LGBTQ+ Art, Material Culture & History
Officers
Nicholas D. Lowry
President, Principal Auctioneer
nlowry@swanngalleries.com
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
Andrew M. Ansorge
Vice President & Controller
Alexandra Mann-Nelson
Chief Marketing Officer
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Todd Weyman
Vice President & Director, Prints & Drawings
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Nigel Freeman
Vice President & Director, African American Art
Rick Stattler
Vice President & Director, Books & Manuscripts
Administration
Andrew M. Ansorge
Vice President & Controller
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Ariel Kim
Client Accounting
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Diana Gibaldi
Operations Manager
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Kelsie Jankowski
Communications Manager
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Shannon Licitra
Shipping Manager
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1
Oscar Wilde (1854-1900)
Group of Oscar Wilde advertising cards and theatrical photos.
Includes 3 lithograph advertising cards featuring illustrations of Wilde, each with mount remnants on verso: “Strike Me with a Sun Flower,” 114x76 mm; 4½x3 inches, blank on verso, by E.B. Duval, 1882.
Full-length portrait titled simply “Oscar Wilde” with blank area for use by local advertisers, 145x82 mm; 5¾x3¼ inches, circa 1882.
“Marie Fontaine’s Moth & Freckle Cure . . . Neilson’s Secret for the Complexion,” featuring insert portrait of Wilde, 136x75 mm; 5¼x3 inches, with ad text on verso. Buffalo, NY: Cusack & Co., undated.
Pair of cabinet card photographs of the tea party scene from “The Importance of Being Earnest,” with the two original actresses Irene Vanbrugh and Evelyn Millard. Albumen photographs, 145x102 mm; 5¾x4 inches, on original photographer’s mount of Alfred Ellis & Walery of London, circa 1895.
Separate photographs of the same actresses: a mounted silver print of Millard and a Real Photo postcard of Vanbrugh.
Modern color photograph of Wilde’s tomb in Paris.
Estimate
$1,000 – $1,500
2
Oscar wilde (1854-1900)
Program from the original production of “The Importance of Being Earnest” at St. James’s Theatre.
4 printed pages, 250x190 mm; 10x7½ inches, on one folding sheet, with chromolithograph illustration on first page; horizontal fold, minor wear. London, circa March 1895.
This opening run of “The Importance of Being Earnest,” in addition to introducing Wilde’s final and most enduring play to the world, was also the period when he was publicly accused of sodomy and was plunged into legal difficulties.
As with all other examples of this program, it states that the play was “Produced Thursday, February 14th, 1895.” That does not mean it was printed for the 14 February opening night performance, however. As with most examples, this copy shows a cast change. The original actress in the role of Cecily Cardew was Evelyn Millard, who fell ill and was temporarily replaced by Violet Lyster as shown here. That suggests a performance from some point in March 1895; Millard later returned to the production.
Estimate
$1,500 – $2,500
3
Napoleon sarony (1821-1896)
Portrait of Oscar Wilde.
Ferrotyped silver print, the image measuring 171.5x238.1 mm; 6¾x9⅜ inches, with the subject’s name, in pencil, in an unknown hand, and the Culver Pictures hand stamp, bar codes, and labels, on verso. 1882; printed 1930s.
Estimate
$1,000 – $1,500
4
Mathew brady (1822-1896)
Portrait of Walt Whitman.
Silver print, the image measuring 136.5x101.6 mm; 5⅜x4 inches, the mount 203.2x139.7 mm; 8x5½ inches, with an inventory notation in the negative, Brady’s credit and the subject’s name, in pencil, on mount recto, and the Culver Pictures hand stamps, bar code, and various notations, in pencil, on mount verso. 1862; printed circa 1920.
Estimate
$1,000 – $1,500
5
Wilhelm von gloeden (1856-1931)
Boy wearing a toga.
Albumen print, the image measuring 165.1x108 mm; 6½x4¼ inches, with Von Gloeden’s Taormina hand stamp (twice), and a numeric notation, in pencil, on verso. Circa 1900s.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$1,400 – $1,800
6
(british writers)
Portrait of William Somerset Maugham.
Silver print, the image measuring 142.9x101.6 mm; 5⅝x4 inches, the mount 165.1x108 mm; 6½x4¼ inches, with the studio blind stamp and the subject's name, in ink, in an unknown hand, on mount recto, and the Culver Pictures hand stamp, bar codes, and labels, on mount verso. Circa 1925.
Known for his novels, short stories, and plays, Maugham was one of the most popular writers of his era and by the 1930s, he was one of the highest paid writers in the English-speaking world.
Estimate
$600 – $900
7
Gerda wegener (1886-1940)
Two drawings of befuddled men with young women.
Together, two illustrations likely for Gyraldose or Malaceïne toiletries. Pen and ink on paper. Circa 1920. The first, of a seated man in top hat taken aback by a glance of shoulder. 102x113 mm; 4x4½ inches on 8¼x12¾-inch sheet. Signed “Gerda Wegener” in ink, lower left image. The second of a portly man scratching his head at a demure lass. 115x94 mm; 4½x3½ inches, on 10¼x8¾-inch sheet. Initialed “G.W.” in lower left image.
Estimate
$500 – $750
8
Gerda wegener (1886-1940)
Girl fixing hair.
Illustration likely for Gyraldose or Malaceïne toiletries. Pen and ink on paper. 103x40 mm; 4x1½ inches, on 8¼x6-inch sheet. Initialed “G.W.” in lower right image. Circa 1920.
Estimate
$250 – $350
9
Gerda wegener (1886-1940)
Musical harem.
Illustration of a quintet of female musicians in an Indian palace, from an unknown publication. Pen and ink on paper. 90x160 mm; 3½x6¼ inches. Signed "Gerda Wegener" in lower right margin. Circa 1920.
Estimate
$400 – $600
Lots 10 – 16
10
Jean cocteau (1889-1963)
Portrait of Mary Butts.
Pencil on paper mounted on board. 263x203 mm; 10¼x8 inches. Unsigned on recto but gifted by Cocteau to Glenway Wescott, with Wescott's description and address written in ink on verso. Circa 1928.
Butts, a bisexual English writer, met Cocteau in Paris in the 1920s. The artist would create a similar line drawing portrait of her as the frontispiece for her memoir "The Crystal Cabinet," 1937. Butts led a varied and interesting life; she was a disciple of, and co-author to, the occultist Aleister Crowley and was married to the modernist poet John Rodker, with whom she had a daughter. Through Rodker, she befriended and supported the publications of the group of writers which included Ezra Pound, May Sinclair, Roger Fry, Wyndham Lewis, and Ford Madox Ford.
Provenance: Chevalier Tony Clark Collection.
Estimate
$600 – $900
11
Jean cocteau (1899-1963)
“Pas de Chance.”
Pen and ink on paper. 216x279 mm; 8½x11 inches, sheet. Signed "Jean *" and titled, in ink, lower right. Circa 1929.
Pas de Chance was a sailor that Cocteau met when he was very young. He drew many images of him and incorporated his likeness into works such as "Querelle de Brest." This image is believed to have been part of his first exhibition "L'homme endormi."
Provenance: Chevalier Tony Clark Collection.
Estimate
$800 – $1,200
12
Jean cocteau (1889-1963)
Knight in orange and blue.
Illustration for Cocteau’s play “Les Chevaliers de la Table Ronde,” circa 1937. Colored pencil, drawn on the verso of a lithographed plate from Cocteau’s book Pas de Chance, (Paris, 1930) which premiered at Théâtre de l’œuvre on October 14, 1937. 180x180 mm; 7x7 inches, on 11x8½-inch sheet, edges toned. Initialed and with Cocteau Estate inventory number penciled on verso, lower right. Tipped to window matte.
Provenance: Chevalier Tony Clark Collection.
Estimate
$600 – $900
13
Jean cocteau (1889-1963)
Le garçon au Grand Véfour, Palais-Royal (Edouard Dermit).
Pencil on paper. 260x211 mm; 10¼x8¼ inches.
Cocteau grew extremely close to Dermit in his later years, even attempting to legally adopt him, though the process was cut short by his death. He nurtured Dermit's painting career, cast him in some of his films, and named him literary executor of his estate.
Provenance: Chevalier Tony Clark Collection.
Estimate
$1,500 – $2,500
14
Jean cocteau (1889-1963)
Jean Genet * Marcel Khill * Jean Desbordes.
Together, four portraits on three sheets. Genet: Pencil on paper. 65x209 mm; 6½x4¼ inches on 10½x8¼-inch sheet. Cocteau estate stamp in lower right corner.
Khill is ink on board, two-sided (one damaged). 270x210 mm; 10¾x8¼ inches. Portrait on rear (with camel) is abraded along top ¼.
Desbordes is pencil, ink, and wash. 330x263 mm; 13x10 inches. Cocteau estate stamp in lower right corner.
A nice group of portraits of three figures with whom Cocteau was close. He supported Genet’s writing, published his first novel, and introduced him to Jean-Paul Sartre and the Paris literary circles. The Algerian Marcel Khill was Cocteau’s secretary and his lover before Khill died in WWII. They travelled the world together in 1936, emulating Jules Verne’s novel “Around the World in 80 Days.” Desbordes was Cocteau’s lover, artistic model, and secretary in the 1920s, who would also die in WWII.
Provenance: Chevalier Tony Clark Collection.
Estimate
$1,000 – $1,500
15
Jean cocteau (1889-1963)
Sailor.
A version of the illustration from Jean Genet's novel Querelle de Brest, (Paris: Morihien, 1947). Blue pencil on paper. 355x115 mm; 14x4½ inches, on 16x12-inch sheet. Signed "Jean" with his star monogram, lower right image.
The 29 drawings that Cocteau created for the first edition of Genet's novel were bold, graphic, and daring in their erotic rawness. It remains among his best-known works.
Provenance: private collection, California.
Estimate
$2,000 – $3,000
16
Jean cocteau (1889-1963)
Madeleine aux joli yeux louchons.
Pen and ink on Renage wove paper. 210x268 mm; 8¼x10½ inches. Initialed in pen and ink, lower left recto. Circa 1960.
A portrait of artist Marie Madeleine Jolly (1914-1963), who hosted Cocteau in her ceramics workshop, Atelier Madeline-Jolly in Villefranche-sur-Mer in the South of France from 1957 until his death. Under her guidance, Cocteau became a prolific ceramicist, creating more than 300 works at the workshop.
Provenance: Collection of William Emboden; acquired by current owner, private collection, California.
Estimate
$1,200 – $1,800
17
Lord alfred douglas (1870-1945)
My Friendship with Oscar Wilde.
4to, publisher’s ¼ cloth over marbled boards. Number 42 of 100 signed copies from an edition of 1000; edges worn, moderate abrasions to rear cover, some loss to spine label; owner’s ink stamp on front free endpaper, signed limitation page nearly detached. New York: Coventry House, 1932.
Estimate
$100 – $200
18
Moss hart (1904-1961)
Two books, each Signed and Inscribed, on the front free endpaper: Hart and Kaufman. The Fabulous Invalid * Act One.
The first, “For / Walter– / Without whom every / line of this play was / written. / Moss Hart / Xmas 1938.” 8vo, publishers cloth; moderate wear, toned spine; faint scattered soiling to signature page, moderate scattered staining to first 25 pages. The second, “To / Dear Dottie B– / on her 19th birthday / with much love / Moss.” 8vo, publisher’s cloth; hinges cracked, some scattered discoloration to signature page (not affecting inscription); dust jacket with faint scattered staining and chipping to edges. New York: Random House, (1938); (1959); inscriptions: Np, December 1938; Np, nd.
Estimate
$150 – $250
19
william littlefield (1902 - 1969)
Two drawings.
Male Figure Study, pencil on cream laid paper. 550x343 mm; 21½x13¾ inches. Signed and dated in pencil, lower right recto and dated and inscribed with artist’s notes in pencil, verso. 1933 * Two Standing Male Nude, brush and ink on tracing paper. 605x445 mm; 24x17½ inches. Signed and dated in ink, lower left recto. 1932.
Provenance: Lawrence Steigrad, New York; private collection, New Jersey, 1998.
Estimate
$1,200 – $1,800
20
(cross dressing)
A rare album with more than 150 exceptional photographs, all featuring highly stylized and elegant men cross dressing.
Album containing over 150 silver prints, the images measuring from 114.3x76.2 to 266.7x165.1 mm; 4½x3 to 10½x6½ inches, mounted recto/verso to album pages, many pages with dates, in ink, below the images. 4to, green leatherette, edges lightly worn. 1930-41.
The album primarily features a male couple, who are dressed in exquisite outfits, including evening gowns with elaborate accessories, a wedding gown (including a marriage scene with one figure in a suit), and fanciful costumes, and are posing in front of cleverly designed backdrops (such as shimmering hanging textiles, artfully arranged corners of rooms, and a screen decorated in stars). The album features a number of sittings and combinations of figures, hinting at the both the delight and seriousness with which each tableaux was designed and executed. The resulting photographs are well composed and printed.
Both the scope and early date of this album add to its rarity--our research has not uncovered an early body of work that similarly documents a committed investigation of form and identity.
Estimate
$6,000 – $9,000
21
(féral benga)
A pair of portraits of the iconic figure François “Féral” Benga.
Toned silver prints, the images measuring 149.2x95.3 mm; 5⅞x3¾ inches, the sheets approximately 235x139.7 mm; 9¼x5½ inches, each with the photographer Waléry’s (Stanislaw Julian Ignacy Ostroróg) signature and notation Paris, in ink, on recto, and his hand stamp on verso. Circa 1930.
Benga was a well-known figure in both Paris and New York. The Senegalese dancer appeared at the Folies Bergère in Paris (sharing a stage with Josephine Baker), starring in exoticized pieces that created a sensation. In New York, he moved in the Harlem Renaissance and gay circles of Manhattan. Richmond Barthé, Carl van Vechten, and George Platt Lynes, among others, made portraits and sculptures inspired by Benga (Barthé’s an iconic, signature work), and he starred in Jean Cocteau’s “The Blood of a Poet.” By 1947 Benga had opened a bar in Paris that featured an African cabaret.
Estimate
$2,500 – $3,500
22
George Hoyningen-Huene (1900-1968)
Portrait of George Platt Lynes.
Silver print, the image measuring 203.2x139.7 mm; 8x5½ inches, with Hoyningen-Huene’s credit and the sitter’s name, in ink, in Glenway Wescott’s hand, on verso. Circa 1938.
Ex-collection Monroe Wheeler, who was head of publications at the Museum of Modern Art from 1930-60s. Glenway Wescott, a novelist, poet, and essayist, was Wheeler’s longtime partner.
Estimate
$2,500 – $3,500
23
Pavel tchelitchew (1898-1957)
Group of 3 Studies.
Each pen and ink on paper, circa 1938. Study for the Portrait of Ava Alice Muriel Astor, double sided. 360x190 mm; 14⅛x7½ inches. Study for the oil on canvas, sold Christie's, London, June 2, 2019, lot 99 * Male Costume Designs / Set Design, double sided. 215x280 mm; 8½x11 inches * Studies of Woman with a Mirror. 215x280 mm; 8½x11 inches.
Pavel Tchelitchew was a Russian surrealist painter as well as a set and costume designer. Tchelitchew and his partner Charles Henri Ford were part of a New York circle of queer artists and writers during the mid-20th century. He designed sets for ballets, including for works by George Balanchine and Igor Stravisnky, and his paintings are held by institutions such as the museum of Modern Art, New York and the National Gallery of Art in London, among others.
Provenance: Estate of the artist; Collection of Lincoln Kirstein, New York; inherited by (Alexander) Jensen Yow, New York; private collection, New York.
Estimate
$2,000 – $3,000
24
Pavel tchelitchew (1898-1957)
Portrait of Mrs. Oliver Jennings (Mary Brewster Jennings).
Brush and ink and wash on paper, double-sided. 305x260 mm; 12x10¼ inches.
Provenance: Estate of the artist; Collection of Lincoln Kirstein, New York; inherited by (Alexander) Jensen Yow, New York; private collection, New York.
Estimate
$1,000 – $1,500
25
Pavel tchelitchew (1898-1957)
Interior Landscape.
Color screenprint. 340x250 mm; 13⅜x9 inches, full margins. With the printed signature and date, lower right. 1948.
Provenance: Estate of the artist; Collection of Lincoln Kirstein, New York; inherited by (Alexander) Jensen Yow, New York; private collection, New York.
Estimate
$1,000 – $1,500
26
Pavel tchelitchew (1898-1957)
Standing Man Facing an Animal.
Pen and ink on thin cream wove paper. 215x276 mm; 8½x10⅞ inches. With a sketch on the verso. Circa 1939.
This work may relate to two oil paintings by Tchelitchew, both titled Portrait of My Father sold Christie's, London, February 5, 2009, lot 444 and Sotheby's, New York, May 6, 2010, lot 381, respectively.
Provenance: Estate of the artist; Collection of Lincoln Kirstein, New York; inherited by (Alexander) Jensen Yow, New York; private collection, New York.
Estimate
$1,200 – $1,800
27
Pavel tchelitchew (1898-1957)
Group of Figures in a Landscape.
Pen and ink and wash on thin cream wove paper. 210x270 mm; 8¼x10⅝ inches. Circa 1940.
Provenance: Estate of the artist; Collection of Lincoln Kirstein, New York; inherited by (Alexander) Jensen Yow, New York; private collection, New York.
Estimate
$1,500 – $2,500
Lots 28 – 41
28
Carl van vechten (1880-1964)
Pavel Tchelitchew.
Silver print, the image measuring 254x203.2 mm; 10x8 inches, with Van Vechten’s copyright hand stamp and the sitter’s name, date, and his lengthy notation, in ink, on verso. 1934; printed circa 1960.
Estimate
$600 – $900
29
Carl van vechten (1880-1964)
Nelson Barclift (This is the Army).
Silver print, the image measuring 250.8x203.2 mm; 9⅞x8 inches, with Van Vechten’s copyright hand stamp, and the title, in pencil, on verso. 1942.
Nelson Barclift was a member of the US Army’s Theatre Section during World War II. This image is from Irving Berlin’s “This is the Army,” which was written to boost morale and was shown on Broadway, cast entirely of members of the armed forces, to benefit the Army Emergency Relief Fund. Barclift was the co-choreographer and principal dancer for the musical. Though the musical was certainly problematic for its portrayal of stereotypes and inclusion of blackface, the unit that presented the performance off-Broadway was integrated, making it the first instance of racial integration in the armed forces (though it was still segregated when it came to on-stage performance). Additionally, almost every number in the musical included men in drag.
Estimate
$800 – $1,200
30
Carl van vechten (1880-1964)
Vincent Puriter.
Silver print, the image measuring 177.8x127 mm; 7x5 inches, with Van Vechten’s hand stamp with the model’s name, date, and inventory notation, in ink, on verso. 1942.
Estimate
$600 – $900
31
Carl van vechten (1880-1964)
Two nude figures, seated (Hugh Laing and Allen Meadows).
Silver print, the image measuring 203.2x228.6 mm; 8x9 inches. 1940s.
Estimate
$1,500 – $2,500
32
Carl van vechten (1880-1964)
Christopher Isherwood, New Mexico.
Silver print, the image measuring 247.7x177.8 mm; 9¾x7 inches, with Van Vechten’s blind stamp on recto, and his copyright hand stamp, and the title, date, and inventory number, in pencil, in an unknown hand, on verso. 1950.
Christopher Isherwood was a novelist and playwright and major figure in the gay rights movement. His semi-autobiographical novel “Goodbye to Berlin” (1939) became the premise for the iconic musical “Cabaret,” and his 1976 memoir “Christopher and His Kind” told the story of his life in gay Berlin in the 1930s. The latter remains a classic in gay liberation literature.
Estimate
$800 – $1,200
33
Alexander jensen yow (1925-?)
A pair of male nude studies.
Silver prints, the images measuring 241.3x190.5 mm; 9½x7½ inches, the sheets slightly larger, with Yow’s initials, in pencil, on verso. Circa 1950.
Estimate
$1,500 – $2,500
34
George platt lynes (1907-1955)
Alexander Jensen Yow.
Silver print, the image measuring 241.3x193.7 mm; 9½x7⅝ inches, the sheet slightly larger. Circa 1950.
Estimate
$2,000 – $3,000
35
George platt lynes (1907-1955)
Yul Brynner.
Silver print, the image measuring 241.3x190.5 mm; 9½x7½ inches, with Lynes’ credit hand stamp, on verso. 1942.
Estimate
$2,500 – $3,500
36
George platt lynes (1907-1955)
Monroe Wheeler.
Silver print, the image measuring 228.6x190.1 mm; 9x7½ inches, with Lynes’ 640 Madison Avenue hand stamp, on verso. Circa 1940s.
Ex-collection Monroe Wheeler, who was head of publications at the Museum of Modern Art from 1930-60s.
Estimate
$2,000 – $3,000
37
George platt lynes (1907-1955)
Alfonso Ossorio.
Silver print, the image measuring 228.6x184.1 mm; 9x7¼ inches, with the subject’s name and other numeric notations, in pencil, Lynes’ 640 Madison Avenue hand stamp, and the Collection of Jon Anderson and Collection of Paul Cadmus hand stamps, on verso. Circa 1950.
Ossorio was a Filipino American artist known for his curatorial and artistic contributions to the Abstract Expressionist movement. He was also both a peer and collector of the work of fellow artists Jean Dubuffet and Jackson Pollock.
Estimate
$3,000 – $4,500
38
George platt lynes (1907-1955)
Jared French.
Silver print, the image measuring 231.8x184.1 mm; 9⅛x7¼ inches, with Lynes’ 640 Madison Avenue hand stamp on verso. Circa 1950.
Estimate
$3,000 – $4,500
39
George platt lynes (1907-1955)
Portrait of W.H. Auden.
Silver print, the image measuring 231.8x190.5 mm; 9⅛x7½ inches, with the subject’s name and date, in ink, and Lynes’ Los Angeles hand stamp and a Collection of Jon Anderson hand stamp, on verso. 1947.
This print was exhibited at the DC Moore Gallery, New York, New York, Interwoven Lives: George Platt Lynes and his friends, September 6 - October 20, 2001.
Estimate
$3,000 – $4,500
40
George platt lynes (1907-1955)
Bill Harris.
Silver print, the image measuring 235x187.3 mm; 9¼x7⅜ inches, with Lynes’ credit and the subject’s name, in ink, in Paul Cadmus’ hand, and the Collection of Jon Anderson and Collection of Paul Cadmus hand stamps, on verso. Circa 1950.
Estimate
$2,000 – $3,000
41
George platt lynes (1907-1955)
Ted Starkowski.
Silver print, the image measuring 228.6x184.2 mm; 9x7¼ inches, with Lynes’ 229 East 47th Street credit hand stamp, on verso. 1954.
Estimate
$2,000 – $3,000
42
PaJaMa (Paul Cadmus, Jared French, and Margaret French)
Alexander Jensen Yow.
Silver print, the image measuring 108x161.9 mm; 4¼x6⅜ inches, with Yow’s initials, in pencil, on verso. Circa 1947.
Estimate
$2,000 – $3,000
43
PaJaMa (Paul Cadmus, Jared French, and Margaret French)
Jose Martinez by J.F. [Jared French], Fire Island.
Silver print, the image measuring 171.4x114.3 mm; 6¾x4½ inches, with the Frenchs’ credit, the subject’s name, and location, in pencil, in Paul Cadmus’ hand, a numeric notation, and the Collection of Jon Anderson hand stamp, on verso. Circa 1947.
Estimate
$2,000 – $3,000
44
PaJaMa (Paul Cadmus, Jared French, and Margaret French)
Sandy Campbell by JF [Jared French] or PC [Paul Cadmus].
Silver print, the image measuring 79.4x158.7 mm; 3⅛x6¼ inches, with the credits, subject’s name, and date, in pencil, in Paul Cadmus’ hand, and the Collection of Jon Anderson and Collection of Paul Cadmus hand stamps, on verso. 1943.
Estimate
$2,000 – $3,000
45
PaJaMa (Paul Cadmus, Jared French, and Margaret French)
Paul Cadmus and Lincoln Kirstein, Fire Island.
Silver print, the image measuring 114.3x165.1 mm; 4¼x6½ inches, with the title, in pencil, in Paul Cadmus’ hand, on verso. Circa 1947.
Estimate
$2,000 – $3,000
46
Avel de knight (1923 - 1995)
Four Drawings.
Untitled (Two Young Men), charcoal on cream wove paper, 165x244 mm; 6½x9⅞ inches. Untitled (Two Young Men), charcoal and red chalk on cream wove paper, 247x323 mm; 9¾x12¾ inches. Untitled (Two Young Men), charcoal on cream wove paper, 247x323 mm; 9¾x12¾ inches. Untitled (Two Nude Young Men), charcoal and red chalk on cream wove paper, 304x425 mm; 12x16¾ inches. circa 1940s.
Provenance: Julien Outin, Paris; private collection, Virginia. These drawings were acquired from the estate of his close friend, the French artist Julien Outin (1923-2005).
Estimate
$1,200 – $1,800
47
Avel de knight (1923 - 1995)
Three Drawings.
Untitled (Young Man in Steam Room), charcoal on cream wove paper, 82x114 mm; 3¾x4¼ inches, inscribed "dans au bain de vapeur un jeune s'excite dans son carrière. Untitled (Two Young Men Having Intercourse), charcoal on cream wove paper, 184x215 mm; 7¼x8½ inches. Untitled (Two Young Men), charcoal on cream wove paper, 190x254 mm; 7½x10 inches. circa 1940s.
Provenance: Julien Outin, Paris; private collection, Virginia. These drawings were acquired from the estate of his close friend, the French artist Julien Outin (1923-2005).
Estimate
$1,200 – $1,800
48
Avel de knight (1923 - 1995)
Three Drawings.
Untitled (Young Man on Passenger Train), charcoal and red chalk on tracing paper, 209x266 mm; 8¼x10½ inches. Untitled (Two Young Men on Passenger Train), charcoal and red chalk on tracing paper, 209x266 mm; 8¼x10½ inches. Untitled (Two Young Men Sleeping on Passenger Train), charcoal and red chalk on tracing paper, 209x266 mm; 8x10¼ inches. circa 1940s.
Provenance: Julien Outin, Paris; private collection, Virginia. These drawings were acquired from the estate of his close friend, the French artist Julien Outin (1923-2005).
Estimate
$1,200 – $1,800
49
Avel de knight (1923 - 1995)
Two Drawings.
Untitled (Two Reclining Young Men), ink and wash on tracing paper, 209x266 mm; 8x10¼ inches. Untitled (Two Reclining Young Men), ink and wash on tracing paper, 209x266 mm; 8x10¼ inches. circa 1940s.
Provenance: Julien Outin, Paris; private collection, Virginia. These drawings were acquired from the estate of his close friend, the French artist Julien Outin (1923-2005).
Estimate
$1,200 – $1,800
50
Duncan grant (1885-1978)
Two Seated Nudes.
Watercolor on paper. 225x175 mm; 9x7 inches. Signed and dated “25” in ink, upper right recto. 1925.
Estimate
$2,000 – $3,000
51
Duncan grant (1885-1978)
Couple Embracing.
Watercolor and pencil on ivory wove paper. 200x290 mm; 7⅞x11½ inches. Signed in pencil, lower right recto.
Provenance: private collection, Massachusetts.
Estimate
$3,000 – $5,000
52
Duncan grant (1885-1978)
Sketch of Paul Roche.
Gouache, crayon and pencil on tan PMF Italia-Ingres laid paper. 312x485 mm; 12¼x19⅛ inches. Initialed in crayon, lower right recto and inscribed “P.R.” in crayon, verso. Circa 1950.
Provenance: the artist; Collection of Paul Roche (artist’s partner); Collection of Douglas Blair Turnbaugh, writer and producer, New York; private collection, Georgia.
Estimate
$1,000 – $1,500
53
George quaintance (1902-1957)
Female Nude.
Oil on canvas. 1940. 610x760 mm; 24x30 inches. Signed and dated in oil, lower left recto. 1940.
Quaintance was one of the early American pioneers of kitchsy, homoerotic, fantasy art. His illustrations for Physique Pictorial magazine in the early 1950s helped to popularize his work. He is most sought after for his macho, campy, muscular images of cowboys, gods, matadors and other overtly masculine, skimpily-clad, idealized physical specimens. But he was also an accomplished portrait painter and landscapist. Outside of his portraiture, there are few known images of women in his ouevre.
Provenance: estate of Ray Blanco, New Jersey; private collection, New Jersey.
Estimate
$3,000 – $5,000
54
Various authors- various artists
Lesbian Pulp Fiction
Group of thirty-three paperback examples, 1954-1974. Including twelve tiles published by Midwood: Carol Clanton’s Gay Interlude; Paul V. Russo’s One Flesh; Loren Beauchamp’s Strange Delights; Valerie Taylor’s Unlike Others; Dallas Mayo’s Silky; March Hastings’s The Unashamed; Sloan Britton’s Unnatural; Aldo Lucchesi’s Strange Breed; Sheldon Lord’s Of Shame and Joy; and three titles by Randy Salem, Honeysuckle; The Soft Sin; [and] The Unfortunate Flesh.
[Together with] twenty-one titles by a variety of publishers, including: Marlene Longman’s Lesbian Love; Francoise Mallet’s The Loving and the Daring; Kel Holland’s The Strange Young Wife; Sara Harris’s The Wayward Ones; Tereska Torres’s “By Cécile”; King Brady’s Vegas Vice Queen; Sloane Britain’s First Person 3rd Sex; and others, (condition varies, a few with serious faults). [And] a copy of Jaye Zimet’s Strange Sisters: The Art of Lesbian Pulp Fiction 1949-1969, first edition, New York: Viking Studio, 1999, publisher’s softcover, illustrated.
Estimate
$300 – $500
55
Various authors- various artists
Lesbian Pulp Fiction.
Group of twenty-eight paperback examples, 1953-1964. Including eleven titles published by Fawcett under the Gold Medal Book label: Tereska Torres’s Women’s Barracks; Vin Parker’s The Evil Friendship; and The Girl on the Best Seller List; Ann Bannon’s Odd Girl Out; Beebo Brinker; Women in the Shadows; and I Am a Woman; and Ann Aldrich’s We, Too, Must Love; We Walk Alone; Carol, in a Thousand Cities; and We Two Won’t Last.
Six titles published by Fawcett under the Crest Book labe: Valerie Taylor’s Whisper Their Love; and The Girls in 3-B; Stranger in Lesbos</i>. Six titles published by Berkley Books: Carol Hales’s Such is my Beloved; G. Sheila Donsithorpe’s Loveliest of Friends; Barry Devlin’s Forbidden Pleasures; Olivia; Paul Bodin’s The Sign of Eros; and Scott Stone’s Blaze.
[Together with] four titles published by Pyramid Books: Fletcher Flora’s Whisper of Love; Vincent G. Burns’s Female Convict; Gerald Tesch’s Never the Same Again; [and] Agnete Holk’s Strange Friends; all small format paperbacks. (28)
Estimate
$300 – $500
56
Various authors- various artists
Lesbian Pulp Fiction.
Twenty-two Paperback Examples, Beacon Books, 1952-1963. Including the following titles: Carol Emery’s Queer Affair, B135; Lilla Van Saher’s Adam and Two Eves, B152; March Hastings’ Three Women, B190; Orrie Hitt’s Girls’ Dormitory, B191; J.C. Priest’s Forbidden, B192; Randy Salem’s Chris: Life in the Limbo of Lesbianism, B223; Barry Devlin’s Make Sure I Win, B255; Artemis Smith’s The Third Sex, B268; Manning Stokes’s Triangle of Sin, B276; Michael Norday’s Warped, B280; Kay Addams’s Warped Desire, B289; Dorene Clark’s Different, B311; Artemis Smith’s Odd Girl, B230; Mark Tryon’s The Twisted Loves of Nym O’Sullivan, B343; Della Martin’s Twilight Girl, B390; Dave Carson’s Sex III, Richard Villanova’s Her Woman, B551F; Arthur Adlon’s Strange Seduction, B564F; Herb Roberts’s The Narrow Line, B610F; Kay Addams’s Queer Patterns, B663X; Colin Johns’s Rendezvous in Lesbos, B666X; [and] Anne Herbert’s Summer Camp, B687X; all small format trade pulp paperbacks in a range of condition, each 7x4¼inches. (22)
Estimate
$300 – $500
57
Steve masters (aka mike miksche 1925-1964)
“Now Hear This” * Rock Climbers.
Together, two original illustrations for unidentified publications. Mixed media and collage on paper, with graphite, wash, gouache, and printed papers. Titled work measures 415x273 mm; 16½x10¾ inches on paper, tipped to 20x14¼-inch board. Signed "Masters `62" in lower right image and titled in lower margin. Second drawing (rock climbers) measures 350x455 mm; 13¾x18 inches. Unsigned. A copy of the book The Art of Steve Masters is included with the artwork. (8vo, illustrated stapled mint green wrappers, Np, circa 1970; two institutional copies recorded)
Miksche served as an Air Force flight captain before becoming a fashion illustrator. Under the pseudonym Steve Masters, he created erotic, mostly S&M-centric art. He was commissioned by the Kinsey Institute to appear in films demonstrating sadomasochistic sex acts, mainly with the tattoo artist and writer Samuel M. Steward. After a long battle with depression, he committed suicide in 1965. The bulk of his work is held by both the Kinsey Institute and the Leather Archives and Museum.
Estimate
$2,000 – $3,000
58
Darrel millsap (1931-2012)
“Buffy Rides Again.”
Original cover illustration for the book of the same title by Chris Davidson (San Diego: Adult Books/Greenleaf Classics, 1968). Tempera and ink on board. 458x330 mm; 18x13 inches. A copy of the book accompanies the artwork.
Millsap was a prolific California illustrator mainly of paperbacks in the 1960s and 70s. This pulp paperback features a gay drama student with the charmingly alliterative cover line "He was the frosh flash of a fag fraternity!"
Estimate
$600 – $900
59
Lesbian studies & literature first editions and signed copi
Eleven Titles, 1929-1984.
Including: Isa Glenn’s (1874-1951) Transport, New York & London: Knopf, 1929, first edition, octavo, publisher’s orange cloth, no jacket; Jeannette H. Foster’s Sex Variant Women in Literature, New York: Vantage Press, 1956, signed and inscribed first edition in original dust jacket; Louise M. King’s The Day We Were Mostly Butterflies, New York: Doubleday, 1964, in original dust jacket; Sidney Abbott & Barbara Love’s Sappho was a Right-on Woman: a Liberated View of Lesbianism, New York: Stein & Day, 1972, in original dust jacket; Del Martin & Phyllis Lyon’s Lesbian / Woman, San Francisco: Glide Publications, 1972, in the original dust jacket; Kate Tobin & Randy Wicker’s The Gay Crusaders, New York: Paperback Library, 1972, signed and inscribed by Tobin inside front cover; Betty Dodson’s Liberating Masturbation, New York: Dodson, 1975, third printing; three softcover titles by Rita Mae Brown, The Hand that Cradles the Rock, Oakland, CA: Diana Press, 1974; Songs to a Handsome Woman, Oakland: Sequoyah Graphics, 1973; and Rubyfruit Jungle, Plainfield, VT: Daughters, Inc., 1973, stated first edition; [together with] JoAnn Loulan’s Lesbian Sex, San Francisco: Spinsters Ink, 1984, softcover, signed and inscribed. (11)
Estimate
$300 – $500
60
Leonor fini (1907-1996)
Standing Nude.
Pen and ink on paper. 365x287 mm; 14½x11¼ inches. Signed in ink, lower right recto. Circa 1960.
Estimate
$1,500 – $2,500
61
Leonor fini (1907-1996)
Two Kneeling Nudes.
Color lithograph. 470x425 mm; 18½x17 inches, full margins. Artist’s proof. Signed and inscribed “E.A.” in pencil, lower margin. Circa 1960.
Estimate
$1,000 – $1,500
62
(american playwright)
Portrait of Tennessee Williams.
Silver print, the image measuring 238.1x190.5 mm; 9⅜x7½ inches, the sheet slightly larger, with the subject’s name, in pencil, and a Culver Pictures hand stamp and labels, on verso. 1945.
Estimate
$500 – $750
63
Tennessee williams.
Group of 5 Signed titles.
8vo, publisher’s cloth or wrappers. Comprising: Five Young American Poets. Dust jacket with one tape repair to verso; ownership signature, light foxing to contents with a few marginal notations in pencil * Baby Doll. Bottom inch of binding dampstained effecting several leaves within; small nicks to dust jacket corner folds * Grand. With original glassine. 1/300 * The Mutilated. Stapled, printed wrappers * The Two-Character Play. Complete with publisher’s card slipcase. 1/350.
Each signed by Williams. Vp, 1944; 1956; 1964; 1967; 1969.
Estimate
$500 – $750
64
William s. burroughs.
Naked Lunch.
8vo, publisher’s cloth, spine titles gilt; unclipped dust jacket priced $6.00, spine panel faded with small blemish and rubbing at head, chip to upper corner of rear panel, folds creased, light wear to top edges; contents clean.
First American edition, in the first issue jacket with no zip code on the rear panel. New York: Grove Press, (1959) [but 1962]. Maynard & Miles A2b.
Estimate
$300 – $400
65
Paul bowles.
A Little Stone * Up Above the World.
Together, 2 volumes. 8vo, publisher’s cloth, few small stains to rear board of first title; dust jackets, first title price clipped and with minor wear to head and foot of spine panel, else near fine copies.
First editions, each signed by Bowles on the title-page. London, (1950); NY, (1966).
Estimate
$300 – $400
66
Farley granger (1925-2011)
Two items, each to theater director Warren L. Enters: Autograph Letter Signed * Avedon and Capote. Observations. Signed and Inscribed.
The letter, “Farley,” declining to work with him on Tiny Alice, explaining that his employment possibilities in Hollywood do not satisfy him and that he is moving to Rome to make films, wishing he could work on the stage again, inquiring about his life and work in Buffalo, and expressing appreciation for the beauty of Italy and the Italian language. 3 pages, 4to, written on two separate sheets, “Albergo Nazional” stationery, onionskin paper; few creases. The book, on the front free endpaper: “For Warren [Enters] / May this be the first of many, / and of a long, dear friendship. / Love, / Farley.” Illustrated. Folio, printed boards, faint staining to front cover, toning to spine ends, corners bumped; lacking dust jacket; boards slipcase, moderately soiled and worn. First edition. Rome, 18 October 1969; New York: Simon & Schuster, (1959); inscription: Np, nd.
18 October 1969: “. . . My agent in Roma said if there was nothing pressing . . . in Hollywood I should stay here because I am well known, and so many more films are being made here. So here I am. The job scene in Hollywood is very bad. . . . And I really can’t face doing another stupid special guest star piece of crap on T.V. I’ve had it! I have not done one decent thing since I went out there. . . .
“I think at this time in my life nothing could be better than to get out of that rat race. I feel I can work here . . . . Also the film I made here with Vi[s]conti is an all time Italian classic, and is shown every year. So even the kids know me.
“I would love to work again on the stage, but where’s the play?
”. . . I am taking Italian lessons like mad, and loving them. It really is a very beautiful place. . . .”
Estimate
$200 – $300
67
Noël coward (1899-1973)
Typed Letter Signed, to theatrical producer Elizabeth Ireland McCann,
thanking for arranging tickets to [the 1970 Palace Theatre production of] Applause for Mr. and Mrs. Lunt [Alfred Lunt and Lynn Fontanne?]. 1 page, 8vo, personal stationery; horizontal fold. Np, 22 April 1970.
Estimate
$100 – $200
68
Cecil beaton (1904-1980)
“The French Market - New Orleans.”
Original stage set illustration for the musical Saratoga, which premiered at the Winter Garden Theatre, 1959. Watercolor, wash, and ink. With a full-sized ink sketch of market on verso. 317x483 mm; 12½x19 inches, sheet. Signed "Beaton" in lower left image, titled "The French Market" to its left, and "New Orleans" in lower left margin (both also in Beaton's hand). Also present is a rough sketch in lower right margin and stamp of United Scenic Artists overlapping corner of sketch and into image.
Beaton won the Tony Award for Best Costume Design and was nominated for Best Scenic Design for a Musical in 1960 for this production. Saratoga, based on the novel "Saratoga Trunk" by Edna Ferber, was directed by Morton Da Costa and produced by Robert Fryer, with a musical score by Harold Arlen and lyrics by Johnny Mercer. It opened on December 7, 1959 and ran for 80 performances through February 13, 1960.
This charming and colorful design for the market with a lovely full-sized outline sketch on the verso displays Beaton's talent for capturing depth and detail of a scene.
Estimate
$2,000 – $3,000
69
Robert bliss (1925-1981)
Spring.
Oil on canvas. 820x1275 mm; 32¼x50¼ inches. Signed and dated in oil, lower right recto. 1961.
Provenance: Selected Artists Galleries, New York, with the partial label on the stretcher bar verso; private collection, New Jersey.
Estimate
$6,000 – $9,000
71
Robert bliss (1925-1981)
Young Male Dancer, Stretching.
Oil on board. 1660x755 mm; 65½x30 inches. Signed and dated in oil, upper left recto. 1970.
Estimate
$6,000 – $9,000
72
Sewell sillman (1924 - 1992)
Vigorous Old man, (Self Portrait).
Oil on masonite, 1963. Signed, Si Sillman, dated, III 63, and inscribed as titled, on verso. 597x318 mm; 23½x12½ inches.
Provenance: The artist; Partner of the artist, Jim McNair; Private collection, Boston.
Sewell Sillman was an artist and educator best known for his abstract compositions exploring the interaction of color. He studied under Josef Albers at Black Mountain College and at Yale University. In 1958 Sillman co-founded a publishing company, there first publication being Albers' Interaction of Color. This playful self portrait was gifted by Sillman to his partner, Jim McNair.
Estimate
$1,500 – $2,500
73
(Bruce of LA/Kensington Road)
A group of approximately 98 photographs produced by Kensington Road from Bruce of LA’s negatives.
The group is comprised of sets, housed in their original paper envelopes, organized by model. The classically inspired “beefcake” imagery, the models include Mike Kevin, Scotty Cunningham, George Ruff, Charlie Ram, and more. Silver prints, the images measuring 177.8x127 mm; 7x5 inches, and the reverse; enclosed in envelopes with the catalogue number, stamped or in ink, on the front. 1950s-60s; printed after 1974.
Following Bellas’ death in 1974, photographer Kurt Deitrick continued distributing his work under the name Kensington Road. Collectors could order prints of their favorite models by series numbers referenced in printed catalogues he also produced.
Estimate
$600 – $900
74
(david of cleveland) (active 1950-60s)
A selection of 14 dramatically lit studio portraits of bodybuilders.
Silver prints, the images measuring 190.5x241.3 mm; 7½x9½ inches, the sheets slightly larger, most with a David of Cleveland hand stamp, some with a label with the typewritten model’s name and age, and 5 with the model’s name, in ink, in an unknown hand, on verso. 1960s.
David of Cleveland was a physique photographer who specialized in photographing athletes. He sold photographic prints, slides, and stereo slides by mail.
Estimate
$600 – $800
75
Colt studios
An early 1972 photo set, with a large archive of later photo sets, publications, and ephemera.
Approximately 200 items in one box; generally minimal wear. New York and Studio City, CA, 1972 and circa 1992-2007
The Colt Studio Group was founded in New York in 1967, and built its reputation on the photography of founder Jim French (1932-2017), aka “Rip Colt.” They originated in New York, soon moved to the Los Angeles area, and have been based in San Francisco since 2003.
Offered here is a large collection of material issued by Colt. The earliest is a packet of ten black and white photographs of a single model, 177x127 mm; 7x5 inches, in a plain brown mailing envelope postmarked from New York on 2 August 1972. The mailing label has a horse’s head and the studio’s New York post office box. This predates the 1973 Miller v. California Supreme Court decision which clarified the legal status of pornographic material being sent through the mail.
Also included is a large collection of Colt material which was meticulously collected and preserved from 1992 to 2007. This includes:
16 “photo sets” produced between 1992 and 1999. Each one is a packet of photographs, 177x127 mm; 7x5 inches, devoted to a single model, in a sleeve printed with a copyright notice and catalog number. The model’s name and receipt date are often added in manuscript by the recipient. Most are black and white photographs in sets of 10.
A compact disc of photographs of model Steve Kelso, thought to be the first Colt product issued in this format.
Signed and inscribed copy of “Masc., the Color Photography of Jim French,” 1995.
35th Anniversary Album in two parts.
6 different Colt Calendars for 2005.
9 magazine-format publications, including Colt Men (#35, 36, 40), The Best Colt Men (#7), and Colt Studios Presents (#12, 15, 18, 20, and 21).
A large quantity of advertising ephemera and mailers arranged in envelopes by year of collection from 1998 to 2007, with approximately 100 items in total.
Estimate
$1,500 – $2,500
76
(target studios)
A group of approximately 112 photographs from the iconic studio, some depicting single figures, others more explicit tableaux of pairs.
A group of 14 sets of glassine envelopes, each with 8 photographs, organized by model or scene. Including models such as The Bull Dozier, Pete Bronsky, Tom Hartung, and others, as well as scenes titled The Hayloft, The Pit, and Sunstruck. Silver prints, the images measuring approximately 165.1x114.3 mm; 6½x4½ inches, and the reverse, the sheet slightly larger, one print from each set with the Target Studios copyright hand stamp on verso; enclosed in the original glassine envelopes, each with a Target Studios hand stamp and a model’s name or set name hand stamp, on the front. 1970s.
Target Studios was created by photographer Jim French and his partner Lou Thomas in the mid-1970s. The studio answered to an underground demographic that craved quality homoerotica after the U.S. Supreme Court banned depictions of male frontal nudity in 1967.
Estimate
$2,000 – $3,000
77
Jim french (1932-2017)
George Paine I, Death Valley.
Silver print, the image measuring 476.3x377.8 mm; 18¾x14⅞ inches, the sheet slightly larger, with French’s signature, title, negative date, and edition notation 5/25, in pencil, on verso. 1975; printed 1990s.
Estimate
$1,000 – $1,500
78
Jim french (1932-2017)
John Pruit, Bow and Arrow.
Silver print, the image measuring 368.1x317.5 mm; 14½x12½ inches, the sheet 508x406.4 mm; 20x16 inches, with French’s signature, in pencil, on verso. 1984.
Estimate
$2,000 – $3,000
79
Jim french (1932-2017)
John Pruitt I, Hawaii.
Silver print, the image measuring 381x476.3 mm; 15x18¾ inches, the sheet 406.4x508 mm; 16x20 inches, with French’s signature, title, date, and edition notation 5/25, in pencil, on verso. 1984.
Provenance: Acquired from Wessel & O’Connor Fine Art, New York, New York; to the Present Owner.
Estimate
$1,000 – $1,500
80
(male physique photographs)
A selection of more than 137 35mm slides by AMG, Bruce of LA, and others.
35 mm color slides, some Kodachrome, the images measuring 22x35 mm; 1⅜x⅞ inches, the mounts 51 mm; 2 inches square, many with a date blind stamp, a few with the model's name, in pencil or ink, and 9 with the Bruce of LA hand stamp and numeric hand stamp, on the mounts; enclosed in plastic sleeves. The group includes approximately 58 slides from AMG (Athletic Model Guild 1980-86), 19 by Bruce of LA, and 60 miscellaneous shots. All featuring models alone or in pairs, sometimes posing with props, often in outdoor settings, many fully nude, others in more playful costumes. 1970s-mid-80s.
The Athletic Model Guide was established by Bob Mizer in 1945. Mizer’s imagery evolved from men in classically inspired bodybuilder poses, to pairs wrestling or in other tableaux, to men in small posing straps or otherwise covered, to full nudity. Mizer photographed thousands of models and created tens of thousands of images. He used his quarterly publication Physique Pictorial to advertise this imagery, which was available as photographic prints.
Estimate
$800 – $1,200
81
(gay beefcake flyers - film/video)
Group of over 200 promotional flyers, tear sheets, and brochures for mostly 1960s-90s videos, catalogues, and fan photographs.
Includes color glossies and many featuring popular men of the era such as Jeff Stryker, Tom Steele, Al Parker, Jack Lofton, Jon King, Ryan Idol, Leo Ford, Aiden Shaw. Publications and studios represented include Colt, Falcon, Mustang, Fox, Spike, Jocks, Elysian, and Showboy, among others. The majority laid into sleeves of a thick black binder, others loose.
Some highlights and earlier publications include: Two typed mailing list flyers from the Frontier Athletic Club in original envelopes stamped 1962 sent to beefcake photographer Avery Willard * 3 Athletic Model Guild bulletins for 1955-56-57 * a Colt welcome kit with dozens of small flyers and coupons * numerous tear sheets for pleasure products. Should be seen.
Estimate
$600 – $900
82
(homoerotica)
An album of approximately 115 photographs of “rent boys” posing and performing for an amateur photographer.
With photographs of about 20 male hustlers in domestic interiors and one set taken outdoors, many nude and some engaged in foreplay, many of the photographs are interspersed with typed diary-like narratives before each subject, detailing the interaction, including the subject’s name or alias, some describing the subject’s original advertisement. Polaroids (4) and chromogenic prints, the Polaroid images measuring 79.4 mm; 3⅛ inches square, the chromogenic prints approximately 88.9x114.3 mm; 3½x4½ inches, some slightly larger, and the reverse, one or two photographs per sheet. 4to, brown leatherette cover, twin-bolt binding, detached at the top. 1970s.
Estimate
$1,000 – $1,500
83
David hurles (old reliable) (1944 - )
A collection of approximately 26 nude photographs of tough guys.
Silver (24) and chromogenic (2) prints, 25 images measuring 165.1x114.3 mm; 6½x4½ inches, the sheets slightly larger, one image measuring 254x203.2 mm; 10x8 inches, each with an Old Reliable label, and most with the model’s name and editorial notations, in ink, on verso. 1986-91.
In 1975 David Hurles began Old Reliable, a photography company based out of Hollywood, CA that produced homoerotic images and tapes of masculine men, street boys, and working-class guys.
Estimate
$800 – $1,200
84
Pat rocco (1934-2018)
Bizarre Productions Catalog of Hollywood Models & Feature Films.
31, [1] pages including illustrated wrappers. 280x212 mm; 11x8¼ inches, staple-bound; minor wear to bottom edge of front wrapper. Hollywood, CA, 1969.
Pat Rocco was a pioneering activist and erotic filmmaker, and a founder of LA Pride. His archives are held by the UCLA Film & Television Archive. This well-illustrated catalog features both photography and films. It is stated to be “Catalog number 25.” Only two other examples are traced in OCLC, both also #25.
Estimate
$300 – $400
85
Richard bernstein (1939-2002)
The Beatles.
24x28¾ inches, 610x730 mm. Permild & Rosengreen, Denmark. 1968.
Richard Bernstein designed over 100 covers and illustrations for Andy Warhol’s Interview magazine as well as album covers and a cover for Time magazine.
Estimate
$700 – $1,000
86
Randy green (active 1960s-1990s)
American Liquid * Legs and Oranges * The Performers * The Sunbathers.
Together, 4 dye transfer prints, the images measuring approximately 279.4x431.8 to 368.3x558.8 mm; 11x17 to 14½x22 inches, the sheets 431.8x533.4 to 508x658.5 mm; 17x21 to 20x27 inches, three with Green’s signature and copyright notation, in ink, on recto. Circa 1970s.
Estimate
$1,000 – $2,000
87
(monumenal male nude)
A photograph by Loomis Dean (1917-2005) of Harold Stevenson’s groundbreaking 40 foot painting “The New Adam” (1962).
Silver print, the image measuring 171.5x342.9 mm; 6¾x13½ inches, with Dean’s credit hand stamp on verso. 1960s.
Harold Stevenson’s (1929-2018) painting, executed in 1962, was conceived as an homage to his lover, Lord Timothy Willoughby (though the model was Sal Mineo), and measures an astonishing 96x468 inches over a series of 9 panels. Initially exhibited in the 1960s in Paris, New York, Chicago, and LA (shocking viewers in each of the locations, apparently), the work was then rarely seen until it was shown again in the 1990s at the Mitchell Algus Gallery (in 1992) and the Andy Warhol Museum (1998). The work is now owned by the Guggenheim Museum. This photograph is accompanied by an “Art in America” article, which compellingly places this work within its art historical context and quotes Stevenson describing his monument work as intended “to be beyond captivity, beyond containment, where flesh is endless.” Loomis Dean’s photograph of the painting places it in a somewhat less formal presentation, but clearly evokes the overwhelming scale, romantic beauty, and extraordinary achievement of the work.
Estimate
$1,000 – $1,500
Lots 88 – 93
88
Paul cadmus (1904-1999)
Seated Male Model.
Black and white chalks on grayish green paper. 288x245 mm; 11½x9¾ inches. Signed in pencil, upper left recto. Circa 1960.
Provenance: estate of the artist; Jon F. Anderson and Philis Raskind-Anderson, Connecticut; private collection, Chicago.
Estimate
$1,200 – $1,800
89
Paul cadmus (1904-1999)
Seated Male Nude with Arms Raised.
Color crayons on green paper, double-sided. 300x225 mm; 12x9 inches. Signed in white crayon, upper right recto. With a drawing of a seated male nude in color crayons, verso. Circa 1960.
Provenance: estate of the artist; Jon F. Anderson and Philis Raskind-Anderson, Connecticut; private collection, Chicago.
Estimate
$2,000 – $3,000
90
Paul cadmus (1904-1999)
Reclining Male Nude.
Color crayon on cream wove paper. 168x178 mm; 6¾x7 inches. Signed in crayon, upper left recto. Circa 1960.
Provenance: estate of the artist; Jon F. Anderson and Philis Raskind-Anderson, Connecticut; private collection, Chicago.
Estimate
$1,000 – $1,500
91
Paul cadmus (1904-1999)
Male Nude (NM 155).
Prisma-color crayons on gray Strathmore toned with acrylic. 617x440 mm; 24⅜x17⅜ inches. Signed and inscribed “NM 155” in white crayon, lower left recto. 1979.
Exhibited “Paul Cadmus: Yesterday and Today,” Miami University Art Museum, Oxford, Ohio, September 12-October 25, 1981, with the label on the frame back, Edwin A. Ulrich Museum of Art, Wichita State University, November 11-December 20, 1981, with the label on the frame back, William Benton Museum of Art, University of Connecticut, Storrs, March 20-May 2, 1981; “Paul Cadmus: The Male Nude 1950-1999,” October 10-November 9, 2002, DC Moore Gallery, New York, with the label on the frame back.
Provenance: Midtown Galleries, New York, with the label on the frame back; with D.C. Moore Gallery, New York, with the label on the frame back; Leslie-Lohman Gay Art Foundation, New York.
Estimate
$20,000 – $30,000
92
Paul cadmus (1904-1999)
Waiting for Rehearsal.
Etching. 282x202 mm; 11¼x8¼ inches, full margins. Signed, titled and numbered 85/175 in pencil, lower margin. Printed by Pelavin, New York, with the blind stamp lower right. 1984.
Estimate
$1,200 – $1,800
93
Paul cadmus (1904-1999)
Jon Anderson on Library Steps.
Colored pencils on vellum. 610x480 mm; 24x18⅞ inches. Signed in colored pencil, upper left recto. Circa 1990.
Provenance: estate of the artist; Jon F. Anderson and Philis Raskind-Anderson, Connecticut; private collection, New York.
Estimate
$5,000 – $8,000
94
David hockney (1937 - )
Peter.
Etching on J. B. Green mould-made paper. 687x543 mm; 27¼x21¼ inches, full margins. Signed, dated and numbered 57/75 in pencil, lower margin. Printed by Maurice Payne, London. Published by Petersburg Press, London. 1969.
A very good impression.
The model is Peter Schlesinger, Hockney’s companion at the time. Scottish Arts Council 110.
Estimate
$4,000 – $6,000
95
David hockney (after)
A Diver (Australian National Gallery Poster).
Color offset lithograph on heavy white wove paper. 810x1340 mm; 32x53 inches (sheet), full margins. Printed by Petersburg Press, London. Published by the National Gallery of Australia, Canberra. 1982.
A very good impression of this large print with strong colors. Baggot 93.
This poster was produced on the occasion of the Hockney's 1982 exhibit at the National Gallery of Australia and was based on A Diver, Paper Pool 17, 12 joined hand colored pressed paper pulp sheets, 1978, printed by Tyler Graphics, Ltd., Mount Kisco, and published by Petersburg Press, London.
Estimate
$1,500 – $2,500
96
JOE EULA (1925-2004)
Archive of over 125 fashion drawings, sketches, and published material.
Several drawings were published in the biography Eula by Cathy Horyn (New York: Harper Design, 2014). Drawings are rendered in various media including ink, crayon, watercolor, and marker, mostly on paper. Several with Eula's signature, notations, and measurements. Various sizes. Circa 1980s and 90s. A copy of the book accompanies the lot.
Includes designs for Yves Saint Laurent, Geoffrey Beene, Dior, Balenciaga, Rudi Gernreich, Cerutti, Givency, and numerous other designers, many of which were published in the New York Herald Tribune.
Also includes some photographs and correspondence, such as a Telex by Saint Laurent, memos and Typed Letters Signed by members of the Givenchy offices including Hubert de Givenchy and Max-Michel Grand regarding Eula's work for the fashion house's Japanese retrospective in 1983 * A large framed drawing of a reclining woman. Mixed media sketch, including watercolor and crayon on paper. 565x1010 mm; 22¼x39½ inches, on 26x40-inch sheet. Signed "Eula" and dated [19]62 in lower right image.
Eula's long and prolific career in fashion and performing arts began in the 1950s where, after serving in the Italian Campaign in World War II and completing studies at The Art Students League on the GI Bill, he was launched into the fashion world as the head illustrator for The New York Herald Tribune under Eugenia Sheppard. Soon to follow were positions at The London Sunday Times, American Vogue, The New York Times, and Italian Harper's Bazaar where he famously covered Yves Saint Laurent's first and last collections (1958 and 2002). However, it is as Halston's Creative Director throughout the 1970s that he is best remembered. That time was recently chronicled in the popular Netflix series "Halston" in which Eula is skillfully portrayed by actor David Pittu.
Estimate
$3,000 – $4,000
97
Joe eula (1925-2004)
Cheetah / Let 1969 Be Different.
Lithographed poster, 50x37¾ inches, 127x95¾ cm. Hand-signed and dated by the artist in pink crayon. 1968.
Eula designed posters for this seminal New York club and discotheque, including the figure which became the venue’s defacto logo, half woman half cheetah. An image which appeared on club ashtray’s and as the cover of an album featuring the house bands (The Esquires, Mike St. Shaw & The Prophets, and The Thunder Frog Ensemble) doing popular cover songs. Originally opened in 1966 on Broadway and 53rd street in the building which had been home to the famous Arcadia Ballroom. In 1968 it moved to a new location which would account for this poster. Rare, we could find no other extant examples.
Estimate
$400 – $600
98
Andy warhol (1928-1987)
Victor Hugo (invitation to fashion designer Halston’s drag party).
Color screenprint on card. 159x248 mm; 6¼x9¾ inches. With event details in felt-tip pen and ink, verso. 1978.
A very good impression.
Provenance: Robert Jones collection, former director of Leslie-Lohmann Gay Art Foundation, New York.
Estimate
$800 – $1,200
99
D’apres andy warhol (1928-1987)
Andy Warhol Fotografier Moderna Museet.
Double-sided offset lithograph poster, 997x699mm, 39¼x27½ inches. Jernström, [Stockholm.] Hand signed by the artist in marker. 1982.
One side features a Warhol photograph of “Bianca Jagger at Halstons [sic] House” and the other side a photo of “Halston at Home.”
Estimate
$1,000 – $1,500
100
Jack smith (1932-1989)
A sheet with two composites of four images each from The Beautiful Book, including an image of Smith himself.
Silver print, the overall sheet measuring 247.6x127 mm; 9¾x5 inches square. Circa 1962.
In addition to Jack Smith's films, Heliczer appeared in Andy Warhol projects and made his own experimental works.
Provenance: From Piero Heliczer, an Italian-American poet publisher, actor, and filmmaker; to Peter Gidal, a writer and filmmaker, in 1973.
Estimate
$3,000 – $4,500
101
(film stills)
A selection of 17 Andy Warhol film stills from his iconic features “Women in Revolt” (11), “The Chelsea Girls” (3), and “Lonesome Cowboys” (3).
Silver prints, the images measuring approximately 165.1x241.3 mm; 6½x9½ inches, the sheets 203.2x254 mm; 8x10 inches, each with Warhol's credit and the film title, and some with the actor's credits, printed on recto. 1966-71.
This group of stills from Warhol and Paul Morrissey's iconic films feature Factory superstars Candy Darling, Jackie Curtis, Holly Woodlawn, Viva, Joe Dallesandro, and others, including one of Warhol himself.
Estimate
$2,500 – $3,500
102
Andy warhol (1928-1987)
Torso.
Unique Polaroid, the image measuring 95x73 mm; 3¾x2⅞ inches, the sheet 108x86 mm; 4¼x3⅜ inches, with Warhol’s copyright blind stamp on recto, and the Estate of Andy Warhol and Andy Warhol Foundation hand stamps, on verso. Circa 1977.
Estimate
$8,000 – $12,000
103
Andy warhol (1928-1987)
Torsos.
Offset lithograph poster, 1499x1003mm, 59x39½ inches. Hand signed by the artist in marker. SMI, Paris. 1977.
Estimate
$1,200 – $1,800
104
Andy warhol (1928-1987)
Perrier (White).
Color offset lithograph on graphic art paper. 445x593 mm; 17½x23⅜ inches (sheet), full margins. Printed by Rupert Jasen Smith, New York. Published by La Source Perrier, Vergèze, France. 1983.
A good impression with strong colors.
Feldman IIIB.22[d].
Estimate
$1,000 – $1,500
105
Diane Arbus (1923-1971)/Neil Selkirk (1947 - )
Two men dancing at a drag ball, NYC.
Silver print, the image measuring 368.3x374.7 mm; 14½x14¾ inches, the sheet 508x406.4 mm; 20x16 inches, with the A Diane Arbus Photograph hand stamp with Doon Arbus’ signature, the title, negative date, and edition notation 16/75, in ink, and Selkirk’s stamped credit, as well as the Estate Copyright (with the date 1972) and reproduction limitation hand stamps, on verso; with a Marvelli Gallery label on frame verso. 1970; printed 1972.
Estimate
$5,000 – $7,500
106
Diane Arbus (1923-1971)/Neil Selkirk (1947 - )
Girl in Her Circus Costume, MD.
Silver print, the image measuring 381 mm; 15 inches square, the sheet 508x406.4 mm; 20x16 inches, with the A Diane Arbus Photograph hand stamp with Doon Arbus’ signature, in pencil, and the title, negative date, edition notation 8/75, and Neil Selkirk’s credit, in ink, as well as the Estate Copyright (with the date 1972) and reproduction limitation hand stamps, on verso. 1970; printed 1972.
Estimate
$8,000 – $12,000
107
Peter hujar (1934-1987)
Man on chair (Richard Weinroth).
Silver print, the image measuring 374.6 mm; 14¾ inches square, the sheet 508x406.4 mm; 20x16 inches, with Hujar’s signature, in ink, on verso. 1979.
Provenance: Acquired directly from the photographer; to a private New York collector.
Estimate
$12,000 – $18,000
108
Peter berlin (b.1942)
Collage #1, (Double Self Portrait).
Collage composed of gelatin silver prints and printed paper. Signed, Peter Berlin, lower right. 241x178 mm; 9½x7 inches.
Exhibited: Leslie/Lohman Gallery, New York, Berlin on Berlin: Photographs and Paintings of Peter Berlin by Peter Berlin, January 10 - February 25, 2006.
Provenance: The artist; [Leslie/Lohman Gallery, New York].
Born, Baron Armin Freiherr von Hoyningen-Huene, German photographer, film maker, designer Peter Berlin is a pioneer in the queer fine art culture of film and photography. Exploiting his own beauty, Berlin depicts himself in most of his works. This lot of collaged elements including photographs of himself evokes the theme of Narcissus.
Estimate
$800 – $1,200
109
Harvey redding
Group of approximately 129 postcards.
Color xerox postcards, each approximately 140x89mm, 5½x3½ inches. Most with a series of rubber stamps on their versos, including "Post Card," "Ban High Heels," "This is Not Art," "New York Burn," "What Culture?" "Women Stop Dressing up for Men," "Scenic View," and "Meltdown." 3 hand signed by the artist in pencil, two of which are dated 1979. Includes a few duplicates. [New York.] Circa 1979.
Redding, a commercial graphic designer and painter, spent time in the late 1970s designing postcards, as their smaller format was much easier to work with than paintings in his New York City apartment. In the early 2000s Redding founded the Queer Men’s Erotic Art Workshop which held live, nude drawing classes at the Leslie Lohman Museum.
Estimate
$1,500 – $2,000
110
Harmony hammond (1944 - )
Empress.
Acrylic, cardboard, fabric and mixed media. 640x485x200 mm; 25¼x19⅛x8 inches. Signed, inscribed "Emporess" and dated in felt-tip pen and ink, verso. 1979.
Provenance: Best Products Company Collection, Richmond; private collection, New Jersey.
Estimate
$3,000 – $5,000
111
Don bachardy (1934 - )
Barbara Thomason.
Brush and ink and wash on white wove paper. 863x638 mm; 34x25 inches. Signed in ink, lower left recto and signed and dated by the sitter in pencil, verso. 1975.
Provenance: private collection, New Jersey.
Estimate
$1,500 – $2,500
112
Don bachardy (1934 - )
Portrait of Paul Sorel.
Watercolor and gouache on paper. 662x508 mm; 26⅛x20 inches. Signed by the sitter and dated in pencil, verso. 1977.
Provenance: Nicholas Wilder Gallery, Los Angeles, with the label; private collection, New Jersey,
Estimate
$1,000 – $1,500
113
Bob ziering (1933-)
Lust in Motion.
Brown ink and color pencil on paper mounted to board. 981x711 mm; 38x28 inches. Signed "Ziering " lower right image. Circa 1970s. Framed to 42x30½ inches.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Ziering studied at The School of Visual Arts under Ivan Chermayeff and Bob Gill. His illustration work for Fortune 500 companies and cultural institutions, such as The Metropolitan Opera and Cirque du Soleil, has earned him several ANDY awards, the highest honor awarded to commercial illustrators.
While working as an illustrator for more than forty years, Ziering kept his erotic work hidden away until it was included in a group show that year, followed by a solo show titled "Secret Sex" in 2004. He now devotes his time to expressing his personal artistic vision in his New York City studio.
Estimate
$1,000 – $1,500
114
Bob ziering (1933-)
“Intimate Study.”
Pastel on Rives BFK paper. 375x572 mm; 14¾x22½ inches. Signed and dated vertically along upper right edge. 2016.
From a series Ziering created in 2016 exploring the male form.
Estimate
$1,500 – $2,500
115
Bob ziering (1933-)
“Rise and Shine.”
Pastel on Rives BFK paper. 559x762 mm; 22x30 inches. Signed and dated along lower right edge. 2016.
From a series Ziering created in 2016 exploring the male form.
Estimate
$1,500 – $2,500
116
Lowell nesbitt (1933-1993)
Dominique.
Charcoal on board. 870x715 mm; 34x28¼ inches. Signed and dated in charcoal, lower center recto. 1973.
Provenance: Charles Cowles Gallery, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$2,500 – $3,500
117
Lowell nesbitt (1933-1993)
The Figure and the Carpet.
Oil on canvas. 1530x1830 mm; 60x72 inches. Signed, dated and inscribed “© New York” in oil, verso. 1988.
Provenance: Estate of Roger de la Burde, Windsor, Virginia; private collection, New Jersey, 1994.
Estimate
$7,000 – $10,000
118
Michael a. cummings (1945 - )
Other Countries.
Oil on canvas, circa 1970s. 495x393 mm; 19½x15½ inches. Signed in oil, lower right recto. Signed in ink, lower-left corner verso.
Provenance: collection of the artist, New York.
Illustrated: Assotto Saint. Here to Dare 10 Gay Black Poets, (Galiens Press, 1992), cover image.
Other Countries is a rare early painting by Michael Cummings that references Modernism and investigates African imagery from an African-American aesthetic. Known as a consummate quilter since the 1970s, Michael Cummings began his artistic career as a painter. A Los Angeles native, he moved to New York City in 1970 and joined a circle of leading Black artists, becoming friends with Norman Lewis, Camille Billops, Romare Bearden, and his wife Nanette Rohan.
The lot is accompanied by a copy of the published book Here to Dare, 10 Gay Black Poets, edited by Assotto Saint. 8vo, wrappers. First Edition, First Issue. New York: Galiens Press, November 1992. A poetry anthology featuring this cover painting by Michael A. Cummings and designed by Pedro Perez. Authors include Djola Bernard Branner, Don Charles, David Warren Frechette, Cary Alan Johnson, Steve Langley, Craig A. Reynolds, Harold McNeil Robinson, Robert Westley, John D. Williams and Arthur T. Wilson.
Here to Dare is a collection that reveals the acute and poignant double-consciousness of men born Black and gay, and their fierce determination to survive. For editor Assotto Saint being black and gay brought sexuality and power to the forefront of his work. He worked alongside other black gay poets to express their experiences and to bear witness to their struggles. Saint was unabashed in his nature and representation through his persona and writing.
Assotto Saint was born Yves François Lubin in Haiti and moved to New York City as a young adult. Known as a poet, publisher and performance artist, he was a key figure in LGBT and African American literature of the 1980s and 90s. Before turning to literature, he was a dancer with the Martha Graham Dance Company from 1973 - 1980. After editing and penning poetry anthologies in the 1980s he won the 1992 Lambda Literary Award in Gay poetry as editor of The Road Before Us. He was also a nominee in the Gay Anthology category at the 5th Lambda Literary Awards for Here to Dare, and in the Gay Poetry category at the 7th Lambda Literary Awards for Wishing for Wings. In 1990 he was awarded a fellowship in poetry from the New York Foundation for the Arts and received the Black Gay and Lesbian Leadership Forum's James Baldwin Award. After Saint and his life partner were diagnosed HIV-positive, he became a fervent AIDS activist. He was one of the first African American activists to publicly disclose his HIV status. Saint died on June 29, 1994 and was buried alongside his partner at the Cemetery of the Evergreens, Brooklyn, New York.
Estimate
$5,000 – $7,000
119
James snodgrass (1929 - 2013)
Untitled, (Nudes in a Landscape).
Watercolor on cream paper, 1978. Dated, May 1978, on verso. 146x203 mm; 5¾x8 inches.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$400 – $600
Lots 120 – 138
120
(newspapers)
Group of mid-1960s San Francisco newspapers including early issues of Citizens News.
22 newspapers, each folding to quarto format (about 11 x 8½ inches or 28 x 21 cm) and about 8 to 12 pages, printed alternately on either white or newsprint stock; condition generally strong. Includes the following.
Citizens News IV: 2, 5-9, 11-15 [undated but late 1964 to late 1965] and V:1-2 (November-December 1965)
Cruise News & World Report I:1-3 [undated but circa summer 1965], II:1-3 (November 1965-January 1966)
Town Talk II: 2 and 4 (September and December 1965)
The Arc News (Association for Responsible Citizenship) of Sacramento, CA, I:8 (September 1966).
San Francisco’s Citizens News, edited by Guy Strait, billed itself as “America’s Leading Homosexual Publication,” offering a mix of serious activism, humor, and local scene news. Its partner publication, Cruise News & World Report, offered a similar but usually less serious mix.
Estimate
$1,000 – $1,500
121
Mattachine society
Group of 13 gay rights protest fliers issued in the weeks after Stonewall by the Mattachine Society and others.
Xerox or mimeograph fliers, most letter-sized, two legal-sized, a few with folds or minor staining, a few with "1969" inked in margins. New York, July-August 1969 and undated.
Most of these fliers are credited to the Mattachine Society, with at least one and probably a couple more issued by the Gay Liberation Front.
"Oh Boy!! Sundays May Never Be the Same"--event at Electric Circus featuring talk by Randy Wicker. "Between the vigilantes in Queens and the busts and raids in the West Village, it's been a tough week for homosexuals. . . . We don't think it's necessary for gay people to be quizzed at the door, packed into over-crowded, over-heated, over-priced, Mafia-controlled sewers." 6 July [1969].
"2nd Gay Liberation Meeting." "Homosexuals are no longer going to sit back and be apathetic pawns for every politician who comes along and trades their rights and privileges for a few votes in Far Rockaway. . . . We need your help and ideas to make Gay Power a reality." 16 July [1969].
"Do You Think Homosexuals Are Revolting? You Bet Your Sweet Ass We Are." Not attributed to Mattachine Society. 24 July [1969].
"Gay Power Vigil . . . in Washington Square Park." 27 July [1969]--two copies, one on white and one on magenta paper.
"Homosexuals are Coming Together at Last." Not attributed to Mattachine Society. 31 July [1969].
"Hang Out. . . . We do not intend to give up the right of homosexuals to peacefully congregate in the area unmolested by name calling and disrespectful police." 9 August [1969].
"Gay Liberation Front Newsletter. . . . Gay Power to Gay People! All Power to the People!" 10 August [1969].
"Police to Raid the Trucks!. . . . for current information call: Mattachine or Gay Switchboard." Undated.
"Where Do We Go From Here?" Undated.
"The Homosexual Revolution." Undated--two copies, one on yellow and one on blue paper.
"Mattachine Membership Application." Undated.
Provenance: From the collection of author Owen Levy.
Estimate
$1,500 – $2,500
122
(gay rights)
Group of early gay rights fliers, most from New York in the 1970s and 1980s.
46 items, most on letter-sized paper; condition generally strong. New York and various places, circa 1971-94.
Highlights include: an early mimeograph printing of "A Gay Manifesto" by Carl Wittman in 10 pages (lacking page 6); a flier denouncing City Council leader Tom Cuite for scuttling the Intro 475 bill, circa 1971; another "Donation Dance" for "Justice" to culminate in a march on the home of Councilman Saul Sharison for blocking the same bill; colorful flier for the Gay Anarchist Alliance Project, 1972; and a protest against the "male-supremacist" Stonewall commemoration march, signed in type by "Faggot Effeminists."
Provenance: From the collection of author Owen Levy.
Estimate
$1,000 – $1,500
123
(ephemera)
Wide-ranging group of programs, clippings, and other ephemera.
97 items, condition generally strong. New York and elsewhere, circa 1969-2002.
Includes: 27 clippings from mainstream publications on gay news, most notably one dated 29 June 1969 from the New York Sunday News on the Stonewall uprising: "3 Cops Hurt as Bar Raid Riles Crowd."
33 clippings of gay-themed mainstream advertisements.
8 pieces of lesbian-related ephemera and fliers, including a flier for the Lesbian Food Conspiracy co-op, a mimeographed satire titled "The True Story of Lesbianism by Frank Straight" by Kaye O'Brien and Carolyn Weathers, and a flier on "Lesbian Activists at Barnard."
12 theater and cinema programs and related ephemera.
T-shirt from National Coming Out Day featuring Keith Haring design, 1989; and more.
Provenance: From the collection of author Owen Levy.
Estimate
$300 – $400
124
Third world gay revolution
Pair of revolutionary greeting cards issued by the short-lived splinter group of the Gay Liberation Front.
Each about 200x200 mm; 8x8 inches, with center fold as issued; minimal wear. No place, circa December 1970.
Third World Gay Revolution spun off from the Gay Liberation Front in July 1970, in reaction to both racism in the Gay Power movement and homophobia in the Black Power movement. They remained active as a separate organization for only a few months.
One of these holiday cards reads "Celebrate" on the outside, and opens to a lavender image of the word "Gay " in the shape of a hand grenade. The other shows a Christmas tree with "Joy to the World" on the outside. Inside, a trail of gunpowder and weapons leads to the tree, under the header "The Gay Revolution Has Come."
Provenance: From the collection of author Owen Levy.
Estimate
$500 – $750
125
Su negrin, peter hujar, suzanne bevier
Gay Liberation.
Offset lithograph poster, 22x17 inches, 56x43 1/4 cm. Times Change Press, N.Y.C. 1970.
Featuring Peter Hujar’s “Come Out!” photo (an ebullient and optimistic image which is considered “the most iconic photograph of Gay Liberation; no image better captures the spirit of the first year after the Stonewall Rebellion” (The Gay & Lesbian Review Worldwide, March-April 2009, p. 28). The image was first used on a poster to ‘recruit people for the first Gay Pride march in June 1970 on the first anniversary of the Stonewall Riots’ (ibid.) Hujar’s image was then used by the Gay Liberation Front, with Su Negrin combining the photograph with a mandala bearing the words “Let Go,” (designed by Suzanne Bevier). The resulting poster in “red-orange and purple on soft gold” was offered for sale through the pages of Come Out! for one dollar (volume 1, issue 7 Dec-Jan 1970, p. 2).
Estimate
$2,000 – $3,000
126
Donna gottschalk
Sisterhood Feels Good.
Offset lithograph poster, 395x555 mm, 15½x21⅞ inches. Times Change Press, New York. 1971.
Although her photography has only begun to be appreciated recently and her name better known in the world of photography, Gottschalk was an early member of the Gay Liberation Front in the late 1960s. This poster, the image taken from her 1970 photograph “Sleepers, Limerick, Pennsylvania” was ubiquitous and popular in its time, but has become scarce.
Estimate
$700 – $1,000
127
Fraver
The Outlaws Ball.
Offset lithograph poster, 635x406 mm, 25x16 inches. [New York,] 1971.
Provenance: From the collection of author Owen Levy.
Estimate
$300 – $400
128
Ron lieberman
Jackie Curtis’ Vain Victory / Vicissitudes of the Damned.
Offset lithograph poster, 432x279 mm, 17x11 inches. Skyline Offset, NYC, 1971.
Provenance: From the collection of author Owen Levy.
Estimate
$600 – $900
129
(pride week)
Group of Pride Guides and related publications from New York and elsewhere.
17 items, condition generally strong, 1971-2003.
"Gay Activist: Gay Pride Week Special Issue," New York, June 1971
"Gay Pride Week & Christopher Street Liberation Day '73 Calendar," quite worn. New York, 1973
"The Gay Alternative," with special section on Pride celebration, Philadelphia, June 1973
"Gays Week" with special coverage of Pride Week, New York, 27 June 1977
Issue of "Out Front" on Pride Week, Denver, CO, 1978
"Pride and History: New York City Lesbian & Gay Pride and History Month," folding calendar, June 1989
"New York City Pride Guide," 1989
"New York City Pride Guide," 1990
"Pride Guide: the Official Guide to Gay & Lesbian Pride and History Month," New York, June 1992
"New York Pride Guide," 1994
"The Official Guide to All Gay Games IV: The Games Guide," New York, June 1994
"Cultural Festival of Gay Games IV, Program of Events," New York, 1994
"Gay Games IV Closing Ceremonies," New York, 1994
"Official Pride Events Guide," New York, 2000
"Empire State Pride Agenda: Envision Equality, the Ninth Annual Fall Dinner," featuring keynote address by Hillary Rodham Clinton, New York, October 2000
"New York City Pride Guide," 2002
"7th Annual Brooklyn Pride," 2003.
Provenance: From the collection of author Owen Levy.
Estimate
$500 – $750
130
(club fliers)
Group of fliers and other ephemera for New York events.
38 items, various sizes, various conditions, most from New York circa 1970s to 1980s.
Fliers, matchbooks, membership cards, and other ephemera for dances, club nights, private parties and other events, mostly in Manhattan. Includes material from the Broadway Arms, Big Top, Vikings Motorcycle Club, Mine Shaft, Identity House, West Side Discussion Group, Crisco's, Glory Hole, Cellblock 28, Fulton Street Bath House, Loft, Peter Pan's Magic Garbage Can, Toilet, Club Baths, the Inferno's 1977 Gay Pride Celebration, and more.
Provenance: From the collection of author Owen Levy.
Estimate
$400 – $600
131
Madison gay liberation front
Gai Déjeuner sur l’Herbe / Gay Independence Day Picnic.
Poster, 430x485 mm; 17x19½ inches; minimal wear. Madison, WI, 4 July [1973].
Our Lives Wisconsin places the date of this event as 1973, and quotes a participant: “There were lots of people, lots of sunshine, and lots of good friends.”
Estimate
$500 – $750
132
Continental baths
Signed program for a performance by opera star Eleanor Steber.
3 printed pages, 278x214 mm; 11x8¼ inches, on one folding sheet, printed in red and black, signed in ink on first page; minimal wear. [New York], 4 October 1973
The Continental Baths, a renowned Manhattan bathhouse in the late 1960s and early 1970s, featured poolside cabaret performances by Bette Midler, Barry Manilow, and many others. Offered here is a signed program for a performance by the important operatic soprano Eleanor Steber (1914-1990), who recorded an album at the baths that year. As noted in the program, the suggested dress code was “black tie / black towel.”
Estimate
$100 – $150
133
(gay zines)
Group of 16 magazines and periodicals from 1970 to 1977.
The Ball Baring, June 1977; Gay Flames, 24 October 1970, April 1971, and undated issue #4; Gay Sunshine, Vol. 1, No. 1, August-September 1970; Faggotry, Issue #1, 1972; Da Illustrious Gay Post No. 2, undated; Nova NYC, November 1975; Double-F: A Magazine of Effeminism, Winter-Spring 1973; Gay Sunshine: A Newspaper of Gay Liberation, March-April 1973; The Eulenspiegel Society: Pro-Me-Thee-Us Sexual Minorities Report, 1974; Wheels Magazine, the Cycle M.C., May-June 1977; The Advocate, 30 September 1970; QQ Magazine for Gay Guys, April 1972; Gay Men’s Liberation and Last Motive, 1972; and Fag Rag Five, Summer 1973.
Provenance: From the collection of author Owen Levy.
Estimate
$500 – $750
134
(gay zines)
Straight to Hell: The Manhattan Review of Unnatural Acts.
Each about 32 pages, staple-bound, with minor wear and occasional foxing. New York, 1974-81.
The title varies from issue to issue, headed either "Straight to Hell" or "S.T.H.," with subtitles including "the New York Review of Cocksucking," "The American Journal of Cocksucking and Current Affairs" and "The Manhattan Review of Unnatural Acts." This lot includes issues 14-16, 18, 20-23, 25-35, 37, 38, 42-44, 50, and 52.
Provenance: From the collection of author Owen Levy.
Estimate
$500 – $750
135
Don amador (1942-1992)
Small archive of his personal papers relating to the 1979 March on Washington and more.
16 items, various sizes, in one folder; condition varies. Various places, 1974-80 and undated.
Don Amador was a pioneering Los Angeles gay rights activist and scholar. A trained anthropologist, he taught the nation’s first gay studies course in 1976, at California State University. In 1977 he ran a competitive campaign for the state assembly. He was a friend of Harvey Milk and was portrayed in the 2008 Milk biopic.
This group of his personal ephemera includes: “Donald H. Amador, a Biography,” 2 mimeograph pages, circa 1976 * Newsletter of the Municipal Elections Committee of Los Angeles, devoted to local and national gay rights legislation, with Amador address label, February 1980 * Issue of the newsletter “Investigative Leads,” with cover article on a covert “major effort to dismantle the Los Angeles Police Department,” 30 June 1980 * 2 copies of a pamphlet for the National March on Washington for Gay and Lesbian Rights, both with water damage, 14 October 1979 * One sheet of blank letterhead for the same * 2 issues of Parents & Friends of Gays Newsletter, April and May 1980 * Newsletter of the CHRA [California Human Rights Association] regarding the defeat of gay rights bill SB-18, circa 1980 * Printed program for the Christopher Street West Gay Pride Parade, listing all 194 organizations which marched; moderate wear; 1980 * Business card of the East Side Association, Lowell Ward, president, undated * “Tentative program” and related notes for a Memorial Day ceremony for the film director and retired admiral John Ford, featuring Don Amador’s adoptive father, Chief Richard J. Amador (1903-1983) and Rear Admiral John Duncan Bulkeley, 2 manuscript leaves in an unknown hand, and a partial typescript photocopy of comments by Don Amador, circa 27 May 1974 * One sheet of blank letterhead for “Field Photo Homes, Inc., Admiral John Ford, Founder” * Newspaper clipping regarding a restored historic home, 1980.
Estimate
$800 – $1,200
136
Jonathan williams (1929-2008)
Group of the poet’s letters, postcards, and related ephemera.
7 typed letters and postcards signed by Williams, 1978-79; 9 postcards and greeting cards relating to the work of Williams, 1977-80 and undated; a signed copy of “The Magpie’s Bagpipe: Selected essays of Jonathan Williams (San Francisco, CA: North Point Press, 1982); and James Jaffe’s “Jonathan Williams: A Bibliographical Checklist of his Writings” (Haverford, PA, 1989).
The North Carolina poet and publisher Jonathan Williams is best known for turning bits of Appalachian vernacular “found language” into avant-garde poetry, and as the founder of the prestigious small press, The Jargon Society.
Offered here is the witty correspondence of Williams with a friend. He notes that the poet Joel Oppenheimer recently visited North Carolina and “was nearly run out on a rail for using the word cunt in public–not once but many times. Ah well, I don’t use that word but I fear I use all the others, when the fit is on me.” Recounting his recent interview in Gay Sunshine magazine, he notes “Mercy on us–there wasn’t much left to tell. Which spares us from such chores for awhile, I hope.” He jokes that “You never know about kids–that’s why I never consider anyone below 22, when the brain has had some time to materialize. It’s no trick to look groovy at 17, but, so what?”
Also included are 6 blank postcards issued by the Jargon Society (numbers 6, 7, 9, 10, 13, and 14), most featuring text by Williams and one featuring his image (captioned “Jonathan Williams, en route to the Birthplace of Dizzy Gillespie”).
Estimate
$800 – $1,200
137
High tech gays
Pair of membership fliers for a Silicon Valley advocacy and social organization.
Trifold fliers, each 6 pages on a single 8½ x 11-inch (21.5 x 28 cm) sheet; minimal wear. San Jose, CA, April 1985 and June 1986
Two revisions with similar content. Includes a page-long description of the club by president Rick Rudy, a summary of their education programs and social action accomplishments, and a note on their social gatherings. While membership was promised to be confidential, a long list of the membership’s corporate and institutional employers is included.
Estimate
$200 – $300
138
Gay men’s health crisis, et al.
Group of 6 safe-sex pamphlets.
American Foundation for the Prevention of Venereal Disease. “The New Venereal Disease Prevention for Everyone.” 6th edition. 12, [2] pages on one folding sheet. New York, 1978.
Gay Men’s Health Project. “Health and Venereal Disease Guide for Gay Men.” [4], 38, [6] pages. New York, 1983.
“GMHC: Gay Men’s Health Crisis.” [20, 20] pages in English and Spanish. [New York], 1991.
Bad Boy Club. “Please, Party & Play Safely!” [10, 10] pages in English and French. Montréal, September 1999.
Gay Men’s Health Crisis. “The ABC’s of STD’s.” [12] pages. [New York], circa 1999.
Gay Men’s Health Crisis. “Drugs in Party-Land: Think Through the Buzz.” [12] pages. [New York], circa late 1990s.
Estimate
$250 – $350
139
(s & m)
S & M Sex Devices: Over 300 Photos, 186 Devices.
47, [1] pages including illustrated wrappers. 279x215 mm; 11x8½ inches, staple-bound; minimal wear. Seattle, WA: Walla Walla Publishing, 1975
A guide book to devices “for consenting adults only,” rather than a catalogue.
Estimate
$200 – $300
140
Rex (circa 1940s-)
Männespielen: A Portfolio by Rex.
21 black-and-white illustrations. 4to, stapled illustrated wrappers. Half-titled printed with "First Publication, March 1976." Near fine.
Rex is an American artist and illustrator closely associated with homosexual fetish and S&M subculture art of 1970s and 1980s New York and San Francisco. His graphic work for famous gay nightclubs like Mineshaft and The Saint, and sex shops such as The Pleasure Chest and The Trading Post, as well as his calendar, magazine, and poster illustrations led to his increasingly widespread popularity, influencing emerging artists including Robert Mapplethorpe. REX published three of these bound portfolios of Männespielen before creating a series of eight unbound portfolios which are now quite rare.
Estimate
$500 – $750
141
(village people.)
Issue of “Michael’s Thing Weekly Entertainment Magazine” featuring an early spotlight on Felipe Rose.
58, [2] pages including wrappers. 212x132 mm; 8¼x5¼ inches, staple-bound; minimal wear. New York, 25 October 1976
Features a long cover story (pages 28-32) on Felipe Rose (born 1954), a New Yorker of Puerto Rican descent who had gained local fame for dancing in American Indian costume. The following year, he joined the Village People as one of their most recognizable members, gaining a national spotlight.
Estimate
$100 – $150
142
Maker unknown
Leather motorcycle cap with 30 buttons still attached.
Black leather cap. About 200x260 mm; 8x10 inches round, with 50 mm (2-inch) brim, size 7; brim detached with failed tape repairs, inner headband coming detached, otherwise well-worn, decorated with 30 pinback buttons, many of them dated 1969 to 1971.
The buttons represent a wide range of southern California gay motorcycle events and leather bars. They include "Don's Male Box 1971" (an early Los Angeles leather bar), "Council of Southern California Motorcycle Clubs," "Buddy Motorcycle Club St. Patrick's Day Run," "Blue Max M.C. L.A. Red Baron Run," "Gladiator M.C. Armed Forces Day Run, 1971," "I Got Done on the Buddy Run," "'70 Black Pipe L.A. Individual Competition Run," "Tradesman Anniversary," and "Oedipus Grecian Games 1970."
Provenance: acquired at a swap meet in Joshua Tree, CA.
Estimate
$300 – $400
143
Satyrs motorcycle club
Group of programs from their annual run at Badger Flat.
16 programs, each in original wrappers, either 215x140 or 280x105 mm; 8½x5½ or 11x4 inches, most about 20 pages; condition generally strong, a few with minor wear or staining. California, 1978-96.
The Satyrs Motorcycle Club was founded in 1954, and is believed to be not only the oldest gay motorcycle club in the United States, but also the oldest continuously operating gay organization of any kind. Based in Los Angeles, the traditional highlight of the year has been a Labor Day gathering at Badger Flat Campground in Sierra State Park, northeast of Fresno. This group includes programs for the annual Labor Day runs for 1978, 1979, 1982, 1983, 1986, 1988 through 1996, plus the program for a 1989 Thanksgiving run. The programs are filled with member lists, rules for annual riding contests, menus, reflections on the club’s history, and no shortage of bawdy humor.
Estimate
$500 – $750
144
(club fliers)
Group of early 1980s New York S&M club fliers from the Mineshaft, Attic, and Golden Shower Association.
24 items, most on letter-sized paper, many featuring erotic artwork by Rex and others; most with mailing folds, a few with manuscript notes.
8 event fliers plus 3 membership packets / newsletters, 1982 and undated.
The Attic: 5 event fliers, 1982 and undated.
Golden Shower Association / New York Tributary: 8 event fliers, 1982-84 and undated.
Estimate
$400 – $600
145
Patrick procktor (1936-2003)
Leather Garments.
Felt-tip pen and ink on cream wove paper. 370x505 mm; 14½x19⅞ inches. Signed and dated in pencil, lower right recto. 1965.
Provenance: private collection, New Jersey.
Estimate
$1,000 – $1,500
Tom of Finland (1920-1991)
Tom of Finland (born Touko Laaksonen) pioneered a new freedom and aesthetic in gay erotic art. Coming of age in a time and place of extreme censorship, he was inspired by the “beefcake” photographs that were primarily distributed through body building magazines of the 1940s and `50s to create a visual language for gay men that was hyper-masculine and, over time, increasingly graphic, depicting the wildest sexual fantasies. Always instilled with a playfulness and joyful involvement of the participants, they also toyed with rebellion and put sex, politics, history, and aesthetics on a level playing field. His work became an inspiration for generations of artists to find their own voice and expression. His drawings, photographs, and collages can be found in several important collections and museums, including the Metropolitan Museum of Art, the Museum of Modern Art, the Art Institute of Chicago, Los Angeles County Museum of Art, San Francisco Museum of Modern Art, among others.
146
Tom of Finland (1920-1991)
Two Photographs Signed, “Tom,” each a reproduction of one of his graphite drawings showing a shirtless man in bulging jeans.
One in red ink additionally inscribed, "Merry X-mas," with an Autograph Note Signed on verso: "Thanks for your photo. / What a fabulous guy you are! / Would be fine to use you / as a model." Signed in blank lower margin or in the image at lower right. 160x110 mm; 6¼x4¼ inches, or 170x82 mm; 6¾x3¼ inches; moderate staining to verso of each with one affecting note, few minor scattered creases. Np, nd.
Provenance: Tom of Finland, thence to Robert Jones, former director of Leslie-Lohmann Gay Art Foundation, New York.
Estimate
$400 – $600
SEEKING "MEN IN UNIFORM" AND "MEN IN LEATHER"
147
Tom of Finland (1920-1991)
Autograph Letter Signed, “Tom of Finland / alias / Touko Laaksonen,” to A. Willard,
asking whether he would send copies of the books Men in Uniform and Men in Leather, and giving his address in Finland. 1½ pages, 8vo, personal stationery, written on the recto and verso of a single sheet; horizontal fold. With the original envelope. [Helsinki], 2 December 1966.
“A friend of mine . . . gave me your name and address when I asked him where I could get the book ‘Men in Uniform.’ So I dare to ask you, would you be so kind to send that book to me. I am an artist . . . and am highly interested in all kinds of uniforms as you may know if you have seen my drawings in Physique magazines.
“My friend also told that there is a book ‘Men in Leather.’ Will you please tell me what is the price of it, and could you send that too, when I send to you the money.”
Estimate
$1,000 – $1,500
148
Tom of Finland (1920-1991)
Untitled (preparatory sketch of two men, one seated).
Pencil on thin paper. 425x292 mm;16¾x11½ inches. Signed and dated "Tom 82" lower right. 1982.
Tom of Finland Foundation catalogue number 83.30. 1982.
Published: Dian Hanson, Tom of Finland: XXL, Cologne: Taschen, 2009; 2021, page 533 (finished drawing, Slave Market series).
Provenance: The artist; Feature Gallery, New York; acquired by the current owner from above. Certificate from Tom of Finland Foundation accompanies the artwork.
Estimate
$7,000 – $10,000
149
Tom of Finland (1920-1991)
Untitled (preparatory sketch of two men standing).
Pencil on paper. 417x295 mm; 16½x11¾ inches, sheet. Signed and dated “Tom - 85” lower right. 1985. Horizontal fold mark to sheet which is hinged to thin board in two places at top, verso.
Tom of Finland Foundation catalogue number 0591.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$7,000 – $10,000
150
Tom of Finland (1920-1991)
Untitled.
Pencil on paper. 210x297 mm; 8¼x11¾ inches. Signed "© Tom-65." Mounted to backing board in several places, verso. 1965.
Tom of Finland Foundation catalogue number 65.31.
Published: Dian Hanson, Tom of Finland: XXL, Cologne: Taschen, 2009; 2021, page 230 (which dates drawing to 1968).
Exhibited: "Tom of Finland: Male Masterworks," World Erotic Art Museum, Miami Beach, Florida, 2012; Retrospective II and III.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$25,000 – $35,000
151
Tom of Finland (1920-1991)
“Home - Secured.”
Colored pencil on paper. 248x315 mm; 9¾x12½ inches, image, on 12¼x14½-inch sheet. Signed "Tom-82" in lower right margin. 1982.
Tom of Finland Foundation catalogue number 82.01.
Published: Dian Hanson, Tom of Finland XXL, Cologne: Taschen, 2009; 2021, page 504.
An exceptional color work by Tom of Finland. In a clever homage to the recipient, a good friend and resident Canadian, the breeches and boots of the soldiers are those of the Royal Canadian Mounted Police. It is also the only major color work to feature brown boots as opposed to his usual black.
Provenance: The artist, by private commission to Denis Morin, 1982.
Estimate
$60,000 – $90,000
152
Tom of Finland (1920-1991)
Company.
Screenprint. 420x 350mm, 16½x12 inches. Hand signed, dated and numbered 3/30 by the artist in pencil. 1981.
A western and leather bar in Amsterdam operating in the 1980s and 90s. A 1996, a write up in International Drummer magazine stated "The Company (Amstel 106) used to be more leather-focused. Nowadays, they attract a more diverse, but still butch crowd. The Company has a well-mannered darkroom upstairs. The booths are arranged in a square and connected by glory holes." (International Drummer 198, p. 20)
Rare. Not in Hanson.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$400 – $600
153
Tom of Finland (1920-1991)
“Obsessions.”
Screenprint. 470x352 mm; 18½x13¾ inches. Signed "Tom" and numbered 30/150 in black ink, lower margin. Imprint of Rob Gallery, Amsterdam, lower left. 1982. Reissued in 2003 as a giclée edition called "Tom's Booted Men" by the Tom of Finland Foundation.
Published: Dian Hanson, Tom of Finland XXL, Cologne: Taschen, 2009; 2021, page 503.
Estimate
$800 – $1,200
154
Ray schulze
Locker Room Magic.
Acrylic on illustration board. 500x715 mm; 19⅝x28⅛ inches. Signed in acrylic, right recto. Circa 1960.
Provenance: Leslie-Lohman Museum of Art Collection, New York, stock # 10188; purchased from the former by current owner, private collection, New Jersey, 1992.
Estimate
$1,000 – $1,500
157
Bill schmeling / the hun (unknown - 2019)
Big Bad Beaver. Adults Only.
Likely illustration for Hun Comics. Pencil on paper, 1993. 280x215 mm; 11x8½ inches. Signed "The Hun / 93" in lower right corner. Mounted at corners to larger board. Paper slightly buckled with some short, soft creasing.
Schmeling was best known for the hypermasculine homoerotic art featured in his comics series The Hun and Gohr. He died in 2019 in his hometown of Portland, Oregon.
Estimate
$1,000 – $1,500
158
Fraternity of enema buddies
Membership materials and correspondence with fellow members.
24 items in one folder; minor wear and toning. Vp, 1984-89
Most of this lot consists of membership materials for a group variously known as the Fraternity of Enema Buddies, T.A.I.L., or NASSA (the National Association for Safe and Sensual Assplay), all managed by “Frank E. Ball” of Chicago. The group boasted of national membership, with discreet insignia and membership lists to facilitate connections. Offered here are two newsletters from 1984, a list of 10 changes to the membership roster from 1987, a letter welcoming a new member in 1987, 4 circular letters from Ball dated 1988 and 1989, and 8 other pieces of undated ephemera from the group.
Also included are 7 typed or manuscript letters from fellow club members, dated 1988. One is an 8-page manuscript letter featuring a crude drawing of a restraint device. Last is a long dot-matrix printout from the similar National Insert Club featuring a membership letter and extensive personal ads from 1989.
Estimate
$400 – $600
159
Suzanne poli (1942 - )
Marching for Gay Love is God’s Love, Pride Parade, NYC.
Silver print, the image measuring 317.5x482.6 mm; 12½x19 inches; the sheet 406.4x508 mm; 16x20 inches, with Poli’s signature, in ink, on recto. Circa 1970; printed later.
From her apartment window on the fourth floor of a building facing Greenwich Village’s Christopher Street, Poli was able to document the course of the Pride Parade (originally known as the Christopher Street Liberation Day March) over several decades.
Estimate
$1,000 – $1,500
160
Suzanne poli (1942 - )
Marching for Committee of Lesbian and Gay Male Socialists, Pride Parade, NYC.
Silver print, the image measuring 317.5x482.6 mm; 12½x19 inches; the sheet 406.4x508 mm; 16x20 inches; with Poli’s signature, in ink, on recto. Circa 1970; printed later.
Estimate
$1,000 – $1,500
161
Suzanne poli (1942 - )
Pride Parade, NYC.
Silver print, the image measuring 317.5x482.6 mm; 12½x19 inches; the sheet 406.4x508 mm; 16x20 inches, with Poli’s signature, in ink, on recto. Circa 1980; printed later.
Estimate
$1,000 – $1,500
162
Vincent cianni (1952 - )
Marsha P. Johnson & Sylvia Rivera marching, NYC Gay Pride.
Silver print, the image measuring 311.1x215.9 mm; 12¼x8½ inches, the sheet slightly larger, with Cianni’s signature, title, dates, and edition notation AP, in pencil, on verso. 1987; printed later.
Estimate
$1,000 – $1,500
163
Vincent cianni (1952 - )
Stonewall 20 - Marching for Lesbian & Gay Community Services Center, NYC, Gay Pride March.
Silver print, the image measuring 215.9x323.8 mm; 8½x12¾ inches, the sheet slightly larger, with Cianni’s signature, title, dates, and edition notation AP, in pencil, on verso. 1989; printed later.
Estimate
$1,000 – $1,500
164
Vincent cianni (1952 - )
Marching for Gay Men’s Health Crisis, NYC Gay Pride.
Silver print, the image measuring 317.5x215.9 mm; 12½x8½ inches, the sheet slightly larger, with Cianni’s signature, title, dates, and edition notation AP, in pencil, on verso. 1993; printed later.
Estimate
$1,000 – $1,500
165
JEB (Joan E. Biren, 1944 - )
Maria and Tracy.
Digital print, the image measuring 247.7x381 mm; 9¾x15 inches, the sheet 406.4x508 mm; 16x20 inches, with JEB's signature, title, and negative date, in ink, on verso. 1979; printed later.
This image appears in JEB's landmark title Eye to Eye: Portraits of Lesbians.
Estimate
$1,000 – $1,500
166
JEB (Joan E. Biren, 1944 - )
Gloria and Charmaine.
Silver print, the image measuring 174.6x260.3 mm; 6⅞x10¼ inches, the sheet 279.4x355.6 mm; 11x14 inches, with JEB's signature, title, and date, in pencil, on verso. 1979.
This image appears in JEB's landmark title Eye to Eye: Portraits of Lesbians.
Estimate
$1,000 – $1,500
167
JEB (Joan E. Biren, 1944 - )
Connie Pauzarino.
Silver print, the image measuring 254x165.1 mm; 10x6½ inches, the sheet 355.6x279.4 mm; 14x11 inches, with JEB's signature, title, and date, in pencil, on verso. 1979.
This image appears in JEB's landmark title Eye to Eye: Portraits of Lesbians.
Estimate
$1,000 – $1,500
168
Jeb (joan e. biren, 1944 - )
Darquita and Daughter.
Silver print, the image measuring 171.5x254 mm; 6¾x10 inches, the sheet 279.4x355.6 mm; 11x14 inches, with JEB's signature, title, and date, in pencil, on verso. 1979.
This image appears in JEB's landmark title Eye to Eye: Portraits of Lesbians.
Estimate
$1,000 – $1,500
169
Jean-louis morin (1953 - 1995)
Untitled, (Four Nudes).
Oil on canvas. Signed, Jean-Louis Morin, on stretcher. 305x337 mm; 12x13¼ inches.
Jean-Louis Morin was a professional dancer and choreographer. He performed as principal dancer for Martha Graham Company. Sadly, his talents as dancer, chorographer, painter, and sculptor were lost to the world when he passed away due to a compromised immune system as a result of the AIDS virus at the age of forty-two.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$500 – $750
170
Claude bibeau (1954 - 1999)
Momo Creations Mai.
Acrylic on canvas. Signed, C. Bibeau, and dated, 29.3.83, lower right. 1143x1270 mm; 45x50 inches.
The seated figure depicted on the left is a self-portrait of the artist looking at his lover standing, both are placed in front of a poster depicting a well-known drag queen, named MOMO.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$300 – $400
171
Patrick angus (1935-1992)
Portrait of a Young Man.
Pencil on cream wove paper. 303x225 mm; 12x9 inches. Inscribed "estate of Patrick Angus/Douglas Turnbaugh 1996" in pencil, verso. Circa 1985.
Provenance: the estate of the artist, certified by Douglas B. Turnbaugh; Robert Jones collection, former director of Leslie-Lohmann Gay Art Foundation, New York; private collection, New York.
Estimate
$2,000 – $3,000
172
Patrick angus (1935-1992)
Portrait of a Seated Man.
Pencil on cream wove paper. 303x228 mm; 12x9 inches. Inscribed "estate of Patrick Angus/Douglas Blair Turnbaugh 2013". Circa 1985.
Provenance: the estate of the artist, certified by Douglas B. Turnbaugh; Robert Jones collection, former director of Leslie-Lohmann Gay Art Foundation, New York; private collection, New York.
Estimate
$2,000 – $3,000
173
Patrick angus (1953-1992)
Seated Model.
Acrylic on canvas. 1220x1020 mm; 48x40⅛ inches.
Provenance: Private collection, Los Angeles; Estate of Ray Blanco, New Jersey; private collection, New Jersey, 2000.
Estimate
$10,000 – $15,000
174
Mel odom (1950-)
“800 Men.”
Pencil on vellum. 432x356 mm; 17x14 inches, sheet. Signed "O. © 85" in pencil, lower right. 1985.
Odom is a prolific and award-winning illustrator of fiction and fantasy novels and commercial media, known for his Art Deco style. This image was created for "800 Men," the first workshop designed to change men’s behaviors to safer sex practices, facilitated by Luis Palacios-Jiminez and sponsored by Gay Men's Health Crisis (GMHC). The drawing, expressing a tender encounter between two men, represents the artist's efforts at the beginning of the AIDS crisis to help lessen its devastation.
In addition to his artwork, Odom is also a designer of collectors' fashion dolls, a field in which he is currently active in addition to supporting LGBTQ charity causes. His well-known "Gene Marshall" doll, a Hollywood golden age glamour figure, and the companion dolls he created around her, are highly sought after.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$600 – $900
175
Jerry dreva (1945 - 1997)
Self Portrait.
Photographs and razor blades on illustration board, 1981. Signed, Dreva, and dated, 1981, on verso. 273x210 mm; 10¾x8¼ inches.
Provenance: The artist; Private collection, Cambridge, MA; Private collection, Boston, MA.
Jerry Dreva was best known for his mail art, of which this lot is a prime example. Satire, danger, and self reflection are all elements of the narrative in his works.
Estimate
$1,000 – $2,000
176
Arthur tress (1940 - )
Man with Sheep.
Silver print, the image measuring 273.1 mm; 10¾ inches square, the sheet 355.6x279.4 mm; 14x11 inches, with Tress’ signature, title, and edition notation 14/50, in ink, on recto, and the date, in pencil, on verso. 1982.
Estimate
$800 – $1,200
177
Doug ischar (1948 - )
Untitled, from the Naked portfolio.
Silver print, the image measuring 279.4x428.6 mm; 11x16⅞ inches, with Ischar’s signature, dates, and copyright notation, in pencil, on verso. 1983; printed 1985.
In the early 1980s Doug Ischar set out to document the men and culture of the Belmont Rocks of Chicago, one of the most visibly gay beaches in North America at the time. He says of the project, “I was fearful AIDS would obliterate queer culture. I had this fervid conservationist mission.” This image from the project intimately depicts two sun-bathed men embracing on the rocks, an idyllic portrayal of The Belmont Rocks which were removed in 2003.
Estimate
$400 – $600
178
Shelby sharie cohen (1959 - )
Live to Ride.
Digital print, the image measuring 266.7x342.9 mm; 10½x13½ inches, the sheet slightly larger, with Cohen’s signature, title, and edition notation 9/50, in ink, on verso. 1984; printed later.
Accompanied by Cohen’s Certificate of Authenticity, also with her signature and edition notation, and her Artist Statement.
This self-portrait was made for the Academy of Art University and the iconic lesbian publication “On Our Backs,” where it appeared as a centerfold. A defiant act of self-expression and self-love, as well as an image that celebrated sexual freedom, Cohen’s photograph remains a deeply personal touchstone for the queer community.
Estimate
$700 – $1,000
179
Shelby sharie cohen (1959 - )
Late Night at Amelia’s 1.
Digital print, the image measuring 330.2x244.5 mm; 13x9⅝ inches, the sheet slightly larger, with Cohen’s signature, variant title, and edition notation 9/50, in ink, on verso. 1987; printed later.
Accompanied by Cohen’s Certificate of Authenticity, also with her signature and edition notation, and her Artist Statement.
This photograph was made at activist Rikki Streicher’s legendary San Francisco lesbian bar Amelia’s on assignment for Rack Productions, who produced erotic events for the lesbian community in the late 1980s. It was published in the ground-breaking lesbian magazine “On Our Backs.” Cohen writes: “Thursday nights upstairs was where Rack Productions had all their hot, sexy, get down extravaganza events! Madonna’s ‘Like a Virgin’ was vibrating in our bones and running through our veins and with a few drinks we lit up all of San Francisco with our queer selves.”
Estimate
$600 – $900
180
Shelby sharie cohen (1959 - )
Wheel of Womyn.
Digital print, the image measuring 241.3x336.5 mm; 9½x13¼ inches, the sheet slightly larger, with Cohen’s signature, title, and edition notation 9/50, in ink, on verso. 1987; printed later.
Accompanied by Cohen’s Certificate of Authenticity, also with her signature and edition notation, and her Artist Statement.
This photograph was made on assignment for “On Our Backs,” the first lesbian erotic magazine in the United States (1984-2006). Cohen’s artist statement speaks to both the intimacy and freedom expressed in the composition, as well as the multi-layered challenges faced by queer women looking for family and connections: “The photograph I took of women in a circle holding hands with their feet touching is the connection that holds the love of a conscious family. As a chosen family.”
Estimate
$700 – $1,000
181
Duane michals (1932 - )
Harlequin.
Silver print, the image measuring 152.4x225.4 mm; 6x8⅞ inches, the sheet 279.4x355.6 mm; 11x14 inches, with Michals’ signature and edition notation 93/100, in pencil, on verso. Circa 1985.
Estimate
$1,000 – $1,500
182
Bruce weber (1946 - )
UCLA Swimmer, Los Angeles, California.
Silver print, the image measuring 419.1x339.7 mm; 16½x13⅜ inches, the sheet slightly larger, with Weber's signature, title, date, and edition notation 2/10, in pencil, on verso. 1985.
Provenance: Acquired from Robert Miller Gallery, New York, New York; to the Present Owner.
Estimate
$2,000 – $3,000
183
Bruce weber (1946 - )
Tyke, Adirondack Park, N.Y.
Silver print, the image measuring 339.7x266.7 mm; 13⅜x10½ inches, the sheet 355.6x279.4 mm; 14x11 inches, with Weber’s signature, title, date, and edition notation 93/100, in pencil, on verso. 1988; printed later.
Estimate
$1,000 – $1,500
184
Bruce weber (1946 - )
Tara and her pal Chris, San Onofre, CA.
Silver print, the image measuring 387.4x235 mm; 15¼x19¼ inches, the sheet slightly larger, with Weber’s signature, title, date, edition notation 8/25, and printing notations, in pencil, on verso. 1998.
Estimate
$3,000 – $4,500
185
Bruce weber (1946 - )
Lane Carlson, Golden Beach, Florida.
Silver print, the image measuring 492.1x387.4 mm; 19⅜x15¼ inches, the sheet slightly larger, with Weber's signature, title, date, and edition notation 1/15, in pencil, on verso; with a Robert Miller Gallery label on frame verso. 2000.
Provenance: Acquired by the Present Owner from the Robert Miller Gallery, New York, New York.
Estimate
$2,500 – $3,500
"USE YOUR FRIENDS. THAT'S WHAT WE'RE HERE FOR."
186
Terrence mcnally (1938-2020)
Extensive letters from the noted playwright to a friend, with photographs, signed books and programs.
111 items in one box, including 49 signed letters (11 Autograph Letters Signed, one Typed Letter Signed, 31 signed postcards, and 6 signed notes) dated 1988-2018; 11 signed and inscribed books and playbills; one signed and inscribed photograph; 10 snapshot photographs; and more; condition generally very strong.
These letters from the much-beloved playwright to a close friend in Houston reflect his strength, generosity of spirit, and ready wit, with substantial insight into his creative process and professional life. The correspondence extends from 1988 to 2018, with the longest, most frequent, and most substantial letters from 1988 to 1990. In his first letter, McNally hopes to visit during an opening in Houston: “I do hope to see you both, and wonder if we can do the de Menil collection or something else marvelously high-toned (or low, I’m easy)” (8 October 1988), and followed up with thanks: “I couldn’t have asked for better looking, brighter or just sassier tour guides” (9 June 1989). He sent condolences on his friend’s partner’s death soon after: “I will never forget the kindness he showed me . . . and the grace and courage with which he faced his ordeal” (6 August 1989). On 18 September he added “I know these are hard, painful times for you. There’s no reason they shouldn’t be. Use your friends. That’s what we’re here for.”
A remarkable letter from 12 October 1990 starts with an apology for his [perfectly legible] handwriting: “That’s one of the reasons I don’t write many letters. The main one is that I never felt I wrote very good ones. I’ve gotten used to speaking through my characters instead of in my own voice, though Cal’s last speech in Andre’s Mother and whole chunks of Stephen in Lisbon are pretty close to what I sound like talking. . . . I am not an unhappy man. I am an angry one. I’m working on it but it’s still there. I’m sure you’ve already seen it. It’s everywhere in the plays, which is probably the best place for it. When it comes between me and another unsuspecting / undeserving person, I feel deeply sad and ashamed.” On 31 August 1990 he wrote “My new play is called Lips Together, Teeth Apart. Do you like it? Tell me while there’s still time.”
Those who seek inside show-business content will not be disappointed. On 24 October 1990 McNally discusses the film adaptation of his “Frankie and Johnny in the Clair de Lune” starring Al Pacino: “I rented Sea of Love last night and think Al (I really do know him, have for years) will be a wonderful Johnny. My agent told me this morning that Michelle Pfeiffer is set for Frankie. I told them last week why I didn’t think she was right for the role, but they went ahead and hired her. Maybe the film will bear some resemblance to the play.” The next day, after receiving an Emmy award for Andre’s Mother, he sent two rather silly photographs posing with the trophy, adding “Sending you this photo proves I have no vanity . . . I need psychiatric help.” On 9 November 1998, he wrote that a local restaurant was “still recovering (so am I) from the sight and sound of my being serenaded by Liza, Chita, Patti LuPone & Glenn Close singing a special birthday song by Kander & Ebb. . . . Too bad it wasn’t taped.”
On 7 August 1991, McNally reflected on the horrific gay-bashing murder of Paul Broussard: “The murder upset me terribly, probably because it was Texas, which, like it or not, I will always be connected to. Please let me know what happens. . . . I assume the assailants will get maximum sentences (I am for the death penalty).” On the other hand, many of McNally’s postcards are leavened with whimsy and humor. On a postcard of Long Island’s “Big Duck” near his Hamptons weekend home, he wrote “This is the great tourist attraction of L.I. I saw Madonna here!” (18 August 1990). On a postcard of Toronto’s baseball stadium, he writes “Is this card butch enough for you?” (1992).
Also included are: 11 photographs (a warmly inscribed black and white publicity portrait and 10 snapshots).
A collection of 9 of McNally’s books, signed and inscribed to his friend between 1988 and 1994, all in hardcover with dust jackets except as noted: The Lisbon Traviata; Frankie and Johnny in the Clair de Lune; It’s Only a Play; The Ritz; The Ritz and Other Plays; Lips Together, Teeth Apart; A Perfect Ganesh; Three Plays by Terrence McNally (paperback); and 15 Short Plays (paperback); plus 7 other unsigned trade paperbacks featuring McNally’s works.
A pair of signed playbills from performances of “Lips Together, Teeth Apart,” 1991 and 1993; and unsigned playbills for “A Perfect Ganesh” and “Kiss of the Spider Woman” (the 1992 premiere in Toronto); and a file of 31 clippings and other ephemera.
Estimate
$2,000 – $3,000
187
Lyle ashton harris (1965 - )
Ecstasy #1.
Silver print, the image 295x193 mm; 11 ⅞x7 ⅞ inches, the sheet 343x279 mm; 14x11 inches. Signed, titled and dated, on verso. 1987-88. Edition of 5 from the artist's series Americas.
Provenance: Donated by the artist and Jack Tilton Gallery, New York to the Houston Center for Photography auction circa 90s; private collection, Texas.
Estimate
$2,000 – $3,000
188
Lyle ashton harris (1965 - )
David, Lyle, and Crinoline.
Silver print, the image 279x355 mm; 11x14 inches, the sheet 193x304 mm; 7x12 inches. Artist print, aside from an edition of 5. Titled, dated and numbered AP 2/2, in ink verso. 1987-88. From the artist's series Reflection of Past Life through Glass.
Spanning a 30 year career, Lyle Ashton Harris's oeuvre bridges multiple mediums. Trained as a photographer while working in collage, installation and performance art, he has pushed the boundaries of black male representation. His body of work critiques the societal norms of sexuality and race while exploring his identity as a queer, black man.
Harris received a Vanguard Award from Visual Aids (2018), a fellowship from the John Simon Guggenheim Memorial Foundation (2016) and the David C. Driskell Prize from the High Museum of Art, Atlanta (2014) among other awards and honors. He is represented in the permanent collections of The Museum of Modern Art (MoMA), New York; the Metropolitan Museum of Art, New York; the Solomon R. Guggenheim Museum, New York; the Whitney Museum of American Art, New York; The Studio Museum in Harlem.
Born in the Bronx, New York, he spent two of his formative years living in Dar es Salaam, Tanzania. Harris obtained a Bachelor of Arts degree from Wesleyan University, a Master of Fine Arts degree from the California Institute of the Arts, and attended the Whitney Museum of American Art Independent Study Program. Harris is a Professor of Art at New York University and lives in New York.
Provenance: Donated by the artist and Jack Tilton Gallery, New York to the Houston Center for Photography auction circa 90s; private collection, Texas.
Estimate
$3,000 – $5,000
189
Boris vallejo (1941 - )
The New St. Marks Baths.
Offset lithograph poster, 1028x673 mm, 40½x26½ inches. Official Graphic Arts International Union, Cleveland. Circa 1980.
Vallejo painted Mysterious Rider circa 1978, and the image was coopted to use to advertise the newly refurbished St. Mark's Bathhouse, which opened in 1979. The Bathhouse was closed down due to the AIDS epidemic in 1985.
Estimate
$2,000 – $3,000
190
Designer unknown
You don’t have to be Married to come to the Wall Street Sauna.
Offset lithograph poster, 355x515 mm, 14x20⅛. Circa 1980s.
The Wall Street Sauna opened in 1974. Situated close to the New York Stock Exchange it was where "businessmen go to get their rocks off during the lunch hour (it's called "funch")" (The Village Voice, September 27, 1976). The bath house survived long after the other gay bath houses were shut down by the city, and ultimately closed in 2004.
Estimate
$200 – $300
191
Designer unknown.
You Don’t Have to be Straight to Get V.D.”
Lithographed poster, 20⅞x14 inches, 530x355 mm. [Milwaukee Health Department.] Circa 1980s.
One in a series of images published by the City of Milwaukee Health Department featuring classical, 17th century style illustrations and drawings to warn against venereal disease. The Social Hygiene Clinic in Milwaukee operated from 1977 until 1989, when it was renamed the STD Clinic.
Estimate
$200 – $300
Lots 192 – 201
192
Keith haring (1958 - 1990)
Untitled.
Pencil on graphing paper. 280x215 mm; 11x8½ inches. Signed, dated and dedicated “to Larry” in pencil, lower right recto. 1979.
Provenance: Larry Ashton, friend of the artist; acquired by private collection, Chicago.
Estimate
$8,000 – $12,000
193
Keith haring (1958-1990)
Keith Haring: Tony Shafrazi Gallery exhibition catalogue.
Profusion of reproductions and photographic plates. 8vo, original spiral-bound neon pink pictorial wrappers, thin scrape across front cover at upper right, light finger soiling, fading at spine, and a few other minor surface imperfections. Designed by Dan Friedman, printed at the Fleetwood Press. New York, 1982.
The exhibition catalogue for the landmark show that launched Haring's career.
Soon after its successful run, he was traveling worldwide and participating in international shows. Shafrazi said of Haring: "The originality was obvious and the vocabulary was almost like a dictionary of images . . . it wasn't art that was going to sit on the wall, it was art in movement"--John Gruen, Keith Haring: The Authorized Biography, New York, 1991.
Estimate
$700 – $1,000
194
Keith haring (1958-1990)
Keith Haring.
Offset lithograph booklet, 16 pp, staple-bound, 140x108mm, 5½x4¼ inches. Appearances Press, New York. 1982.
This is the second edition of Haring's first artist's book.
Provenance: Robert Jones collection, former director of Leslie-Lohmann Gay Art Foundation, New York.
Estimate
$400 – $600
195
Swatch company/keith haring
Group of 4 Swatch watches.
Each with a plastic face and bracelet. Face diameter 34 mm; 1½inches; bracelet length 226 mm; 9 inches. Each accompanied with the original clear plastic box. Circa 1985.
Estimate
$2,000 – $3,000
196
Keith haring (1958-1990)
Rain Dance Ticket.
Felt-tip pen and ink on paper. 280x63 mm; 11x2½ inches. Signed and dated in ink, lower recto. Created by Haring in association with a benefit party and exhibition for UNICEF's African Emergency Relief Fund. 1985.
With—Party of Life puzzle invitation, 1985.
Provenance: Gifted by the artist to current owner, who conceived and produced several major fundraising initiatives at UNICEF.
Estimate
$1,500 – $2,500
197
Keith haring (1958-1990)
New York is Book Country.
Offset lithograph poster, 641x495 mm, 25¼x19½ inches. 1985. Hand-signed by the artist in marker.
Haring 33.
Estimate
$800 – $1,200
198
Keith haring (1958-1990)
The Great Peace March
Offset lithographed poster, 20¾x17¼ inches, 528x438 mm. Hand-signed by the artist in marker. 1986.
Haring 50.
Estimate
$600 – $900
199
Keith haring (1958-1990)
National Coming Out Day…
Offset lithograph poster, 613x571mm, 24⅛x22½ inches. 1988. Hand signed by the artist in marker. This copy has been trimmed to remove the bottom line of text, “October 11-1998 National Gay Rights Advocates”. The removed portions have been affixed to the back of the frame.
Haring 77
Estimate
$500 – $750
200
Keith haring (1958-1990)
SAFE SEX!
Offset lithograph poster, 29x27 inches, 73¾x68½ cm. 1987.
Haring 60.
“The motif was created in response to the AIDS epidemic and designed for use on many objects as stickers, condom cases, T-shirts and posters. Close friends of artist contracted AIDS in 1987, and he was worried about his own health. Haring was also diagnosed with the illness the following year.” (Haring p. 117)
Estimate
$600 – $900
201
Keith haring (1958-1990)
Keith Haring Calendar.
Lithograph calendar, 18pp, spiral bound, 305x356mm, 12x14 inches. [New York]. 1989.
This 20 month calendar, from May 1989 through December 1990, was sold through Haring's Pop Shop in New York City.
Haring died in February, 1990, less than a year after this calendar was published and while it still had 10 more active months.
Provenance: Robert Jones collection, former director of Leslie-Lohmann Gay Art Foundation, New York.
Estimate
$700 – $1,000
202
Robert mapplethorpe (1946-1989)
Portrait of Jack Stahl (Lone Mountain College, San Francisco).
Silver print, the image measuring 190.1 mm; 7½ inches square, the sheet 254x203.2 mm; 10x8 inches, with Mapplethorpe’s signature and date, in ink, on verso. 1976.
This image was shown in Mapplethorpe’s first exhibition of male nudes at The Kitchen, an alternative space in Manhattan’s Soho district, in 1977. It is an early, uneditioned print.
Estimate
$2,500 – $3,500
203
Don herron (1941-2012)
Robert Mapplethorpe.
Silver print, the image measuring 177.8x127 mm; 7x5 inches, the sheet 254x203.2 mm; 10x8 inches, with Herron's signature, title, negative date, copyright notation, and notation San Francisco, in ink, on recto; accompanied by a handwritten note with Herron's signature, in ink. 1978; printed later.
WITH--A Robert Mapplethorpe postcard. Photomechanical print, with Herron's credit and gallery information printed on verso. 1978; printed later.
Provenance: Robert Jones collection, former director of Leslie-Lohmann Gay Art Foundation, New York.
Estimate
$2,500 – $3,500
204
Robert mapplethorpe (1946-1989)
Tim Scott.
Silver print, the image measuring 355.6 mm; 14 inches square, the sheet 501.7x403.2 mm; 19¾x15⅞ inches, flush mounted with Mapplethorpe's signature, edition notation 10/15, and date, in ink, on print recto, and his copyright hand stamp with his signature and dates, in ink, and the title, date, and edition notation, in ink, in an unknown hand, on mount verso. 1980.
Provenance: From the Fay Gold Gallery, Atlanta, Georgia; to the Present Owner.
Estimate
$4,000 – $6,000
205
Robert mapplethorpe (1946-1989)
Ken Moody.
Photogravure with handcoloring in watercolor, the image measuring 558.8x450.9 mm; 22x17¾ inches, the sheet 749.3x635 mm; 29½x25 inches, with Mapplethorpe's signature and edition notation 14/60, in pencil, and the publisher's blind stamp, on recto. 1985.
Provenance: Acquired from Sotheby's in April 1993; by the Present Owner.
Estimate
$3,000 – $4,500
206
Robert mapplethorpe (1946-1989)
Robert Mapplethorpe. Two exhibition posters.
Offset lithograph posters, including Robert Mapplethorpe, Burgess and Son, Abingdon, 1988 and Robert Mapplethorpe Lucio Amelio, Napoli, 1984.
Estimate
$200 – $300
207
Mark morrisroe (1959-1989)
Self-portrait.
Unique Polaroid, the image measuring 95.3x73 mm; 3¾x2⅞ inches, the sheet slightly larger, with Morrisroe's Estate hand stamp with Pat Hearn's signature, the dates, and numeric notation 117, in ink, on verso. Circa 1981.
Mark Morrisroe was a performance artist and photographer involved with the Boston punk movement of the 1970s and 1980s, and described by Nan Goldin as "Boston's first punk." His Polaroids are autobiographical and diaristic in nature, including self-portraits and intimate images of friends and lovers.
Provenance: Acquired from Pat Hearn; to the Present Owner.
Estimate
$3,000 – $4,500
208
Mark morrisroe (1959-1989)
Self-portrait having tea.
Unique Polaroid, the image measuring 95.3x73 mm; 3¾x2⅞ inches, the sheet slightly larger, with Morrisroe's Estate hand stamp with Pat Hearn's signature, the dates, and numeric notation 74, in ink, on verso. Circa 1983.
Provenance: Acquired from Pat Hearn; to the Present Owner.
Estimate
$4,000 – $6,000
209
Designer unknown
Rock ‘n’ Roll Fag Bar.
Photo offset poster, 565x438 mm, 22¼x17¼ inches. Circa 1987.
Dean Johnson, the charismatic creator of the Rock N Roll Fag Bar is pictured seated amidst his colleagues. The event, which began in 1987, took place on Tuesdays at the World Club, but apparently also the following week night (Wednesday) at the East Village's Pyramid Club, as advertised here.
Estimate
$500 – $750
210
Silence=death collective
Silence=Death
Offset lithograph poster, 737x610mm, 29x24 inches. [New York]. 1987.
This is the rare first printing of the poster, printed before the image was turned over to ACTUP
According to Lione, "the first printing by us of the Silence = Death poster (before ACT UP existed) is a custom size based on the proportions of our design. Subsequent printings (printed by ACT UP and others) are longer."
The Silence=Death Collective formed in the early years of the AIDS epidemic including Avram Finkelstein, Chris Lione, Jorge Socarras, Oliver Johnston, Charles Kreloff and Brian Howard. This poster appropriated the Nazi regime's pink triangle for the Collective's own positive and empowered usage. The text at the bottom of the poster was printed in smaller typeface, "forcing intimate contact on the part of the reader…The poster was about complicity, at all levels, but it also needed to inspire action" (After Silence p. 48). In this first printing of the poster, a misunderstanding resulted in several misprints in the smaller text at the bottom. When the government agencies were actually spelled out to the typesetter of the poster they were misread as "The Center for Disease Control" as opposed to the "Centers" and it also read "Federal Drug Administration," instead of "Food and Drug Administration." The poster originally hit the streets in mid-March 1987, less than a month before ACT UP (AIDS Coalition to Unleash Power) was formed. The Collective eventually turned the rights of the poster to ACT UP who reprinted it, first without making any changes, but then reprinted it, again, with the correct names of the government agencies. This poster was not, as many have written, the work of artist collective Gran Fury. Gran Fury (named after the type of Plymouth automobile used by the New York City Police Department) formed in 1988, the year after this poster was designed.
Provenance: from the collection of Christopher Lione.
Estimate
$5,000 – $7,500
211
Silence=death collective
Silence=Death
Offset lithograph poster, 991x559mm, 34x22 inches. AIDS Coalition to Unleash Power, [New York]. 1987.
This is the second ActUp printing.
After Silence pl. 1, Aids Demographics p. 30.
Estimate
$3,000 – $4,000
212
Silence=death collective
Aidsgate.
Offset lithograph poster 864x559 mm, 34x22 inches. [New York]: AIDS Coalition to Unleash Power [ACT UP], 1987.
Aids Demo Graphics p. 36, After Silence fig. 2.
This was the first poster designed after the Silence=Death Collective joined with ACT UP. "The image for [this poster] was always a fait accompli: there was no controversy over whether to depict Reagan. We chose an image of him that would translate into a one-color graphic, flattening him into iconography that could be easily recognizable from a distance and on television B roll, the images used to illustrate voiceover news reports" (After Silence p. 72).
Provenance: from the collection of Christopher Lione.
Estimate
$2,000 – $3,000
213
Silence=death collective
Silence=Death VOTE.
Offset lithograph poster, 838x546 mm, 33x21½ inches. AIDS Coalition to Unleash Power, [New York]. 1988.
Rare we could find no other copies at auction.
Issued in advance of the 1988 Presidential election. "The final poster in the series, the Silence = Death Vote poster, which appears on this issue’s cover, was created to boost voting in the 1988 election, when the AIDS epidemic was at its peak. The poster challenged activists to educate themselves about candidates’ positions on HIV-related issues and to cast their votes accordingly." [some also say it is gran fury] "Your vote is a weapon . . . use it. . . we are at war."
Provenance: from the collection of Christopher Lione.
Estimate
$2,000 – $3,000
214
Designer unknown
I [PINK TRIANGLE] New York 1969 Stonewall 1989.
Offset lithograph postcard, 146x105 mm, 5¾x4⅛ inches. GLAAD, New York, 1989.
On Pride Day in 1989, the Greenwich Village, Stonewall Station Post Office offered patrons a postmark reading "Stonewall Sta. 20 years 1969-1989 Lesbian & Gay Pride June 25, 1989 New York NY 10199" along side a Keith Haring image "Heritage of Pride." Over 15,000 postmarks were applied that day. This is the "first ever gay-related U.S. Post Office cancelation"
A good article on the event can be found here: https://epgn.com/2020/08/12/gay-postmark-drew-outrage-in-the-80s/
Provenance: Robert Jones collection, former director of Leslie-Lohmann Gay Art Foundation, New York.
Estimate
$100 – $150
215
G. michaels (dates unknown)
The Rainbow Cattle Co. 10th Anniversary.
Offset lithograph poster, 508x762mm, 20x30 inches. Hand signed and numbered 19/100 by the artist in pencil. 1989.
Opened in 1979, the Rainbow Cattle Company quickly became a major LGBTQ+ destination for weekenders from San Francisco, and remains a popular Russian River locale.
Estimate
$300 – $400
216
Robert birch (dates unknown)
BUSH AIDS FLAG.
Offset lithograph poster, 610x915mm, 24x36 inches. [ACT UP, Los Angeles.] 1991.
News photos of marchers with these posters appear outside the White House at a protest on September 30th, 1991, on Memorial Day (May 27, 1992) in Kennebunkport, Maine, and outside the August, 1992 Republican National Convention in Houston, Texas.
Estimate
$500 – $750
217
David wojnarowicz (1954-1992)
Untitled (Voodoo Doll and Spider).
Color lithograph on buff Arches Cover. 215x260 mm; 8½x10¼ inches (sheet), full margins. One of only 14 impressions presented to the artist aside from the edition of 50. Signed and dated in red pencil, lower right recto and signed, titled, dated and numbered “II/XIV” in red pencil, verso. Published by Richard D. Finch and Normal Editions Workshop, Normal, Illinois with the blind stamps and the work number 90-102 inscribed in pencil, verso. 1990.
A very good impression with strong colors.
Estimate
$4,000 – $6,000
218
David wojnarowicz (1954-1992)
Untitled for ACT UP.
Color screenprint diptych on two sheets of cream wove paper. Both 467x601 mm; 18⅜x23⅝ inches, full margins. One signed and dated in pencil, lower right; the other numbered 20/100 in pencil, lower left. Published by ACT UP, New York. 1990.
Very good impressions of these important screenprints.
Estimate
$6,000 – $9,000
219
Hugh steers (1962-1995)
Haircut.
Oil on canvas. 1210x920 mm; 47⅝x36¼ inches. Signed, dated and titled in oil, verso. 1987.
Published Hugh Steers: The Complete Paintings, 1983-1994, New York: Visual AIDS, 2015, page 193, catalogue number CR111.
Provenance: Midtown Galleries, New York, with the label on the frame back; thence to Midtown-Payson Galleries, New York, with the label on the frame back, 1990; collection of Ruth Manning; private collection, Greenwich, Connecticut.
Estimate
$12,000 – $18,000
220
Hugh steers (1962-1995)
Gold Chest.
Oil on paper. 380x285 mm; 15x11¼ inches. Signed, titled, and dated in pencil, verso. 1989-90.
Published in Hugh Steers: The Complete Paintings, 1983-1994, New York: Visual AIDS, 2015, page 209, catalogue number CR269.
Provenance: Midtown Payson Gallery, New York, with the label on the frame back; private collection Greenwich, Connecticut.
Estimate
$3,000 – $5,000
221
Hugh steers (1962-1995)
Prescription.
Oil on thick wove paper. 330x283 mm; 13x11⅛ inches. Signed, titled “Perscription” and dated in pencil, verso. 1990.
Published Hugh Steers: The Complete Paintings, 1983-1994, New York: Visual AIDS, 2015, page 317, catalogue number CR345.
Provenance: Midtown Galleries, New York, with the label on the frame back.
Estimate
$3,000 – $5,000
222
Hugh steers (1962-1995)
Gold Fringe.
Oil on canvas. 1830x1720 mm; 72x67¾ inches. Signed, titled and dated in oil, verso. 1993.
Published Hugh Steers: The Complete Paintings, 1983-1994, New York: Visual AIDS, 2015, page 231, catalogue number CR491.
Provenance: Richard Anderson Gallery, New York; collection of Ruth Manning; private collection, Greenwich, Connecticut.
Estimate
$30,000 – $50,000
223
Stanley stellar (cityboy) (1945 - )
A collection 13 prints and 138 color slides of men posing suggestively in New York City.
Silver prints, the images measuring 146.1x101.6 to 228.6x152.4 mm; 5¾x4 to 9x6 inches; and the reverse, the sheets slightly larger, 2 with a Stanley Stellar embossed blind stamp, on recto, 11 with CITYBOY's credit, in ink, 2 with an affixed CITYBOY credit label, and 2 with a copyright notation and date, in ink, on verso. 1980-90
WITH--A group of 138 slides depicting individual men modeling in CITYBOY's studio. Kodachromes, the images measuring 22.3x34.9 mm; ⅞x1⅜ inches; and the reverse, the mounts 50.8 mm.; 2 inches square; each with CITYBOY's credit handstamp; housed in plastic sleeves with an affixed label with the models name, in ink. Circa 1990
Stanley Stellar has been documenting queer life and the visual culture of men in New York City since the 1969 Stonewall Riots. He says of his work and inspiration, “At that time, there was almost no meaningful recorded imagery of us, or the physical culture and style of who men are, here in my New York City world. I was moved to record it for myself, and for all of us.”
Estimate
$1,000 – $1,500
224
Tom bianchi (1945 - )
All American.
Silver print, the image measuring 317.5x469.9 mm; 12½x18½ inches, the sheet 406.4x508 mm; 16x20 inches, with Bianchi's signature, date, and edition notation 3/35, in ink, on recto. 1990.
Provenance: Acquired by a Private Dealer from the Artist; to the Present Owner.
Estimate
$1,000 – $1,500
225
Cary leibowitz / candyass (1963 - )
Pair of Homo State pennants.
Printed wool felt pennants. Each 610x225 mm; 24x9 inches. Each signed, dated and numbered 25/100 in pen and ink, lower edge. 1989.
Provenance: collection the artist, New York; private collection, New York.
Estimate
$200 – $300
226
Cary leibowitz / candyass (1963 - )
Class Fag / Classy Fag.
Photo collage. 230x345 mm; 9⅛x13½ inches. Signed and dated in pencil, verso. 2016.
"Class Fag" is a portrait of Paul Lynde, an iconic American comedian and a favorite after school star. "Classy Fag" depicts Gore Vidal, the American writer and intellectual.
Provenance: collection of the artist, New York; private collection, New York.
Estimate
$600 – $900
227
Bill jacobson (1955 - )
Interim Portrait #575.
Chromogenic print, the image measuring 609.6x508 mm; 24x20 inches, flush mounted and a secondary mount 711.2x609.6 mm; 28x24 inches, with Jacobson’s signature, title, date, and edition notation 2/9, in ink, on a label on frame verso. 1993.
Estimate
$1,000 – $1,500
228
Fred gormley (1952-2002)
Grecian Formula ‘80.
Offset lithograph poster, 229x432 mm, 9x17 inches. [New York,] 1990.
Provenance: From the collection of author Owen Levy.
Estimate
$400 – $600
230
Milton glaser (1929-2020)
Angels in America.
Offset lithograph poster, 540x349 mm, 21¼x13¾ inches. [Np., 1993].
Printed as an in-store promotion to help sell copies of the book which was originally published by the Theatre Communications Group in April, 1993.
Estimate
$400 – $600
231
Milton glaser (1929-2020)
Angels in America.
Offset lithograph window card, 559x355 mm, 22x14 inches. Serino Coyne, Inc., 1993.
Glaser 485.
Poster for the 1993 premier Broadway run at the Walter Kerr Theatre, of Tony Kushner's Tony Award, Drama Desk Award and Pulitzer Prize-winning work. This same image appeared on the covers of the first editions of the plays when they were published in 1993 and 1994.
Estimate
$500 – $750
232
Jean-louis cornalba (dates unknown)
Paris Plaisirs / Paris Capotes.
Group of 6 offset lithograph posters, each approx. 597x400 mm, 23½x15¾ inches.
Includes: Saint Michel (2); Parc des Princes; Beaubourg; Place d'Italie; Ile St Louis.
From a series of thirteen images that were posted around Paris in 2003 in an attempt to curb the wide spread incidence of AIDS, in which Cornalba, a popular illustrator, incorporated condoms into recognizable attractions from specific Parisian neighborhoods.
Estimate
$300 – $400
233
The spike
Original portrait of Chuck “C.T.” Thompson which hung at his popular New York leather bar, The Spike.
Paint on heavy artist's board. 510x510 mm; 20x20 inches. Signed and dated 1991 by the artist; 1¾-inch scratch and other light abrasions in left part of image, lightly warped, otherwise minimal wear.
WITH--Color photograph of several dozen men and their motorcycles posed in front of The Spike under a banner reading "Photo-Op '93, a Biker-Leather-S&M Moment in Time." 200x250 mm; 8x9¾ inches, minimal wear AND Set of 6 Pride flags which flew outside The Spike, in red, orange, yellow, green, blue, and purple, made of heavy nylon fabric with grommets by the National Flag & Display Co. Each 920x1520 mm; 36x60 inches.
This portrait of the owner of The Spike, Charles M. Thompson, generally known as Chuck or C.T., hung at the bar through the 1990s. He is depicted in front of the Spike on a motorcycle in full leather riding gear and Harley Davidson t-shirt, with a guitar slung across his back. The artist was John Zak.
Estimate
$600 – $900
234
Hal george (1937-2005)
“Bella.” Costume design for female dancer.
Watercolor, chalk and wash on paper. 432x356 mm; 17x14 inches, sheet. Initialed in lower right image and titled in upper left margin, beneath matte.
Created for the production of the off-Broadway musical comedy Show Me Where the Good Times Are, which premiered at the Jewish Repertory Theatre, June 1993.
With music by Ken Jacobson and lyrics by Rhoda Roberts, the show, which is based on Leonora Thuna's take on Molière's "The Imaginary Invalid," transplants the setting to New York City's Lower East Side in 1913.
Provenance: Gifted by George to the Director, Warren Enters.
Estimate
$300 – $400
235
Hal george (1937-2005)
“American Rhapsody, Finale.” Costume design of male dancer.
Watercolor, ink, and wash on paper. 431x343 mm; 17x13½ inches, tipped to matte. Initialed in lower right image, United Scenic Artists stamp initialed by George, lower right margin, titled in upper left margin, and inscribed and initialed by him to theatrical Director Warren Enters along left margin.
Created for The Pennsylvania Ballet's performance of American Rhapsody presented by the University Musical Society of The University of Michigan, Ann Arbor, October 27, 1974.
Estimate
$300 – $400
236
Attitude
First 13 issues of the glossy British lifestyle magazine.
Each about 114 pages, color illustrations throughout, 300x230 mm; 11¾x9 inches; minor wear. London, May 1994 to May 1995. Cover illustrations include Boy George, Pedro Almodóvar, Neil Tennant, Diana Ross, and more.
WITH–a duplicate of the May 1994 issue #1 (moderate wear); and a 16-page undated “Attitude Fashion Special.”
Estimate
$500 – $750
237
Joseph holtzman (founder and editor)
Nest: A Quarterly of Interiors, 1997-2002.
Nine issues, including volumes 1, 2, 3, 6, 7, 9, 11, 12, 13, and 19; volume 3 with buttoned fabric wrap; volumes 9 & 11 in their original plastic bags; volume 13 with woven black ribbon ties; and volume 19 with woven fabric panel cover, sizes vary somewhat, each about 11x9¼inches. (9)
Estimate
$800 – $1,200
238
Atilla richard lukacs (b. 1962)
Untitled.
Oil on canvas, 1992. Signed, ARL, and dated, '92, lower right. Signed, Atilla R Lukacs, inscribed, Berlin, and dated, '92, on verso. 2730x2057 mm; 107½x81 inches.
Canadian born artist, Atilla Richard Lukacs most often deals with subject matter surrounding male physical dominance, power, and submission. After working in New York City for the early part of his career he returned to Canada, and now works and lives in Vancouver, British Columbia.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$2,000 – $3,000
239
David ligare (1945 - )
Landscape with Eros and Endymion.
Oil on canvas. 1525x1980 mm; 60x78 inches. Signed and dated in oil, verso. 1990-92.
Exhibited “David Ligare: Paintings,” Koplin Gallery, Santa Monica, February 8-March 7,1992; “David Ligare: California Classicist,” Crocker Art Museum, Sacramento, June 7-September 20, 2015, Laguna Art Museum, Laguna Beach, October 18, 2015-January 17, 2016, Georgia Museum of Art, University of Georgia, Athens, Georgia, February 13-May 8, 2016, Triton Museum of Art, Santa Clara, June 11, August 14, 2016, pg. 168 (illustrated).
Published Heidi Nickisher, “David Ligare,” Artweek, March 1992, vol. 23, issue 9, pg. 19-20 (illustrated); Edward Lucie-Smith, American Realism, Abrams, New York, 1994, pg. 215, fig. 235 (illustrated).
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$10,000 – $15,000
240
Howard cruse (1944-2019)
“Gay is Good” * We’re Here, We’re Queer, Get Used to it!”
Together, two gay rights illustrations for unknown publications. Pen and ink on paper. 215x278 mm; 8½x11 inches. Unsigned.
The American alternative cartoonist known for the exploration of gay themes in his comics, Cruse first gained attention in the 1970s during the underground comix movement and was the founding editor of Gay Comix in 1980. He created "Wendel," a gay-themed strip during the 1980s but reached a more mainstream audience in 1995 when an imprint of DC Comics published his graphic novel "Stuck Rubber Baby."
Provenance: The Estate of Howard Cruse.
Estimate
$350 – $500
241
Howard cruse (1944-2019)
“Yet Another Sociable Evening at the Torrid Tush.”
Together, original two-sheet cartoon for Wendel, published in The Advocate, 1989. Ink and marker with correction fluid on stiff paper; title is printed and collaged onto the first page. Each sheet measures 587x450 mm; 23x17¾ inches. Signed ©1989 by H. Cruse in ink, lower margin of first page and artist's name and address handwritten on verso.
Provenance: The Estate of Howard Cruse.
Estimate
$1,500 – $2,500
242
Howard cruse (1944-2019)
“They Torched Your Car??”
Original 9-panel cartoon for Stuck Rubber Baby, page 121. Ink and marker on stiff paper. 587x450 mm; 23x17¾ inches, sheet. Unsigned, but with artist's stamp on verso. 1995.
"Stuck Rubber Baby", which celebrated its 25th anniversary in 2020, was Cruse's best-known work. The groundbreaking graphic novel chronicled his coming of age and coming out in Jim Crow, pre-Stonewall 1960s Birmingham, Alabama. The story follows lead character, Toland, who is closeted, scared, and aware of the corruption and discrimination around him. It is only when he meets Ginger Raines, who introduces him to civil rights activists and people who embrace their authentic selves despite equally conformist and hostile environments, that he is emboldened enough to do the same. Stuck Rubber Baby was the winner of Eisner and Harvey Awards in the U.S. and (in translation), a Comics Critics Award in Spain, a Luchs Award in Germany, and a Prix de la critique at the International Comics Festival in Angoulême, France.
Provenance: The Estate of Howard Cruse.
Estimate
$1,000 – $1,500
243
Howard cruse (1944-2019)
“Felton, Show Father Morris that Newspaper I Gave You.”
Original 10-panel cartoon for Stuck Rubber Baby, page 122. Ink and marker on stiff paper. 587x450 mm; 23x17¾ inches, sheet. Unsigned, but with artist's stamp on verso.
Provenance: The Estate of Howard Cruse.
Estimate
$1,000 – $1,500
244
Ross bleckner (1949 - )
Gay Flag.
Color screenprint on wove paper. 840x572 mm; 33⅛x22½ inches, full margins. Signed and numbered 39/500 in pencil, lower left. Published by The Stonewall Community Foundation, New York. 1993.
A very good impression with strong colors.
Estimate
$1,000 – $1,500
245
Portfolio
ACT UP Art Box.
Wooden box with 6 mixed-media multiples and color hand-printed ink on box lid. 350x608x130 mm; 13¾x23¾x5 inches. Numbered 8/95 in felt-tip pen and black ink on the underside of the box. With the justification booklet signed by each of the artists in pencil. Published by ACT UP, New York.
Includes works by Ross Bleckner, Untitled, painted plastic, card and metal hook; Louise Bourgeois, Untitled, silicone rubber; Mike Kelley, Hibernating Egg, birch wood, cork, glue and wood putty; Simon Leung, Approaching, screenprint on silk; Lorna Simpson, Untitled, pyrex, rods, lampworked, text and recycled paper; Kiki Smith, Untitled, color photograph and stamped glass; and Nancy Spero, To the Revolution, unique hand-printed ink on the outside box lid. 1994.
Estimate
$2,000 – $3,000
246
George tooker (1920-2011)
The Window.
Color lithograph. 600x500 mm; 23⅝x19¾ inches, full margins. Signed and numbered 121/175 in pencil, lower margin. 1994.
A very good impression.
Estimate
$1,000 – $1,500
247
Steven arnold (1943-1994)
Transmitigating Inspiration.
Silver print, the image measuring 355.6 mm; 14 inches square, the sheet 508x406.4 mm; 20x16 inches, with Arnold’s signature, title, print date, and edition notation 3/12, in pencil, on verso. 1986; printed 1994.
Estimate
$800 – $1,200
248
Jack pierson (1960 - )
Untitled [Swimming] from the series All of a Sudden.
Chromogenic print, the image measuring 406.4x508 mm; 16x20 inches, with Pierson’s initials and edition notation 4c/20, in ink, on verso. 1995.
Estimate
$2,000 – $3,000
249
Jack pierson (1960 - )
Tim.
Chromogenic print, the image measuring 1016x755.7 mm; 40x29¾ inches, flush mounted, with Pierson’s signature, title, date, and edition notation 3/10, in ink, on mount verso; with a Cheim & Read gallery label on frame verso. 1998.
Estimate
$3,000 – $4,500
250
Matthias herrmann (1963 - )
A group of four studies.
Chromogenic prints, the images measuring 177.8x127 mm; 7x5 inches, each with Herrmann’s signature, date, edition notation of 25, and numeric notation, in ink, three on verso, one on the frame back; each with a Wessell & O’Connor Gallery label, on frame verso. 1995-96.
Green light/Tit clamps, 1995 * Silver jacket, 1995 * Blue cock, 1995 * With sunglasses, 1996.
Estimate
$2,500 – $3,500
251
John patrick dugdale (1960 - )
Studio Self Portrait on Recamier, Morton St.
Cyanotype, the image measuring 254x196.9 mm; 10x7¾ inches, flush mounted, with Dugdale’s signature, title, date, and edition notation 1/12, in ink, on mount verso. 1990.
Estimate
$1,200 – $1,800
252
John patrick dugdale (1960 - )
Self-portrait with Black Eye.
Cyanotype, the image measuring approximately 235x184.2 mm; 9¼x7¼ inches, the artist’s frame 368.3x317.5 mm; 14½x12½ inches, with Dugdale’s studio label with his signature, in ink, and typed title, date, and edition notation 1 of 10, on frame verso. 1996.
Estimate
$2,500 – $3,500
253
John patrick dugdale (1960 - )
Young Men with English Oak.
Cyanotype, the image measuring approximately 235x187.3 mm; 9¼x7⅜ inches, the artist’s frame 431.8x381 mm; 17x15 inches, with Dugdale’s studio label with his signature, in ink, and typed title, date, and edition notation 1 of 12, on frame verso. 1998.
Estimate
$2,500 – $3,500
254
Laura aguilar (1959-2018)
Stillness #31.
Silver print, the image measuring 231.8x304.8 mm; 9⅛x12 inches, the sheet 279.4x355.6 mm; 11x14 inches, with Aguilar’s signature, date, and edition notation 6/10, in pencil, on verso. 1999.
Laura Aguilar’s groundbreaking work focused primarily on the queer, Latinx, and working class communities of her native Los Angeles, using portraiture to examine gender identity, class, and body politics, as well as mental health and representation within the art world. Some of her early series of work focused on the communities of which she was a part, including “Latina Lesbians,” “How Mexican is Mexico,” and “Plush Pony,” the last of which documented patrons at a working class lesbian bar. But far more than a documentarian, Aguilar also turned the camera on herself, using her body to create vulnerable images investigating her own exploration of identity and relationship with her body and mental health. Now considered as vastly ahead of her time, the series “Stillness” brought Aguilar critical success. In these images, she posed herself as an element of the Southwestern landscape, curling her body around rocks or curved on the ground, her face turned away or shielded from the viewer. She is both seen and unseen, in work that is both poetic and poignant.
Estimate
$1,200 – $1,800
255
Isaac julien (1960 - )
After Mazatlán.
Chromogenic print, the image measuring 508x609.6 mm; 20x24 inches, with Julien’s signature, print date, and edition notation 38/40, in black pencil, on verso. 1999; printed 2001.
“After Mazatlán” is one image in a series of stills taken from a collaborative video art piece by Isaac Julien (1960- ) and chorographer Javier de Frutos (1963- ). The project titled The Long Road to Mazatlán chronicles two men as they sightsee around a western fantasy, cowboy-eccentric version of San Antonio, Texas. As the narrative unfolds, many foreign motifs enter landscape including iconography that alludes to homoerotic desire.
Estimate
$1,000 – $1,500
256
Anderson & low (est. 1990)
A trio of images from the series Gymnasts-National Danish Gymnastic Team.
Together, 3 silver prints, the images measuring 327x267 to 339.7x228.6 mm; 12⅞x10½ to 13<3/8>x9 inches, the sheets measuring 406.4x304.8 mm; 16x12 inches, each with Anderson & Low's signature, dates, notation NDGT, and an edition notation of 25, in pencil, on verso. 1998-2001; printed 1999-2002.
Jonathan Anderson & Edwin Low, widely known as Anderson & Low, began their professional partnership in 1990. They have established a reputation for exploring the concept of identity, often through collaborations with athletes.
Provenance: Acquired by the Present Owner from the Wessel + O'Connor Fine Art, New York, New York in the early 2000s.
Estimate
$2,000 – $3,000
257
Deni ponty
Lovers on a Sofa.
Oil on canvas. 460x610 mm; 18⅛x24 inches. Signed and dated in oil, lower left recto. 1992.
An illustration for "The New Joy of Gay Sex" by Dr. Charles Silverstein and Felice Picano, HarperCollins: New York, 1992.
Provenance: Private collection, 1996.
Estimate
$1,200 – $1,800
258
Wes hempel (b. 1953)
American Rudder.
Oil on canvas, 1999. Signed, Hempel, lower right, and dated, 1999, lower left. 1828x1321 mm; 72x52 inches.
Wes Hempel was born in El Monte California to a Christian fundamentalist family. He attended Life Bible College for three and a half years before following a path of his own choosing, against the wishes of his family, and moved to Los Angeles. He re-entered school as a freshman at California State University at Northbridge where he earned a Bachelor of arts degree. He would continue on to receive a masters degree from Colorado University.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$3,000 – $5,000
259
Robert loughlin (1949-2011)
Untitled (Be Nice).
Acrylic with felt-tip pen and ink on found object (book). 249x185 mm; 9¾x7¼ inches. Initialed, inscribed and dedicated "to Andy" with an abstract drawing in felt-tip pen and ink on the inside cover and front flyleaf.
Loughlin was well-known as a picker and dealer of mid-century furniture who sold to high-end interior designers and artists such as Andy Warhol, Robert Mapplethorpe and Jean-Michel Basquiat. He started painting his iconic "brute", the square-jawed man smoking a cigarette, in the early 1980s and used found objects such as furniture, textiles, boxes and even other artist's paintings as his canvases.
Estimate
$700 – $1,000
260
Robert loughlin (1949-2011)
The Brute.
Oil on found wood panel. 1100x742 mm; 43¼x29¼ inches. Initialed and dated in oil, verso. 2001.
Provenance: private collection, New York.
Estimate
$3,500 – $4,500
261
Robert w. richards (1941-2019)
Two men kissing.
Color lithograph. 315x252 mm; 12¼x10 inches, sheet. Numbered 21/50 and initialed, lower left, also initialed in plate. Undated.
Richards began his career as an illustrator in New York, sketching fashion collections for newspapers and beauty illustrations for brands such as L’Oréal and Revlon. He went on to create posters and illustrations for Broadway shows including Noel Coward‘s "Present Laughter" and "Legs Diamond", one of the many shows he worked on for Peter Allen. A friend to many musicians, he created album cover art for Sarah Vaughan, Lena Horne, Dinah Shore, and Peggy Lee. He devoted his last years to drawing gay erotic art both as fine art and for illustrations in "Mandate" and other publications.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$600 – $900
262
Robert w. richards (1941-2019)
Alvaro–The Rose Tattoo.
Pencil and ink with fixative, on vellum. 12x4½ inches, on 17x14-inch sheet. Signed in pencil, lower right margin. Undated.
Provenance: Leslie-Lohman Museum of Art Collection, New York.
Estimate
$600 – $900
263
David hilliard (1964 - )
Game of Go (Triptych).
Chromogenic prints face mounted to plexi and flush mounted to aluminum, each image measuring 596.9x495.3 mm; 23½x19½ inches, each with Hilliard’s label with the title and panel number, in ink, on mount verso; accompanied by the Mark Moore Gallery labels for each print with Hilliard’s signature, in ink, and the printed title, date, and edition notation 3/12. 2002.
Estimate
$2,000 – $3,000
264
David McDermott (1952 - )/Peter McGough (1958 - )
Joel at Lower Baldonell House, Dublin, 1910.
Palladium print, the image measuring 476.3x374.7 mm; 18¾x14¾ inches, the sheet 508x406.4 mm; 20x16 inches, with McDermott and McGough’s signature, title, date, and edition notation 8/25, in pencil, on verso. 2003.
David McDermott and Peter McGough met through the active East Village art scene in the 1980s. Throughout their partnership they have created pseudo-historical works rooted in the aesthetic and techniques of the Victorian era. Their work explores themes of history, time, homoeroticism, and sexual politics.
Estimate
$1,200 – $1,800
265
Nan goldin (1953 - )
Sunny at the Spa, distortion, L’Hotel, Paris.
Chromogenic print, the image measuring 139.7 mm; 5½ inches square, the sheet slightly larger, with a Magnum Photos/Aperture label with Goldin’s signature, in ink, her copyright, and a lengthy description, on verso. 2010.
“Sunny and I were at L’Hotel doing a fashion shoot for Vogue Paris. Sunny was more beautiful than the model. This picture was taken long before I ever held a digital camera. The intimacy between us allowed the camera the freedom to access the magic. My favorite photos of mine are the mistakes.” Nan Goldin
Estimate
$600 – $800
266
Rashaad newsome (1972 - )
Hands A * Hands B * Hands C.
Together, a trio of chromogenic prints, the images measuring 330.2x445 mm; 13x17½ inches, each with Newsome’s signature, title, date, edition notation 7/10, and a copyright notation, in ink, on verso. 2010.
Estimate
$1,000 – $2,000
267
Raymundo valdez (1969 - )
Folsom Cowboys.
Oil on canvas. 1225x918 mm; 48x36 inches. Signed and dated “5/11” in oil, lower right recto. 2011.
Estimate
$1,500 – $2,500
268
Paul mpagi sepuya (1982 - )
A group of five issues of Sepuya’s self-published zine “Shoot,”, one with a limited edition print.
The issues include Nos. 1, 2, 4, 5, and 6. Photographic illustrations throughout, 4 issues with Sepuya’s initials and edition notation, in ink. 8vos, stapled. 2005-07.
WITH–Dean. Chromogenic print, the image measuring 200x249.2 mm; 7⅞x5⅞ inches, the sheet slightly larger, with Sepuya’s signature, title, date, and edition notation 149/150, in ink, on verso. 2006.
Paul Sepuya’s self-published zine “Shoot” consisted of seven issues spanning 2005 to 2008 and were his first publications. Sepuya became recognized for his involvement in the early 2000s re-emergence of queer zine culture.