he moved to New York where he studied with Louis Bouche, Franklin Watkins, Peggy Bacon and Earl Horter. Ross first traveled to Europe in 1949 and attended the Academia di Bella Arti in Florence, Italy in 1951. He later became the Chairman of the History of Art Department at Pratt Institute in Brooklyn and was a lecturer on the History of Art and Architecture at the New School for Social Research and the New York School of Interior Design, but spent much of his time in Provincetown, Massachusetts, where he was president of the Art Association and Museum in the early 1970s.
Estimate
$1,000 – $1,500
Maurice henry (1907-1984)
L’Hommage a Paganini.
Wood, straw and cloth assemblage. 245x520x102 mm; 9⅝x20½x4 inches. Edition of 25. Signed and numbered 8/25 in ink on the label, verso. Published by Edition Sergio Tosi, Milan after the 1936 original. 1936-68.
Exhibited: "Exposition Internationale du Surréalisme, Galerie Beaux-Arts, Paris 1938: An Homage," Ubu Gallery, New York, March 18-May 13, 1995, number 33.
Estimate
$3,000 – $5,000
Georges hugnet (1906-1974)
Huit Jours à Trébaumec.
A Surrealist masterpiece beautifully illustrated with 82 rich reproductions of Hugnet's collages. Small folio, printed pink wrappers; glassine dust jacket; with the gray slipcase. LIMITED EDITION, NUMBER 78 OF 102 COPIES SIGNED BY HUGNET AND HENRI MERCHER.
Paris: les Ateliers Coet, 1969.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 171 (illustrated).
An exhibition of Georges Hugnet entitled "Georges Hugnet: Surrealist Collages" was held at Zabriskie Gallery, New York, April 24-June 1, 1984.
This clever title is packaged as a Guide Rose Micheline, a parody of the popular Baedeker, Guide Michelin Rouge. In Hugnet’s satire, it is not a Michelin man, but a Michelin woman serving as a tour guide leading us through the fictional “Trébaumec” or as Hugnet called it, “The little lost town in Brittany, paradise regained.”
Estimate
$1,200 – $1,800
Daniel spoerri (1930 - )
Untitled.
Collection of identification cards and original note in tin lock box. 70x85x60 mm; 2¾x3⅜x2⅜ inches (box). Signed, numbered “22” and inscribed on the note paper with an additional signature on the Swiss transport company identification card and numbered on the outside of the box and on the lock and key fob. 1987-91.
Estimate
$1,000 – $1,500
Ben (ben vautier) (1935 - )
Le voyeur.
Spy hole mounted in a found pine box with paper collage, acrylic and canvas. 50x175x75 mm; 2x6 7/8x3 inches. Titled in acrylic on the lid. 1997.
After the same-titled object by Man Ray (1890-1976), a 1965 example of which is held by the Smithsonian American Art Museum, Washington, D.C.
This work is registered under number 10415 of the artist's forthcoming catalogue raisonné and in the artist's archives held by Eva Vautier.
Exhibited: "Sur le moment," Galerie Soardi, Nice, 1997 (as part of an installation with Bruno Pélassy entitled Safari Rave Photos); "Il n'y a pas de photos ratées," Maison Européenne de la Photographie (M.E.P.), Paris, March 17-August 30, 1997; "Don't Look at this Photo," Zabriskie Gallery, New York, October 13-December 5, 1998.
Estimate
$1,000 – $1,500
Pierre buraglio (1939 - )
Sans titre.
Glass and wood object. 160x160 mm; 6½x6½ inches. Annotated "Gift from Buraglio to V (August 83)" in ink on a gallery label verso. Circa 1980.
Provenance: Gifted from the artist to Virginia Zabriskie.
Estimate
$3,000 – $5,000
Karl mann (1930 - )
Box #1.
Wooden box construction assemblage with found objects. 420x420x205 mm; 16½x16½x8⅛ inches. Circa 1975.
Provenance: D’Arcy Galleries, New York, with the label verso.
Estimate
$1,000 – $1,500
Jean tinguely (1925-1991)
Sans titre.
Collage with watercolor, felt-tip pen and ink and found objects on a cardboard box. 540x540 mm; 21¼x21¼ inches. Signed and dedicated in ink, recto. 1988.
Provenance: Gifted from the artist to Virginia Zabriskie.
Estimate
$3,000 – $5,000
Allan kaprow (1927-2006)
Untitled (Calling).
Color lithograph on Rives. 610x470 mm; 24x18½ inches, full margins. Signed and numbered 72/75 in pencil, lower margin. Printed by Irwin Hollander, New York, with the blind stamp lower right. Published by Harry N. Abrams, Inc., New York. 1965.
A very good impression with strong colors.
Provenance: Acquired from the artist, New York.
After Kaprow's same-titled happening performed August 1965 on three different street corners in New York. Performers were wrapped in foil and muslin and "abducted" from the city to the woods of New Jersey. Kaprow also "worked" for a brief time at Zabriskie Gallery, New York, though his short stint as a gallery assistant there was in fact an art happening conceived by Kaprow.
Estimate
$800 – $1,200
Red grooms (1937 - )
Nervous City.
Pen and ink on cream wove paper. 200x255 mm; 7¾x10 inches. Signed in ink, upper left recto. Circa 1970.
Estimate
$1,500 – $2,500
Neal slavin (1941 - )
Statue of Liberty.
Silver print, the image measuring 257.2x187.3 mm; 10⅛x7⅜ inches, the sheet 317.5x235 mm; 12½x9¼ inches, with Slavin's credit hand stamp, twice, on verso. 1974.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 23 (illustrated).
Slavin is best known for his group portraits, ranging from professional societies to social clubs, which he has documented since the 1970s.
Estimate
$700 – $1,000
Lee friedlander (1934 - )
New York City.
Silver print, the image measuring 282.6x287.3 mm; 11⅛x7⅜ inches, the sheet 355.6x279.4 mm; 14x11 inches, with Friedlander’s signature, title, and negative date, in pencil, and his copyright hand stamp, on verso. 1975.
Estimate
$2,000 – $3,000
Lee friedlander (1934 - )
Father Duffy, Times Square, New York City.
Silver print, the image measuring 219.1x327 mm; 8⅝x12⅞ inches, the sheet 279.4x355.6 mm; 11x14 inches, with Friedlander's signature, title NYC, and date, in pencil, and his copyright hand stamp, on verso. 1974; printed 1980s.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 184 (illustrated).
An exhibition of Lee Friedlander's work was held at Galerie Zabriskie, Paris, September 11-October 14, 1978.
Estimate
$7,000 – $10,000
Lee friedlander (1934 - )
Sceaux, France.
Silver print, the image measuring 190.5x282.6 mm; 7½x11⅛ inches, the sheet 279.4x355.6 mm; 11x14 inches, with Friedlander’s signature, in pencil, and copyright hand stamp, on verso. 1973.
Estimate
$1,000 – $1,500
Hamish fulton (1946 - )
A portfolio of four works entitled Kent, England 1971-1975.
Complete with four landscape photographs by the English walking artist. Silver prints, the images measuring 244.5x365.1 mm; 9⅝x14⅜ inches, and the reverse, the mounts 501.7x628.7 mm; 19¾x24¾ inches, each with the printed title, dates, and location, and three with a descriptive caption, on mount recto, and each with a printed portfolio label with Fulton’s signature and edition notation 27/50, in pencil, on mount verso. Elephant folio-sized brown paper box, the colophon with a reproduction and plate list. ONE OF AN EDITION OF 50 AND THREE ARTIST PROOFS. London: Desmond Page Limited, 1971-75; printed 1976.
Hode Lane, 1971 * Whitehall Wood, 1972 * Landmark, 1974 * Circular Walks, 1972-75.
Fulton argues that walking is an artform. He has walked in more than 25 countries in the past 30 years, including trips to the tops of Mount Everest and Denali. “If I do not walk, I cannot make a work of art,” Fulton explains. “The physical involvement of walking creates a receptiveness to the landscape. I walk on the land to be woven into nature. A road walk can transform the everyday world and give a heightened sense of human history.” Fulton translates his walks into other media, including photographs, wall texts, and drawings, allowing the viewer to participate in his primary medium.
Estimate
$2,500 – $3,500
Reuben nakian (1897-1986)
Leda and the Swan.
Terracotta. 255x320x100 mm; 10x12⅝x4 inches. Incised with the artist’s signature, verso. Circa 1960.
With—Leda and the Swan, brush and ink and wash on cream wove paper. 355x420 mm; 14x16½ inches. Signed in ink, lower left recto. Circa 1970.
Estimate
$1,500 – $2,500
MARY FRANK
Frank was born in London and moved to the United States as a child in 1940. Dance, rather than painting or sculpture, was her early passion. She studied with Martha Graham (1894-1991) who influenced the remainder of her career even after she stopped dancing and began working as a sculptor and painter. Largely self-taught, she had some formal artistic training, studying wood carving at Alfred van Loen’s studio, drawing with Max Beckmann (1884-1950) at the Brooklyn Museum Art School, and taking night classes with Hans Hofmann (1880-1966) at his Eight Street School. Her early works explored mythological and primitive themes in a variety of sculpture mediums and drawing. During the late 1960s and early 1970s, she began to work with clay, which became a preferred medium for its malleability. Her ceramic sculptures often depict the human body in motion in fluid form, evoking her time spent studying dance. Later in her career, she turned increasingly towards painting and embracing color. In 1969, she started exhibiting with the Zabriskie Gallery who would show her work over the following decades. Her work can be found in the permanent collections of The Metropolitan Museum of Art, The National Museum of American Art at the Smithsonian Institution and The Art Institute of Chicago, among others.
Mary frank (1933- )
Time Out of Mind.
Carved mahogany. 470x520 mm; 18½x20½ inches. 1964-65.
Provenance: Acquired from the artist, New York.
Exhibited: "Sculpture and Drawings, Mary Frank," Stephen Radich Gallery, New York, February 15-March 12, 1966.
Published: Dennis Adrian, "Mary Frank," Artforum, vol. 4, no. 9, May 1966, pages 33-34 (illustrated); Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 122 (illustrated).
Estimate
$5,000 – $8,000
Mary frank (1933 - )
Two Figures on the Beach.
Color pastels on cream wove paper. 628x1013 mm; 24¾x39¾ inches. Signed and dated in pencil, lower right recto. 1964.
Provenance: Acquired from the artist, New York.
Estimate
$1,500 – $2,500
Mary frank (1933 - )
Beach with Breakers.
Charcoal on cream laid paper. 510x655 mm; 20⅛x23¾ inches. Signed and dated in pencil, lower right recto. 1964.
Provenance: Acquired from the artist, New York.
Estimate
$1,000 – $1,500
Mary frank (1933 - )
Group of 4 brush and ink and wash figure studies.
Each 600x455 mm; 23⅝x17⅞ inches. Each signed and dated in pen and ink, lower edge recto. Each circa 1965-68.
Provenance: Acquired from the artist, New York.
Estimate
$1,500 – $2,500
Mary frank (1933 - )
Untitled (Lion-Headed Woman).
Bronze. 265x120x65 mm; 10⅜x4¾x6½ inches. Incised with the artist's initials on the edge of the base. Circa 1958.
Provenance: Acquired from the artist, New York.
Estimate
$1,500 – $2,500
Mary frank (1933 - )
Two watercolors.
Nude. 455x600 mm; 18x23½ inches. Signed and dated in pencil, lower right recto. 1973 * Crouching Nude. 510x650 mm; 20⅛x25⅝ inches. Signed and dated in pen and ink, lower right recto. 1976.
Provenance: Acquired from the artist, New York.
Estimate
$1,500 – $2,500
Mary frank (1933 - )
Two watercolors.
Forest. 275x353 mm; 10⅞x13⅞ inches. Signed, dated and dedicated "For Virginia" in ball-point pen and ink, lower right recto. 1974 * Waterlilies. 490x632 mm; 19⅛x25 inches. Signed and dated in pencil, lower right recto. 1976.
Provenance: Acquired from the artist, New York.
Estimate
$1,200 – $1,800
Mary frank (1933 - )
Winged Figure
Ceramic. 485x360x340 mm; 19⅛x14¼x13½ inches. Circa 1979.
Provenance: Acquired from the artist, New York.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 133 (illustrated).
Estimate
$3,000 – $5,000
Mary frank (1933 - )
Two color monotypes.
Untitled, monotype with hand coloring in pastel. 600x880 mm; 23½x34¾ inches, full margins * Untitled, monotype with hand coloring and watercolor. 900x590 mm; 35⅜x23¼ inches, full margins. Signed in pencil, lower right. Both circa 1975-80. Both very good, unique impressions.
Provenance: Acquired from the artist, New York.
Estimate
$800 – $1,200
Peter agostini (1913-1993)
Standing Nude.
Bronze. 640mm; 25⅛ inches. Incised with the artist's initials, numbered 1/5, and dated "50" and stamped "56" on the base. Circa 1950.
Provenance: Acquired from the artist.
Estimate
$1,200 – $1,800
Peter agostini (1913-1993)
Female Figure.
Plaster. 345x80x80 mm; 13⅝x3⅛x3⅛ inches. Initialed, dated and numbered 1/3 on the underside. 1971.
With—Head, plaster. 135x205x165 mm; 5⅜x8x6⅝ inches. Initialed and dated on the underside. 1971.
Estimate
$1,000 – $1,500
Denise colomb (1902-2004)
Jean Arp.
Silver print, the image measuring 298.5x231.8 mm; 11¾x9⅛ inches, with Colomb's signature, title, dates, and numeric notation, in pencil, on verso. 1954; printed 1989.
Among Colomb's (née Denise Loeb) best known works are her portraits of art world celebrities in their studios and daily life, which she created from the late 1940s through the 1960s.
Estimate
$500 – $750
Hans hartung (1904-1989)
Un Monde Ignoré.
With poems by Jean Tardieu. Illustrated with 39 reproductions of Hartung’s photographs, each beautifully printed and tipped to the pages. Folio, photo-pictorial and printed boards; glassine dust jacket. THE EDITION OF 75 SIGNED COPIES, THIS ONE OF 15 HORS COMMERCE COPIES ALSO SIGNED BY HARTUNG.
Éditions d’art Albert Skira, 1974.
Estimate
$1,500 – $2,500
Roy lichtenstein (1923-1997)
Modern Sculpture with Apertures.
Color screenprinted enamel on interlocking Plexiglas forms with mirrored silver Mylar. 419x152x190 mm; 16½x6x7½ inches. Signed and numbered 153/200 in ink, on the lower edge. Printed by Maurel Studios, New York. Published by the artist, for Artists for Scholarship, Education and Defense Fund for Racial Equality, New York. 1967.
Corlett 46.
Estimate
$3,000 – $5,000
George sugarman (1912-1999)
Roland.
Patinated steel. 442x405x132 mm; 17⅜x16x5¼ inches. Incised with the artist’s signature and numbered 15/17 on the underside. Manufactured by Lippincott, Inc., North Haven, Connecticut, with the stamp on the underside. 1970.
Estimate
$1,000 – $1,500
Attilio pierelli (1924-2013)
Obelisco multiplo I.
Stainless steel. 200x195x170 mm; 7⅞x7⅝x6¾ inches. Etched with the artist's signature, title, date and numbered 19/50 on the lower edge. 1967.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 102 (installation illustrated)
Estimate
$1,000 – $1,500
Steven urry (1939-1993)
Untitled (Ribbon).
Aluminum. 340x265 mm; 13⅜x10⅜ inches. Incised with the artist’s signature, date and numbered “12” on the underside. 1971.
Estimate
$1,000 – $1,500
Kenneth snelson (1927-2016)
Untitled.
Stainless steel. 390x410 mm; 16⅜x16⅛ inches. Etched with the artist's signature, date and numbered 2/4 on the central vertical element. 1979.
Snelson's sculptural œuvre, characterized by polished steel tubes suspended with cables, was so consistent throughout his forty-year career that his work transcends any one art movement or category. As a young boy in Oregon, Snelson enjoyed building models and replicas, though it was his love of painting that led him to enroll at Black Mountain College in 1948 to study with Josef Albers. Albers recognized and encouraged Snelson's affinity for sculpture before he came under the tutelage of Buckminster Fuller. Fuller inspired Snelson's renewed interest in geometry in structures.
Snelson's earliest sculptures were experiments in the balance between tension and compression. He developed self-supporting structures where each of the objects in the composition were carefully constructed to rely on the assembly as a whole, and not an external prop to maintain integrity. The present work, though mathematical and complex, is comprised of simple components arranged harmoniously in an aesthetic composition. Snelson's sculptures have ranged from monumental towers to small "Atom Sculptures" (Snelson would explore atomic models throughout his career). By the time Zabriskie Gallery showed his work in 1981, Snelson was exhibiting internationally and had won several awards. Zabriskie Gallery continued to exhibit the artist, including his photographic works, in 1986 in New York and Paris and in New York in 1990.
Estimate
$5,000 – $8,000
George rickey (1907-2002)
One Plane Horizontal II.
Brushed steel kinetic sculpture on wood base. 265x200 mm; 10⅜x7⅞ inches. Edition of 5. Incised with the artist’s signature, “1983” and “4/5” on the base. 1981-83.
Provenance: Gifted from the artist to Virginia Zabriskie, October 1987.
Exhibited: “George Rickey,” Asher/Faure Gallery, Los Angeles, June 9-July 7, 1984.
Estimate
$10,000 – $15,000
George rickey (1907-2002)
Floral Study.
Pencil on white wove paper. 230x300 mm; 9x11⅞ inches. Signed and dated in pencil, lower right recto. 1996.
Estimate
$1,000 – $1,500
Édouard boubat (1923-1999)
Cynthia, Paris.
Silver print, the image measuring 282.6x184.2 mm; 11⅛x7¼ inches, the sheet 406.4x304.8 mm; 16x12 inches, with Boubat’s signature, in ink, on recto, and the title, location Paris, and negative date, in pencil, on verso. 1975; printed 1980s.
Estimate
$2,000 – $3,000
William klein (1928 - )
Three heiresses, Greece.
Silver print, the image measuring 235x339.7 mm; 9½x13⅜ inches, the sheet 304.8x406.4 mm; 12x16 inches, with Klein’s signature, title, dates, and numeric notation, in pencil, on verso. 1965; printed 1980.
Estimate
$3,000 – $5,000
William klein (1928 - )
Stars and Stripes, Dorothée Bis, Paris * Coulisses Kenzo, Paris [Backstage at Kenzo].
Together, 2 silver prints, the images measuring approximately 304.8x457.2 mm; 12x18 inches, the sheets 406.4x508 mm; 16x20 inches, each with Klein’s title, date, and numeric notation, one with his signature, and one with his initials, in pencil, on verso. 1985.
Estimate
$3,000 – $5,000
William klein (1928 - )
View from Virginia Zabriskie’s apartment on 57th Street, New York City.
Silver print, the image measuring 231.8x355.6 mm; 9⅛x14 inches, the sheet 304.8x406.4 mm; 12x16 inches, with Klein's very faint signature and date, on recto. 1989.
Provenance: Gifted by the artist to Virginia Zabriskie.
Estimate
$2,000 – $3,000
Tod papageorge (1940 - )
New York Discoteque.
Silver print, the image measuring 323.9x482.6 mm; 12¾x19 inches, the sheet 406.4x508 mm; 16x20 inches, with Papageorge’s signature, title, date, and a numeric notation, in pencil, on verso. 1978.
An exhibition titled “Tod Papageorge” was held at Galerie Zabriskie, Paris, March 18-April 26, 1980.
Estimate
$1,000 – $1,500
William dickey king (1925-2015)
Portrait of a Woman.
Glazed ceramic. 290 mm; 11 ⅜ inches (height). Signed with an asterisk and dated on the underside. 1954.
Estimate
$1,000 – $1,500
William dickey king (1925-2015)
Standing Figure.
Wood and wire painted in green. 2020x370x290 mm; 79½x14½x11½ inches. Circa 1975.
Estimate
$1,500 – $2,500
Pat adams (1928 - )
Untitled.
Acrylic, watercolor, pen and ink, sand, shell and grit on cream wove paper. 375x530 mm; 14¾x20⅞ inches.
Provenance: Acquired from the artist.
Adams' work was the subject of Zabriskie Gallery's 50th Anniversary exhibition in 2004. She was part of the Korman Gallery roster before Zabriskie purchased the gallery and flourished with it for fifty years, fostering a deep personal and professional relationship with Virginia Zabriskie. To Adams, Zabriskie was a steady presence throughout the artist's career, and the last discerning eye whose approving gaze would complete her creative process and herald her works into the larger, art-consuming world. Adams' abstract paintings analyze the relationship between macro- and micro-cosms, and by not depending on spectacle or sensationalism, are accessible by the viewer. Through her long and industrious career, spanning many art movements, Adams' work has adhered to her mission of experimentation and of crafting forms which are tangible either in our reality or in a mystical cosmos.
Estimate
$2,000 – $3,000
Michael singer (1945 - )
Seven Moon Ritual Series 7/20/78.
Paper collage, charcoal and chalk on paper. 812x718 mm; 32x28¼ inches. Signed, titled and dated in pencil, upper edge recto. With the original steel frame designed for the series. 1978.
Provenance: Sperone Westwater Fischer, Inc., New York, with the label on the frame back.
Exhibited: “Mythos und Ritual der 70er Jahre,” Kunsthaus Zürich, June 5-August 23, 1981, with the label on the frame back.
Estimate
$800 – $1,200
Gordon powell (1947 - )
Warrior.
Charcoal on paper with prepared white ground. 770x1120 mm; 30⅜x44⅛ inches. 1984.
Provenance: Roy Boyd Gallery, Chicago.
Exhibited: “14th Union League Club Competition & Exhibition,” Artemesia Gallery and Union League Club, Chicago, 1985.
Estimate
$1,000 – $1,500
Bryan hunt (1947 - )
Five Falls.
Set of 6 etchings and aquatints on Richard de Bas Apta laid paper. 520x350 mm; 20½x13¼ inches. Each signed and numbered 31/31 and one dated “78” in pencil, lower left margin. Printed by Crown Point Press, Oakland. Published by Parasol Press, New York. With the original linen portfolio case. 1979.
Estimate
$1,000 – $1,500
Jean-Luc Poivret (1950-2017)
Two paintings.
Yellow Wing, oil and gesso on canvas mounted on plywood fragment. 1420x1115 mm; 56x42⅞ inches (irregular). Signed, dated, titled and inscribed “NYC” in red felt-tip pen and ink, verso. 1984 * Untitled, oil, gesso, and acrylic on pegboard. 1360x1235 mm; 53½x48⅝ inches. Circa 1985.
Estimate
$1,000 – $1,500
Peter flaccus (1947 - )
Untitled (July 1976).
Oil on canvas. 1010x1470 mm; 39¾x58 inches. Signed and titled in oil, verso. 1976.
Provenance: Acquired from the artist, Rome.
Estimate
$1,000 – $1,500
Harry callahan (1912-1999)
Morocco.
Dye transfer print, the image measuring 244.5x368.3 mm; 9⅝x14½ inches, the sheet 457.2x571.5 mm; 18x22½ inches, with Callahan's signature, in pencil, on recto, and numeric notations, in pencil, on verso. 1981.
Published: Zabriskie Gallery, Zabriskie Fifty Years, 2004, page 191 (illustrated).
An exhibition titled "Harry Callahan: Recent Color Photographs" was held at Galerie Zabriskie, Paris, May 31-July 6, 1983, and a paired show mounted concurrently at the Zabriskie Gallery in New York in June 1-July 1, 1983.
Estimate
$2,000 – $3,000
Harry callahan (1912-1999)
Wisconsin.
Silver print, the image measuring 387.4x489 mm; 15¼x19¼ inches, flush mounted, with Callahan’s signature, in ink, on verso. Circa 1954.
Estimate
$2,500 – $3,500
Mia westerlund roosen (1942 - )
Three pencil drawings.
One with color pencils on Grumbacher wove paper. 582x740 mm; 23x29 inches. Signed and dated in pencil, verso. 1974 * Two drawings on Strathmore wove paper. Both 582x740 mm; 23x29 inches. Both circa 1970.
Westerlund Roosen was born in New York and is known primarily as a sculptor. Although working in a minimalist aesthetic, she rejects traditional Minimalism with its strict geometry, hard edges and industrial sensibilities. Instead, she values the handmade and gives her pieces sensuality and movement, imbuing them with life through embracing the accidental and imperfect. Repetition is another important aspect of her style, with shapes naturally replicating themselves throughout her compositions. Her work is included in the permanent collection of the Metropolitan Museum of Art, the Solomon R. Guggenheim Musuem and the Storm King Art Center.
Estimate
$1,500 – $2,500
JUNKO YODA
Yoda was born in Tokushima, Japan and studied at Musashino Art University in Tokyo. She moved to New York in 1969 and had her first solo exhibition with the Zabriskie Gallery in New York and Paris in 1980. Originally working with oil on canvas, she then switched to working with acrylic and washi, a traditional Japanese paper. Layering two to three sheets of handmade washi, she then colors it with acrylic paint creating textural works that are inspired by topographical views of nature.
Junko yoda (1943 - )
Untitled (#W.P. 11).
Acrylic and washi paper on panel. 735x690 mm; 29x27¼ inches. Signed, titled and dated in ink, verso. 2002.
Provenance: Aquired from the artist, New York.
Estimate
$1,000 – $1,500
Junko yoda (1943 - )
Two acrylic and washi paper abstract paintings.
Untitled. 635x635 mm; 25x25 inches. Signed, titled and dated in ink, verso. 1979 *Untitled. 635x635 mm; 25x25 inches. Signed, titled and dated in ink, verso. 1980.
Provenance: Aquired from the artist, New York.
Estimate
$800 – $1,200
Nancy koenigsberg (1927 - )
Enclosure II.
Coated copper wire. 1330x690 mm; 52⅜x27⅛ inches (excluding base). 1991.
Koenigsberg combines her interest in textiles and her New York environment to produce wire sculptures assembled of woven, knotted grids of copper, steel, or aluminum wire. The woven wire elements in her sculpture, like fabric, fold onto themselves, while the armature endeavors to hold true to three dimensions, the entire work, like a spider's web, a tribute to strength found within delicate structures. Koenigsberg has exhibited internationally and her works can be found in multiple distinguished public and private collections. Her first solo exhibition at Zabriskie Gallery, New York, was held in 2006.
Estimate
$1,000 – $1,500
André léocat (1949 - )
Group of 3 sculptures.
Sans titre, cardboard, papier mâché and gouache mounted on carved wood frame. 200x170 mm; 7⅞x6¾ inches. Circa 1981 * Vaisseau, welded metal, cardboard, papier mâché, plaster and nails mounted on a wood frame. 190x210 mm; 7½x8¼ inches. Signed, titled and dated in pen and ink, verso. 1981 * Sans titre, painted welded aluminum. 210x140 mm; 8¼x5½ inches. Signed and dated in felt-tip pen and ink, verso. 1988.
Provenance: Acquired from the artist, France.
Estimate
$1,000 – $1,500
Georges rousse (1947 - )
Untitled (interior).
Chromogenic print, the image measuring 596.9x755.6 mm; 23½x29¾ inches, the sheet 844.5x962 mm; 31¼x37⅞ inches, with Rousse's signature, inscription, and date, in ink, on recto, and a Zabriskie Gallery label, on frame verso. 1983.
Provenance: Acquired from the artist, Paris.
Estimate
$700 – $1,000
Pascal kern (1952-2007)
Two photographs and a diptych from the series Fiction Colorée.
Cibachrome prints, the framed individual works measuring 1384.3x1016 and 1041.4x812.8 mm; 54½x40 and 41x32 inches, and the framed diptych works each measuring 1257.3x1155.7 mm; 49½x45½ inches, each diptych panel and one individual photograph with Kern's credit label with the printed title and date, and one with a Zabriskie Gallery label, on frame verso. 1984-87.
Provenance: Acquired from the artist, Paris.
An exhibition of Pascal Kern's photographs of installation sculptures was held at Zabriskie Gallery, New York as part of the exhibition "Three French Artists" in June 12-July 16, 1985. Among other shows, he received a solo exhibition in 1987 titled "Pascal Kern: Photographs."
Estimate
$1,500 – $2,500
Joan fontcuberta (1955 - )
Le Chant des Oiseaux.
Selenium-toned silver photogram on painted vinyl wallpaper, the image measuring 482.6x387.4 mm; 19x15¼ inches, the mount 558.8x457.2 mm; 22x18 inches, with Foncuberta's signature and date, in pencil, on mount recto. 1989.
From a series exhibited at Zabriskie Gallery, New York titled "Joan Fontcuberta: Paper Gardens," April 10-May 22, 1991. Fontcuberta was exhibited by Galerie Zabriskie, Paris as early as 1983.
A disrupter, an activist, and a provocateur, Fontcuberta is perhaps best understood as a conceptual artist. His diverse body of work uses photography--the artistic medium most frequently associated with a neutral truth--and creates believable fictions, elaborate hoaxes, and beautiful alternate realities. At its core, each of his multi-layered series question authority and our relationship with subjective truth, in imagery that is at times pesudo-documentary, at times Surrealist, and at times lyrically beautiful. Born in Barcelona, Spain, Fontcuberta is the recipient of the Hasselblad Award. His best known series are titled Fauna, 1987 (which purports to discover a zoologist's work and catalogues unusual animals) and Sputnik, 1997 (which investigates a Russian cosmonaut's disappearance).
Estimate
$2,000 – $3,000
Anne arnold (1925-2014)
Dog.
Sawn and planed pine and mahogany furniture fragments. 430x265x970 mm; 17x10⅜x38¼ inches. Circa 1955.
Estimate
$1,000 – $1,500
Jason hunsinger (1951 - )
Cat in Hand.
Painted plaster. 350x520x410 mm; 13¾x20½x16¼ inches. Incised with signature and date below the thumb. 1988.
With—Cat in Hand, lithograph. Dedicated to Virginia Zabriskie in pencil, verso. 1979.
Provenance: Gifted from the artist.
Estimate
$800 – $1,200
Nicholas nixon (1947 - )
Group of 4 photographs from Nixon’s series featuring his family.
Silver print, two of the images measuring 355.6x431.8 mm; 14x17 inches, and two 203.2x254 mm; 8x10 inches, and the reverse, three with Nixon’s signature, title, date, and edition notation 5/25, in pencil, on verso, and one with a lengthy letter to Virginia from Nixon, in pencil, on verso. 1990-96.
Clementine and Sam, Cambridge, 1992 * Sam, Bebe, and Clementine, Cambridge, 1992 * Sam, Lexington, 1996 * Clementine and Sam (bath), 1990.
Nixon’s family portraits were included in an exhibition alongside his pictures from the Perkins School for the Blind at Zabriskie Gallery, New York, October 21-December 5, 1992.
Estimate
$4,000 – $6,000
Timothy woodman (1952-2018)
Swimmer in Wave.
Oil on aluminum. 285x210x80 mm; 11¼x8½x3¼ inches. Signed, titled and dated in pencil, verso. 1978.
Provenance: Acquired from the artist.
Estimate
$800 – $1,200
Julian opie (1958 - )
Off the Shelf.
Oil painted steel. 770x810x254 mm; 30⅜x32x10 inches. 1984-85.
Provenance: Lisson Gallery, London.
During mid-1980s, Opie was a recent graduate of Goldsmiths College and had already had his first one-person show at Lisson Gallery, London. He was identified as part of the New British Sculpture Movement and was making loosely painted steel sculptures that drew from his observation of everyday objects, rendering them with humor and wit in a cartoonish style. As he developed as an artist, his work grew more simplified, larger and stylized, expanding his ouevre to include paintings and works that incorporate technology and digital imagery.
Estimate
$8,000 – $12,000
Collection of toys.
Approximately 50 antique and vintage mechanical toys. Most tin with offset lithographic details. Some printed card or painted wood. Some with original printed card boxes.
Virginia Zabriskie's personal collection, including toys by BALDWIN MANUFACTURING CO., NEW YORK; J. CHIEN & CO., NEW YORK; MARX & CO., NEW YORK; STRAUSS MECHANICAL, NEW YORK; UNIQUE ART MANUFACTURING CO., NEWARK.