LGBTQ+ Art, Material Culture and History
Officers
Nicholas D. Lowry
President, Principal Auctioneer
nlowry@swanngalleries.com
Christine von der Linn
Director
cv@swanngalleries.com
(212) 254-4710 ext. 20
Rick Stattler
Vice President & Director, Books & Manuscripts
rstattler@swanngalleries.com
(212) 254-4710 ext. 27
Deborah Rogal
Director, Photographs & Photobooks
drogal@swanngalleries.com
(212) 254-4710 ext. 55
Jennifer De Candia
Administrator & Client Relations
jdecandia@swanngalleries.com
(212) 254-4710 ext. 53
Corey Serrant
Cataloguer
cserrant@swangalleries.com
(212) 254-4710 ext. 29
John D. Larson
Specialist, Literature & Art Books
jlarson@swanngalleries.com
(212) 254-4710 ext. 61
Todd Weyman
Vice President & Director, Prints & Drawings
tweyman@swanngalleries.com
(212) 254-4710 ext. 33
Marco Tomaschett
Specialist, Autographs
mtomaschett@swanngalleries.com
(212) 254-4710 ext.12
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
Andrew M. Ansorge
Vice President & Controller
Alexandra Mann-Nelson
Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
Nigel Freeman
Vice President & Director, African American Art
Rick Stattler
Vice President & Director, Books & Manuscripts
Administration
Andrew M. Ansorge
Vice President & Controller
aansorge@swanngalleries.com
Ariel Kim
Client Accounting
akim@swanngalleries.com
Diana Gibaldi
Operations Manager
diana@swanngalleries.com
Kelsie Jankowski
Communications Manager
kjankowski@swanngalleries.com
Late 19th & Early 20th Century
George g. rockwood (1832–1911)
Portrait of Walt Whitman.
A carte-de-visite photograph made after a daguerreotype. Albumen print, the image measuring 102x73 mm; 4x2⅞ inches, the sheet 140x102 mm; 5½x4 inches, the mount 165x108 mm; 6½x4¼ inches, with the Rockwood Broadway imprint on mount recto, and an unknown signature, negative and print dates, and the sitter’s credit on mount verso. Circa 1854; printed 1895.
Estimate
$1,000 – $1,500
Mathew brady (1822-1896)
Portrait of Walt Whitman.
Silver print, the image measuring 98.4x66.7 mm; 3⅞x2⅝ inches, the sheet slightly larger, the later mount 203.2x139.7 mm; 8x5½ inches, with Brady’s credit and the subject’s name in pencil on mount recto, and the Culver Pictures barcode and stamps on mount verso. 1862; printed circa 1920.
Estimate
$1,500 – $2,500
[sir richard burton 1821-1890]
Priapeia or the Sportive Epigrams of divers Poets on Priapus.
Mounted india proof frontispiece; 4to, calf-backed marbled boards, rebacked, half-title detached, scattered foxing and toning throughout; endpapers renewed. Cosmopoli, 1890.
Number 13 of 500 copies printed for subscribers. Norman Penzer, Annotated Bibliography of Sir Richard Francis Burton, Mansfield, 1993, pages 150-53.Burton, the great English explorer, translator, writer, soldier, Middle Eastern scholar, ethnologist, linguist, poet, hypnotist, fencer and diplomat was quite candid about sexuality in his writings. Homosexuality was considered a criminal offense in Victorian England. Allegations, but no direct accusations of homosexuality, followed Burton throughout most of his life.
Estimate
$300 – $400
Napoleon sarony (1821-1896)
Portrait of Oscar Wilde.
Silver print, the image measuring 171.4x235 mm; 6¾x9¼ inches, with various notations, including the sitter’s name, in pencil and the Culver Pictures label, barcode, and stamp, on verso. 1882; printed 1930s.
Estimate
$2,000 – $3,000
Oscar wilde (1854-1900)
The Picture of Dorian Gray.
London: Ward Lock and Co., 1891. 8vo, modern full red morocco by Robert Wu (dated 2019), decorated and tooled in silver, gilt and black with outline portrait of the author; all edges dyed in teal with gold speckling; full leather doublures ornately decorated, suede endpapers; yapp-edged ½ morocco chemise and matching morocco-edged slipcase within cloth chemise and slipcase; binder’s photocopied specs and Typed Letter Signed detailing production laid in. Deluxe first edition of Wilde’s only novel, this being number 43 of 250 copies signed by the author, in commissioned Robert Wu binding.
Estimate
$25,000 – $35,000
Oscar wilde (1854-1900)
Autograph Letter Signed, to “Dear Mrs. Beringer,”
offering her daughter a minor role in Lady Windermere's Fan in the event of a vacancy, and considering allowing the Haymarket [Theatre] to produce his new play [A Woman of No Importance (1893)]. 4 pages, 8vo, written on a folded sheet, personal stationery; horizontal fold, faint scattered soiling. [London, 1893].
“Your daughter has certainly inherited her mother’s good looks, if she has half her mother’s brains she should have a brilliant future in store for her. I will with pleasure do anything I can to help her, but your own influence is very great I need not say.”At present, there is a provincial company doing Lady Windermere’s Fan–if there should occur a vacancy, would she care, or you care for her to go with it? The part would be quite a small one, of course.”Thanks for y’r wishes for my new play–I have settled nothing yet–but think of letting the Haymarket have it.”
Estimate
$6,000 – $9,000
Paul verlaine (1844-1896)
Mes Prisons.
Paris: Léon Vanier, 1893. [iv], 81, [1] pp. 8vo, sewn pamphlet in printed wrappers bound into contemporary ¾ morocco over marbled boards, by P. Hauttecoeur, gilt rules and title to spine; marbled endpapers, ribbon marker; light wear to spine ends and corners, moderate rubbing along joints; moderate toning to interior, slightly heavier near edges of margins, small binder's ticket to head of front wrapper, later exhibition or auction slip (of Galerie Georges Giroux) tipped to front endleaf, presentation inscription to Edmond Picard from Verlaine to front free endpaper. First Edition. The inscription reads: "à Monsieur Edmond Picard/ hommage affectueux/ P. Verlaine."
Mes Prisons is an account of the various prisons endured by the great poet, beginning with the school "dungeon" where he was sent as a child for an incorrect Latin conjugation through several incarcerations for disturbing the peace as an adult. Most of this book is concerned with his two-year sentence to Mons prison (of which he served 18 months) for the murder of Arthur Rimbaud, his lover, in Brussels, on July 12, 1873. Verlaine discusses the shooting and the trial, his life in prison afterwards and the various psychic prisons he has since occupied.
Picard (1836-1924) was Verlaine's lawyer in the Rimbaud affair and one of the poet's closest friends. Also a distinguished journalist, playwright and patron of the arts, he was nominated for the Nobel Prize in literature five times. A lecture Verlaine delivered on his prison experiences in Picard's home was the basis of Mes Prisons. This lecture was arranged by Octave Maus, a Belgian art critic, writer and lawyer. His invitation to Verlaine asked for a presentation that would "have a little bearing on the law.... [I]t might be interesting to hear your account of your judicial dealings in Belgium.... My Prisons by Paul Verlaine-what an alluring title for a lecture" (cited in Richardson). This presentation was a notable event. According to Petitfils, it was attended by all of Belgium's most important writers. Richardson, Verlaine 303. Petitfils, Verlaine 398-403.
Estimate
$1,500 – $2,500
Edward carpenter (1844-1929); george cecil ives
Prisons Police and Punishment: An Inquiry into the Causes and Treatment of Crime and Criminals.
London: Arthur C. Fifield, 1905. 153, [7] pages; publisher's advertisements to last 7 pages. 8vo, original rose cloth, front board with title and border stamped in black, gilt-stamped spine. Inscribed by Carpenter: "To George Ives / in friendship from / E.C." dated March 1905 and penciled note beneath: "Whose is the work of which this is only the fore-runner?" First and only English Edition. Inscribed by the "Gay Godfather of the British Left" to a fellow activist.
Carpenter was an English writer, reformer and lifelong advocate of gay liberation. Disenchanted with what he perceived as the hypocrisy of Victorian society, he abandoned his life in Cambridge as a scholar and cleric and moved to northern England. Referred to by many in recent years as "the gay godfather of the British left," Carpenter's radical politics and open relationship with his partner George Merrill influenced many activists and writers, including E.M. Forster, whose visit to the couple in 1913 inspired his novel "Maurice."
This work on prison reform, prefaced by an excerpt from The Ballad of Reading Gaol” is inscribed to a close friend and activist, George Ives. Together with several others, they founded the progressive British Society for the Study of Six Psychology, which promoted both sexual liberation and education through a rational approach to sexual conduct. Ives also independently established the Order of Chaeronea, a secret society meant to provide refuge from the prejudices of Victorian society and further the cause of gay liberation (among others, Wilde was rumored to be a member). The text itself is marked and, in a few places, annotated or corrected in ink, most likely by Ives based on the initials “G.I.” after one note, but possibly by Carpenter as well. Among the work’s influences is Clarence Darrow, the American lawyer who also wrote extensively on penology and prisons. A French edition was published by Schleicher in 1907.
Estimate
$600 – $900
Edward carpenter (1844-1929); george cecil ives
Jahrbuch für Sexuelle Zwischenstufen unter besonderer Berücksichtigung der Homosexualitat.
Leipzig: Max Spohr, 1899-1908.
Nine octavo titles bound in ten volumes, first edition of each Jahrbuch, bindings vary, illustrated with images and folding tables; each volume 8 x 5 1/2 inches; occupying 16 1/2 inches of shelf space. (10)
Hirschfeld was an early 20th century German sexologist persecuted by the Nazi regime, which sacked his Institut für Sexualwissenschaft and burned its library in 1933. Both gay and Jewish, Hirschfeld was an early and vocal advocate for gay and transgender rights. On an American speaking tour in 1930, he advised following "love's natural turns," and encouraged people to accept that all forms of love and sexuality are natural.
Estimate
$800 – $1,200
(men in love)
A collection of more than 100 photographs of men posing affectionately together.
A range of compelling images featuring men together, many in pairs posing seated together (occasionally even on each other’s lap) or standing closely, as well as snapshots of groups or pairs intimately smiling for the camera. The group includes one daguerreotype (quarter plate), one ambrotype (sixth plate), eight tintypes (quarter plates), one cabinet card (printing-out paper print), one carte-de-visite (albumen print), and three mounted prints (two printing-out and one silver), as well as 59 real photo postcards, one printed postcard, and 29 snapshots, the snapshots measuring 28.6x35 to 120.6x171.4 mm; 1⅛x1>⅜ to 4¾x6¾ inches, and the reverse, the postcards mostly 136.5x88.9 mm; 5⅜x3½ inches, and slightly smaller, the daguerreotype, ambrotype and two tintypes in half leather cases and two tintypes in paper mounts, some of the photographs with notations in ink on recto or verso. Circa 1856-1960.
Estimate
$20,000 – $30,000
Guglielmo plüschow (1852-1930)
Umberto, cameriere, Roma.
Albumen print, the image measuring 108x165 mm; 4¼x6½ inches, with Plüschow’s stamp and the title and numeric notations in pencil on verso. 1890s-1910s.
Estimate
$700 – $1,000
Wilhelm von gloeden (1856-1931)
Sicilian Boy with Flower Vase.
Albumen print, the image measuring 225x168 mm; 8⅞x6⅝ inches, with Von Gloeden’s Taormina stamp and the numeric notation 2121 in blue grease pencil on verso. Circa 1900s.
Estimate
$2,000 – $3,000
Wilhelm von gloeden (1856-1931)
Nude Leaning Against a Wall.
Silver print, the image measuring 229x171 mm; 9x6¾ inches. 1900-1910.
Estimate
$1,400 – $1,800
Wilhelm von gloeden (1856-1931)
Figure in Wreath and With Branches.
Toned silver print, the image measuring 216x162 mm; 8½x6⅜ inches, the sheet slightly larger, with various notations in pencil on verso. Circa 1910.
Estimate
$1,400 – $1,800
Percy anderson (1851-1928)
Archive of 101 costume designs and related correspondence for the play “Kassa.”
14 brown paper folders separating contents by scene. Each folder contains a lined, folded notebook sheet with a notary seal on cover and occasional fabric swatches for the realized costumes; contents hold Anderson's costume drawings in watercolor, ink, and wash, the versos contain notations and signatures used in English legal court proceedings over the dispute between Anderson and Kassa's playwright, John Luther Long (see note). Average measurement of drawings is 254x180 mm; 10x7¼ inches; nearly all bear Anderson's monogram. Lined notebook sheets measure 12¾x8 inches. Presumed to be complete.
A fascinating archive of costume designs for a grand-scale, early 20th century stage production. Kassa was an Edwardian-era dramatization of the story of "the broken butterfly" from the ancient Hunnish book. Its author, John Luther Long, was a collaborator of the great theatrical producer and playwright David Belasco, who first adapted Long's short story "Madame Butterfly" to the stage before Puccini adopted the libretto for what became his most famous opera. Kassa's leading lady was Mrs. Leslie Carter, among the greatest actresses of her generation, nicknamed "The American Sarah Bernhardt." The play premiered at the New National Theatre in Washington, D. C. on January 4, 1909 before traveling north to Broadway's Liberty Theatre for a short but well-attended run.
Anderson was a prolific and successful English stage designer of opera and musical comedies, best known for his long tenures with the Savoy Operas, D'Oyly Carte Opera Company, and His Majesty's Theatre. Although focused on musical theatre professionally, socially Anderson also enjoyed the company of writers, artists and politicians, including Hamilton Aidé, Lord Ronald Gower and Hugh Walpole with whom he was closely associated. While Anderson's work was more rooted in 19th-century tradition, his work can be seen as an important forerunner of the more famous Avant-Garde stage designers Leon Bakst, Claude Lovat Fraser, and Edward Gordon Craig. Kassa's massive eighty-five member cast kept Anderson busy and the sheer number of designs in this archive display his dedication to the stylistic details demanded of the scenes and storyline. The attention to color, fabrics and finishes, historical style, accessories, and harmony of group attire are exquisite, each drawing enriched with his copious notes.
Due to a disagreement regarding payment and use of the designs, legal action was brought by Anderson against Long for non-payment of these designs. The archive contains a few documents relating to this case including: a series of seven Typed Letters Signed by Long in 1908 from Philadelphia, relating to the staging and production of Kassa, and stating that Mrs. Leslie Carter was responsible for payment to Anderson for the costumes, a Manuscript Letter Signed by Anderson to Carter, 1909, and the original mailing envelope with same notary seals as the folders, containing those contents, sent by Henry F. Walton, Esq. to the Court of Common Please in Philadelphia, stamped September 16, 1912.
Estimate
$2,000 – $3,000
Maud hunt squire (1873-1954)
Two watercolors.
Women Knitting in the Square. 235x200 mm; 9¼x8 inches * Woman in a Café. 225x164 mm; 8⅞x6½ inches. Both signed and inscribed "Paris" in pencil, lower right on the paper mounts. Both circa 1903-14.
Provenance: Zabriskie Gallery, New York; private collection, New York.
Squire was born in Milfred, Ohio and attended the University of Cincinnati before completing her studies at the Art Academy of Cincinnati from 1894-98 where she studied with Frank Duveneck. She worked as a book illustrator and was also known for her color intaglio prints and pastels.She had a lifelong relationship with Ethel Mars (1876-1959) who she met while a student at the Art Academy. They lived together in Paris and Provincetown, Massachusetts and were active in the art scenes. The couple were close with Gertrude Stein whose work Miss Furr and Miss Skeene (believed to be the first work to use the work "gay" to relate to homosexuality) is thought to be based on Mars and Squire's relationship.
Estimate
$1,500 – $2,500
Otho cushing (1871-1942)
“The Song of Higher Arthur.”
Illustration to accompany Cushing's poem of the same name, published in Life Magazine, Volume 58, page 1092, 1911. Pen and ink on illustration board. 520x695 mm; 20½x27½ inches. Signed "Otho Cushing" lower left image. Poem typed on small strip of partially cropped paper, mounted to upper right corner of verso.
Though an accomplished illustrator, cartoonist, and poster artist who studied and taught in the U.S. and abroad, there exists little biographical coverage of Cushing, much as a result of his heirs destroying evidence of his sexuality. Most prolific at the turn of the century when commercial illustration hit its stride in magazines and newspapers, he was influenced by his contemporaries J.C. Leyendecker, Aubrey Beardsley and his admittedly favorite illustrator, Lord Frederic Leighton. Art historians have remarked that across his body of work, a clear homoeroticism can be detected in the proportions and the haughty attitude of his young male subjects, evidenced here by the dance's onlookers.
Estimate
$500 – $750
Rienecke (dates unknown)
Pagan Rout III the Golden Ball of Isis.
Lithographed announcement, 385x257 mm; 15⅛x10⅛ inches. A "withdrawn" NY Public Library Stamp on the verso. 1917.
The Liberal Club, begun in 1913 by Henrietta Rodman (also a member of the Heterodoxy Club-a feminist debating society that was a haven for bisexuals and lesbians), played an integral role in establishing Greenwhich Village as a bohemain enclave. The club's yearly "Pagan Routs" became one of their most visible activities and were their primary a strong fundraiser.
Estimate
$800 – $1,200
1920s - 1930s
Francis orville libby (1883-1961)
Male figure on the beach, Maine.
Silver print, the image measuring 260x346 mm; 10¼x13⅝ inches, the mount 387 mm; 15¼ inches square, with Libby’s signature and date in pencil on mount recto. 1918.
Estimate
$1,200 – $1,800
(djuna barnes 1892-1982)
Portrait of writer Djuna Barnes, apparently supplied to the American Academy of Arts and Letters upon her induction in 1959.
Silver print, the image measuring 235x152 mm; 9¼x6¼ inches, the mount 356x254 mm; 14x10 inches, with the Pach Brothers' imprint on mount recto. Circa 1920s.
With--A letter written by Jeff Schaire, a former editor-in-chief of Art and Antiques Magazine, describing some context of this work, which was supplied by Barnes to the American Academy of Arts and Letters upon her induction. The Pach Brothers studio was commissioned to create a new portrait of each inducted member, however apparently Barnes insisted on supplying her own image, which was then mounted to a Pach Brothers' board. Both Man Ray and Berenice Abbott photographed Barnes in the 1920s, but this image, featuring a striking high-necked polka dot blouse and hat, is uncredited.
Djuna Barnes was an avant-garde American artist and writer, perhaps best known for her novel Nightwood, a work employing themes of love, gender, and sexuality.
Estimate
$2,000 – $3,000
(paul swan 1883-1972)
A stylized portrait of the dancer, artist, and eventual gay icon by Charlotte Fairchild.
Silver press print, the image measuring 241x191 mm; 9½x7½ inches, the sheet slightly larger, with two typed caption labels (one obscuring the photographer’s credit stamp), two press stamps, and the date and various notations in pencil on verso. April 10, 1926.
Paul Swan was an American painter, sculptor, dancer, poet, and actor, known for his beauty, unconventional behavior, and gender nonconformity. He performed Greek-inspired dance throughout his career, finding it to be a near-perfect mode of expression. His near nude performances shocked even Paris, where he performed for a time in the 1930s. Later he held weekly Sunday dance recitals from his studio in Carnegie Hall (1939-1969). His approach, which remained unchanged over the decades, came to be perceived as campy, and Andy Warhol included him in his 1965 underground film Camp. Swan’s many faceted career also included appearances in silent films, including Cecil B. DeMille’s The Ten Commandments, and painting and sculpture commissions. His bust of Willa Cather is in the Nebraska Capitol Building.
Estimate
$800 – $1,200
(féral benga)
A pair of portraits of the iconic figure François “Féral” Benga.
Toned silver prints, one measuring 149x95 mm; 5⅞x3¾ inches, the sheet 229x137 mm; 9x5⅜ inches, the other 229x137 mm; 9x5⅜ inches, each with the photographer Waléry’s (Stanislaw Julian Ignacy Ostroróg) signature in ink on recto, and his Paris stamp on verso. Circa 1925-1929.
Estimate
$4,000 – $6,000
Radclyffe hall (1880-1934)
The Well of Loneliness.
New York: Covici Friede, 1929.
Two-volume Victory edition, copy number 148 of 225 printed, of which 201 were offered for sale; in the original publisher's slipcase (damaged), and signed by Hall before the limitation page.
Estimate
$400 – $600
Radclyffe hall (1880-1934)
Miss Ogilvy Finds Herself, Signed Copy.
London: Heinemann, [1934].
Second edition, signed by Hall on half-title, with holograph date, 16 September 1934; octavo, in the publisher's original dust jacket, 7 1/4 x 4 3/4 inches.
Estimate
$300 – $500
Harry hay (1912-2002)
Classmate’s 1929 Los Angeles High School yearbook Blue and White containing printed poem by Hay, Signed by him,
In pencil. Numerous signatures and inscriptions throughout by classmates of Hay and Margaret Helen Murray, to whom the yearbook was issued. Including Hay's signature, in pen, on page 128 next to his poem, "Songs of the Soil," four stanzas in two parts about a Spanish-speaking fruit vendor. 278 pages. 4to, embossed cloth, moderate rubbing overall; hinges starting. Los Angeles, 1929.
Hay, a founder of the Mattacine Society, attended Los Angeles High School before Stanford University, where he studied for two years.
Estimate
$200 – $300
Cecil beaton (1904-1980)
Nora Holt.
Silver print, the image measuring 273x194 mm; 10¾x7⅝ inches, with Beaton’s credit stamp, the title in pencil in Beaton’s hand, additional notations also in pencil in an unknown hand, and the Beaton Studio / Sotheby Parke Bernet stamp with the edition notation 1/2 in ink on verso. Circa 1930.
From the Sotheby Parke Bernet / Cecil Beaton Estate sale in 1978; to the Present Owner.
Estimate
$800 – $1,200
Cecil beaton (1904-1980)
Self-Portrait in New York on a Sunday Morning.
Silver print, the image measuring 162x210 mm; 6⅜x8¼ inches, with Beaton’s signature and title in pencil, the Beaton Studio / Sotheby Parke Bernet stamp with the edition notation 1/2 in ink, and the Alfred Carlebach Studio credit stamp on verso. Circa 1937.
From the Sotheby Parke Bernet / Cecil Beaton Estate sale in 1978; to the Present Owner.
Estimate
$2,000 – $3,000
Alexander jensen yow (1925 - )
Portrait of Cecil Beaton.
Silver print, the image measuring 241x191 mm; 9½x7½ inches, the sheet slightly larger, with Yow’s initials in pencil on verso. Circa 1950s
Estimate
$1,000 – $1,500
George platt lynes (1907-1955) & monroe wheeler (1899-1988)
Untitled.
Silver print, the image measuring 165x222 mm; 6½x8¾ inches. Early 1930s.
This photograph comes from a group of approximately 20 silver prints that were discovered in two manila envelopes (like the unmarked envelopes that were used to send risqué and “illegal” material through the mail in the first part of the 20th century) in the Monroe Wheeler Estate. The envelopes were marked “Intimacies” and “MW-GPL PRIVATE.”
George Platt Lynes and Wheeler met in 1927 when Lynes was 20, and these photographs were presumably made of and by each other early in their relationship (this also corresponds to Lynes’ introduction to photography). The prints were found in a box that held personal mementoes, private notes and letters, some physique images cut out from magazines, and gifts given to/from the Lynes-Wheeler-Glenway Wescott triad, including a small bottle of “Love Potion No. 9” and a set of diamond-studded cufflinks with a note from Lynes to Monroe expressing his love. The boxes were stored in an attic for 25 years, untouched, along with other private material from Monroe Wheeler’s Estate that was left to Anatole Pohorilenko and left untouched until Pohorilenko’s death in 2014.
We can presume that they were only seen by the trio and possibly some very close friends. In most cases, the images are unique. This image is one of three copies, each of which are very slight variants (mostly differences in the size of the borders and paper, including a cropped version of the larger image). The print is warm-toned and lush in its treatment of the human form, here both velvety rich and defined with compelling contrast.
The photographs are now housed in the Monroe Wheeler Archive, and to date they have largely not been shown, other than four that were included in David Zwirner’s 2019 exhibition The Young and Evil: Queer Modernism in New York, 1930-1955. This image is the endpaper for the accompanying book (and on page 16), which was edited by Jarrett Earnest, and with text by Earnest, Ann Reynolds, and Kenneth E. Silver.
Estimate
$10,000 – $15,000
George hoyningen-huene (1900-1968)
(Horst’s) Torso with Swim Trunks, Paris.
Silver print, the image measuring 241x178 mm; 9½x7 inches, the sheet slightly larger, with Horst’s signature and his notation “from The Collection of” in pencil, the Hoyningen-Huene Horst copyright stamp, Horst’s address stamp, and the R.J. Tardiff c/o Horst address stamp, and Hoyningen-Huene’s credit, title, and negative date in pencil in an unknown hand, on verso. 1929-1930; printed 1980s.
Estimate
$4,000 – $6,000
Herbert list (1903-1975)
Heinz Thiele.
Silver print, the image measuring 124x95 mm; 4⅞x3¾ inches, the mount 279x219 mm; 11x8⅝ inches, with the List Estate stamp and executor Max Scheler’s signature in ink on mount verso. 1932.
Estimate
$1,000 – $1,500
Ruth harriet louise (1903-1940)
Portrait of the American actor William Haines.
Silver print, the image measuring 229x178 mm; 9x7 inches, the sheet slightly larger, with Louise’s Metro-Goldwyn-Mayer credit stamp and an additionnal Metro-Goldwyn-Mayer stamp with the sitter’s name on verso. Circa 1930s.
Estimate
$600 – $900
William h. littlefield (1902-1969)
Two drawings.
Untitled (Nude Sketch), ink on buff wove paper, 774x342 mm; 30½x13½ inches. Signed and dated in ink, lower right * Male Nude (Development of 1928), pencil on paper, 564x350 mm; 22⅛x13⅞ inches. Signed, dated and notated in pencil, lower left recto. Both 1932.
Provenance: private collection, New Jersey.
William H. Littlefield spent his childhood at his mother's riding stable and attended Harvard in 1921, receiving an A.B. in 1924. The son of Samuel Horace Littlefield, a Harvard-educated medical doctor, he was known for his strength in drawing but did not practice fine art at university. He studied privately under Adeleine Wolever, Charles Woodbury, and Edmund Tarbell. In 1925 he met Nicholas Podiapolski, his future lover and muse that inspired his early practice. Littlefield became acquainted with Lincoln Kirstein and his circle in New England. In October of 1934, at Kirstein's request, Littlefield created the stage sets for Serenade and Mozartiana, the American Ballet of New York's first production, performed at the Wadsworth Atheneum in Hartford.
After the passing of his parents, he devoted himself to art criticism, painting, and arts administration in Provincetown and became a fixture in the local arts community, turning to abstractionism and set design until his death in 1969. Significant exhibitions include William H. Littlefield at the Harbor Hote, Bakker Gallery, Provincetown, Massachusetts, 2021; William H. Littlefield/Collage/Collaboration, and Correspondence (1949-1969), Provincetown Art Association and Museum, Massachusetts, July 7-September 3, 2006.
Estimate
$1,200 – $1,800
William h. littlefield (1902-1969)
Standing Nude.
Brush and ink and charcoal on joined cream wove paper. 805x490 mm; 31¾x19¼ inches. Signed and dated in pencil, lower right recto, and with artist's annotations in charcoal lower left recto. 1936.
Provenance: Private collection, New York.
Estimate
$1,200 – $1,800
William h. littlefield (1902-1969)
Exos, with a Bow.
Oil on linen canvas, 916x560 mm; 36⅜x22⅜ inches. Signed and dated in oil, lower right. Signed, titled and dated in oil, verso. 1933.
Provenance: private collection, New Jersey.
Estimate
$1,500 – $2,500
William h. littlefield (1902-1969)
Untitled (Nude).
Oil on linen canvas. 890x560mm; 35⅜x22⅜ inches. Signed and dated in oil, lower right. Signed, dated and inscribed "repainted over original of 1934 I model: Shirley Warren"in oil, verso. 1940.
Provenance: private collection, New Jersey.
Estimate
$1,500 – $2,500
Alexander cañedo (alejandro de cañedo (1902-1917)
The Dioscuri.
Watercolor and pencil with gouache. 345x338 mm; 13½x13⅜ inches. Signed in pencil, lower right recto. 1934.
Provenance: Private collection, New York.
Estimate
$2,500 – $3,500
Carl van vechten (1880-1964)
Self-portrait.
Silver print on carte-postale paper, the image measuring 140x86 mm; 5½x3⅜ inches, with Van Vechten’s blind stamp on recto. Circa 1934.
Estimate
$600 – $900
Carl van vechten (1880-1964)
Portrait of Gertrude Stein and Alice B. Toklas, New York.
Silver print, the image measuring 184x254 mm; 7¼x10 inches, with Van Vechten’s copyright stamp, his archive number in pencil, and the title and date, also in pencil in an unknown hand, on verso. November 4, 1934.
Estimate
$1,500 – $2,500
Carl van vechten (1880-1964)
St. Sebastian (Hugh Laing).
Silver print, the image measuring 356x279 mm; 14x11 inches, with Van Vechten’s archive number in pencil, and his credit and title also in pencil in an unknown hand on verso. Circa 1936.
Estimate
$800 – $1,200
Carl van vechten (1880-1964)
A portrait of the iconic figure François “Féral” Benga.
Silver print, the image measuring 254x178 mm; 10x7 inches, with Van Vechten’s blind stamp on recto and his copyright stamp on verso. Circa 1937.
Estimate
$1,000 – $1,500
Carl van vechten (1880-1964)
Allen Meadows * Geoffrey Holder.
Together, two photographs. Silver prints, the images each measuring approximately 251x191 mm; 9⅞x7½ inches, each with Van Vechten’s archive number in pencil and his credit and title, also in pencil in an unknown hand, on verso. Circa late 1930s.
Estimate
$800 – $1,200
Carl van vechten (1880-1964)
Portrait of Truman Capote.
Silver print, the image measuring 254x190.5 mm; 10x7½ inches, with Van Vechten’s address stamp and the title, date, and archive number in pencil on verso. 1948.
This photograph by Carl Van Vechten of iconic writer Truman Capote was taken in 1948 at the time his novel Other Voices, Other Rooms was published. The acclaimed publication was significant for its frank examination of homosexuality, which was in part autobiographical.
Estimate
$1,000 – $1,500
Francis renault (1893-1955)
Photograph postcard Signed and Inscribed, “For Midge / Sincerely / Francis / Renault / 1936,”
Np, 1936
half-length portrait showing him in feathered hat and pearls. Inscribed diagonally in the image at lower right, correspondence side blank. 5½x3½ inches; faint scattered dampstaining, some creasing at corners, moderate soiling to verso. Np, 1936.
“Renault’s given name was Antonio Auriemma. He was born in Naples, Italy before his family resettled in Providence, Rhode Island, where he was raised. In the early days of his career, he worked in Vaudeville as Francis Renault and got his break when he replaced female impersonator Julian Eltinge in a touring version of his Broadway show. Unlike Eltinge, Renault would wear his female costumes in public where he was touring. While it created publicity for the show, he was arrested several times. In 1913 he performed in Atlanta and contested local ordinance banning cross-dressing, to the consternation of the local police”–zagria.blogspot.com.
Estimate
$200 – $300
Mark beard (1956 - )
Two Rowers, 1936.
Oil on cotton canvas, 914x609 mm; 36x24 inches. Signed in oil, upper left. 1998.
Provenance: Wessel + O' Connor Gallery, New York, with gallery label on the frame back.
Born in Salt Lake City, Mark Beard uses multiple aliases to create various styles and methods of expression. Bruce Sargeant, Hippolyte-Alexandre Michallon, and Brechtoldt Streeuwitz are three alter egos that allow him to create. Sargeant, a fictional 20th-century British painter, creates homoerotic works that venerate the male physique. In addition to painting, he is a noted stage set designer, having designed more than 20 theatrical sets in New York, London, Cologne, Vienna, and Frankfurt.
Estimate
$3,000 – $4,000
Paul cadmus (1904-1999)
Francisco F.
Pen and ink and pastel on buff wove paper. 323x277 mm; 12¾x11 inches. Signed and inscribed "Francisco F." in ink, lower right recto. 1933.A preparatory drawing for the oil painting Francisco, 1933-40, in the collection of the Hood Museum of Art,Dartmouth.
Cadmus met his model, factory worker Francisco Femenias, on the island of Majorca in 1932-33. The sitter appears in a similar 1933 pencil drawing, Factory Worker: Francisco in the Hood Museum collection and another entitled Francisco, Factory Worker #2 in the collection of the Allen Memorial Art Museum, Oberlin College, Ohio.
Provenance: Midtown Galleries, New York, with the label; Christie's, New York, September 28, 1983, sale 5400, lot 59; private collection, New York.
Estimate
$6,000 – $9,000
Paul cadmus (1904-1999)
Two Boys on a Beach, No. 2.
Etching on greenish gray laid paper. 162x230 mm; 6⅜x9 inches, full margins. Edition of 151. Signed in pencil, lower right. Published by the Albany Print Club, New York. 1939.
A superb impression with strong contrasts. Davenport 43.This work depicts the writer Glenway Westcott (1901-1987) looking at the photographer George Platt Lynes (1907-1955).
Estimate
$5,000 – $8,000
Paul cadmus (1904-1999)
Youth with Kite.
Etching on cream laid paper. 262x138 mm; 10¼x5⅜ inches, full margins. Edition of 75. Signed in pencil, lower right. 1941.
A very good impression. Davenport 46.
Estimate
$1,500 – $2,500
Paul cadmus (1904-1999)
Group of 10 figure studies.
Including pencil, color crayon and charcoal drawings, three with sketches verso. One signed in white crayon, upper right recto. Various sizes and conditions. Circa 1965.
Provenance: Estate of the artist; Jon F. Anderson and Philis Raskind-Anderson, Connecticut; private collection, New York.
Estimate
$5,000 – $8,000
Paul cadmus (1904-1999)
Arabesque.
Etching. 170x170 mm; 6¾x6¾ inches, full margins. Artist's proof, aside from the second edition of 35. Signed, titled, numbered I/X and inscribed "II" in pencil, lower margin. Published by the Print Cabinet, with the blind stamp lower left. From Twelve Etchings. 1947, printed 1979.
A very good impression. Davenport 47.
Estimate
$1,200 – $1,800
Paul cadmus (1904-1999)
Waiting for Rehearsal.
Etching. 282x202 mm; 11¼x8¼ inches, full margins. Signed, titled and numbered 125/175 in pencil, lower margin. Printed by Pelavin, New York, with the blind stamp lower right. 1984.
A very good impression. Davenport 56.
Estimate
$1,200 – $1,800
Paul cadmus (1904-1999)
Nudo #1, #2 and #3.
Set of 3 etchings. Each 222x195 mm; 8¾x7⅝ inches, full margins. Each in the second state (of 2). Each signed, titled, inscribed "second state" and numbered 8/30 in pencil, lower margin. 1984. Very good impressions with strong contrasts.
Published in Davenport, The Drawings of Paul Cadmus, including a catalogue raisonné of the prints, New York, 1986, number 58.
Estimate
$5,000 – $8,000
Paul cadmus (1904-1999)
Art and Mort - Coffee Break.
Colored pencil on graphed paper, 453x554 mm; 17⅞x21⅞ inches. Titled in pencil, lower right.
Provenance: Estate of the artist; Jon F. Anderson and Philis Raskind-Anderson, Connecticut; private collection, New York.
Estimate
$2,000 – $3,000
Paul cadmus (1904-1999)
Dancer with Red Head Band.
Crayon and pencil on tracing paper, 747x601 mm; 18⅞x23⅞ inches. Signed in pencil, upper left. 1987.
Provenance: Estate of the artist; Jon F. Anderson and Philis Raskind-Anderson, Connecticut; private collection, New York.
This work from Cadmus is a preparatory sketch for Dancer with Red Head Band #NM207, 1987.
Estimate
$3,000 – $5,000
Paul cadmus (1904-1999)
Reproduction of his painting Night in Bologna Signed and Inscribed, twice:
“for Jack Weiser / greetings, Best wishes / Paul Cadmus.” Inscribed in blank lower margin, and again in the same words on verso. The reproduction, a photograph by Oliver Baker. 254x178 mm; 10x7 inches; few minor scattered creases, faint scattered staining verso touching inscription, ink studio stamp on verso, remnants of mounting at corners verso.
Estimate
$150 – $250
Beauford delaney (1901-1979)
Untitled (Portrait of Young Man).
Watercolor and pastels on green wove paper, 622x469 mm; 24½x18½ inches. Signed and dated in pencil, right center. 1938.
Provenance: acquired directly from the artist's brother Joseph Delaney; private collection.
This sensitive portrait is an early work by Beauford Delaney, made while he was living and working in Greenwich Village. He settled in the Village due to his ideals of integration and a bohemian lifestyle that he saw fit for himself. Delaney painted portraits of friends, supporters, and public figures relevant to him. His social consciousness led him to portray his friends and associated with all racial and sexual backgrounds. He depicted both black and white people, and the hetero-normative and queer residents of the Village. Delaney lived a romantically solitary life as he chose not to express his underlying sexuality due to his strict religious upbringing and the politics of the era.
Estimate
$6,000 – $9,000
Avel de knight (1923-1995)
Two Drawings.
Untitled (Two Young Men), charcoal on tracing paper, 184x279 mm; 7¼x11 inches. Untitled (Two Young Men), charcoal on tracing paper, 361x285 mm; 14¼x11¼ 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
$800 – $1,200
Avel de knight (1923-1995)
Two Drawings.
Untitled (Young Man Reclining), charcoal and red chalk on tracing paper, 194x254 mm; 7⅝x10 inches. Untitled (Young Men), charcoal on tracing paper, 266x2209 mm; 10½x8¼ 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
$800 – $1,200
Avel de knight (1923-1995)
Three Drawings.
Untitled (Two Young Men Meet in a Bar), charcoal on tracing paper, 306x228 mm; 12⅛x9 inches. Untitled (Two Young Men Parting Ways), charcoal on tracing paper, 355x260 mm; 14x10¼ inches.Untitled (Two Young Men Parting Ways), charcoal on tracing paper, 343x260 mm; 13½x10¼ 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
$2,000 – $2,500
Avel de knight (1923-1995)
Three Drawings.
Untitled (Two Young Men), charcoal on tracing paper, 190x241 mm; 7½x9½ inches. Untitled (Two Young Men), charcoal on tracing paper, 279x228 mm; 11x9 inches.Untitled (Two Young Men), charcoal on tracing paper, 254x321 mm; 10x12⅝ 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
Avel de knight (1921-1996)
Saint Sebastian (Père Lachaise).
Watercolor and ink on cream wove paper, 220x245 mm; 8⅞x9⅞ inches. Signed in ink, lower right. 1991.
Provenance: gift from the artist to art historian, Karl Lunde; acquired by descent, private collection, NJ (2009).
Exhibition: Avel de Knight: Paysages Intimes, La Maison Française New York University, March 1-24, 1993.
Appearing as if a mirage, out of an apparition, Avel de Knight's Saint Sebastian (Père Lachaise) is a powerful symbol of the early Christian saint and martyr. Saint Sebastian was executed for converting his fellow Roman soldiers to Christianity. Then rehabilitated by a pious widow but faced the Roman Emperor and beaten to death.
Spiritual members of the queer community have come to view him as a queer icon and martyr due to his eroticized portrayals that began within late nineteenth-century gay circles. De Knight and many artists before him were inspired by the symbolism of the arrows penetrating his body, countenance of rapturous pain, and resilience in the face of persecution resonating with them. The location, Père Lachaise, acts as an ideal memorial and conjuring site for the martyr, which is in tune with De Knight's sense of myth and romanticism.
Estimate
$800 – $1,200
1940s
Bernard perlin (1918-2014)
Union Square Pickup.
Silverpoint on card. 286x177 mm; 11¼x7 inches. Signed and dates in silverpoint, lower right recto. 1942.
Provenance: Estate of the artist; private collection, Los Angeles.
Estimate
$2,000 – $3,000
Jean cocteau (1889-1963)
Satyr.
Color pastels on light gray wove paper. 662x510 mm; 26x20⅛ inches. Signed in pastel, lower right recto.
Provenance: Private collection, Massachusetts.
Estimate
$2,000 – $3,000
Jean cocteau (1889-1963)
Sur la plage.
Color lithograph on cream wove paper. 565x380 mm; 22¼x15 inches, full margins (sheet). Signed, dated and numbered 60/220 in pencil, lower margin. 1958.
A very good impression.
Estimate
$1,000 – $1,500
Stephen tennant (1906-1986)
“Marseilles, Villes d’oeillades!” * “Scent Adieu Sagesse! toute l’heures.” *
Double-sided color drawing, with notations in French, by Tennant, within images. Mixed media, with watercolor, crayon, pen, and ink on paper. 235x200 mm; 9¼x7⅞ inches, full sheet, the paper once folded in half horizontally, with hard fold (partly separating). Signed "Stephen Tennant" in ink.
Recto contains numerous portraits of Marseille locals. A note in the upper right corner reads (in English) "A book doesn't need a precedent." The verso contains a verdant waterside scene of nude women among grapevines, rendered in yellow, with a small menu sketched below signature, reading "Le Café Brasil."
British writer and aristocrat Stephen Tennant cultivated a life of glamour if accomplishing little professionally during his life. As one of the most colorful members of London's "Bright Young Things," the group of Bohemian socialites in the 1920s, he stood out for his flamboyance, beauty, and wit, among his more productive companions who included Harold Acton, Cecil Beaton, Evelyn Waugh, the Mitfords and the Sitwells, though he did inspire numerous characters in their novels. His own literary and artistic ambitions were fostered by such illustrious friends as Willa Cather, E.M. Forster, the Bloomsbury Group members, and Siegfried Sassoon, with whom he had a romantic relationship.
The majority of his surviving - and now coveted - writing and artwork was centered around his novel "Lascar," which remained unfinished at his death, despite several decades devoted to its creation. Some of the drawings for Lascar have come on the market and the ones offered here, which bear a strong resemblance to those, may also have been intended for the book.
Estimate
$3,000 – $4,000
(tennessee williams)
Portrait of the playwright at a farewell party with his two producers, Irene Selznick and Margo Jones.
Silver press print, the image measuring 178x225 mm; 7x8⅞ inches, with three Brown Brothers credit stamps, one Brown Brothers label, and a typed catpion label, on verso. Circa 1947.
Estimate
$600 – $900
Tennessee williams (1911-1983)
Grand.
12mo, publisher's yellow cloth stamped in lavender and black; original glassine dust jacket, few tears and small chips.
First edition, number 211 of 300 signed copies. This copy with an additional presentation inscription: "For Lilla / Keep the old / pornography going / Love, / Tennessee." The recipient, Lilla Van Saher, was a friend and sometime "beard" of Williams who authored several books including such classic Lesbian Pulp rack-jobs as Adam and Two Eves, and Mocambo, among others. A nice literary association. NY, 1964.
Estimate
$500 – $700
Diary of a young navy veteran in Los Angeles after World War Two.
[147] manuscript diary pages. Octavo, original plain buckram, minor wear and staining, signed by the author on the front pastedown; at least 3 leaves removed (apparently without diary text), a lucky penny glued to rear pastedown, otherwise minimal wear to contents. Various places, January 1945; almost daily from January to September 1948, plus a few scattered long entries in February 1950 and November 1952.
This young man (not named in our catalog because he was not a public figure) began this diary in the navy, working at the neuro-psychiatric ward in a naval hospital in San Diego. The bulk was written in 1948, spending a spring semester enrolled at Arizona State University in Flagstaff and then off to the beaches of Los Angeles. The author often annotated the diary with sequential circled numbers in the margins. For example on 9 May 1948 in Arizona, he wrote “met a rebel named Preston & spent the nite out at Barker’s Village,” noting it with a circled “18.” On 17 May, “met two Navy men, Art & Ralph. . . . They came in & Art & I went to the museum for a drink. We later met Ralph. Then home–very late to bed.” This entry earned a circled “19” and “20.” On 22 May “went into town for a final night in Flag[staff]. The usual # of drunks, Indians & cowboys, etc. Fooled around & then slept in penthouse of Bury Hall.” A circled “22” is next to this entry. Visiting Tucson on 17 June, “met a Bill J from Houston and we fooled around until I left at 9:30.” This was number 25. He spent the summer of 1948 in Los Angeles, where he became less cryptic. On 24 June 1948, “read a marvelous book ‘The City and the Pilar’ by Gore Vidal. I want to buy a copy as it is something, for me, of a textbook.” “The City and the Pillar” was the most prominent novel of its era to feature a gay protagonist. He added (with circled numbers “27” and “½”): “Slept out one night in Venice . . . God! What a life! I want to stop being so damned foolish and wait for the right one. . . . I feel like an imposter among imposters, yet am not a member elsewhere! . . . There are three people here whom I think quite nice and not so ordinary as most of these faggots.” Our diarist had little income and sometimes slept on the beach. On 25 June 1948, he circled a “28” after writing “Listened to music at Zanzibar, was done for trade & then home.” The next day, he notched 29 and 30: “Oh, if only one event hadn’t happened! I hope I’m not going to the dogs and can maintain control of myself. Feel so disgusted and ashamed, all the way through. Got into town & . . . fooled around–Army–was trade again.” He soon stopped numbering his encounters. On 2 July, “We went down to the Square, the Circle, Maxwell’s, etc. What places those are! All the mad faggots in town gather and laugh & be aloof with/to each other.” On 7 August, “spent last night on the beach. Rather tiring. I was trade.” Our author began taking classes at UCLA, in 1949 transferred to Arizona State University, and announced proudly on 31 January 1950 that he was awarded his Bachelor of Science degree in Social Welfare. A long entry in February 1952 documents his return to California, where he found himself “an habitué of Dopey’s, fountain hangout of the Ocean Park Shady Side: queers, mugs, whores, beauty parlor operators, pimps, gamblers, police & a few neighbors who just didn’t care. Dopey was a big fat character who lived over the fountain. He used to drag his tricks up there. The apt. had a peephole & often he would let friends use it & then watch their performance through the hole.” He also describes a violent incident at a drag ball where a thug attacked one of the performers: “We hid in an irrigation ditch & the rest of the summer were scared of Sonny.” Tucked into the diary is a small photograph of the author. It is unsigned, but matches a portrait of the author in a drum major competition which appeared in a 1941 newspaper (copy enclosed).
Estimate
$1,500 – $2,500
Jared french (1905-1988)
Murals by Jared French, Julien Levy Gallery.
10, [2] pages including wrappers. Octavo, original illustrated wrappers, minor foxing; just a bit of rust at the staple. New York, January 1939.
An exhibition catalog for eight of French's WPA murals which were en route for display in Richmond, VA and West Coxsackie, NY. It includes a brief introduction by art dealer Julien Levy and a longer commentary by novelist Glenway Wescott: "He will go on painting his chosen creatures, like these--mythological-looking immature proletariat: handsome, as the native work and play and climate have made them; vain and graceful and dressy as they are in fact."
Estimate
$400 – $600
Pajama (paul cadmus, jared french, and margaret french)
Jared French.
Silver print, the image measuring 168x121 mm; 6⅝x4¾ inches, with the Collection of Jon Anderson and Collection of Paul Cadmus stamps on verso; with a DC Moore label and Ten Studio Hill stamp on mat verso. Circa 1940s.
From the Collection of Paul Cadmus and Jon Anderson, D.C. Moore Gallery.
Estimate
$2,000 – $3,000
Pajama (paul cadmus, jared french, and margaret french)
Portrait of a model by Jared French.
Silver print, the image measuring 168x117 mm; 6⅝x4⅝ inches, with the notation “a model by JF” in ink in an unknown hand, and the Collection of Jon Anderson and Collection of Paul Cadmus stamps on verso. Circa 1940s.
From the Estate of Paul Cadmus.
Estimate
$2,000 – $3,000
Pajama (paul cadmus, jared french, and margaret french)
Paul, Provincetown.
Silver print, the image measuring 111x171 mm; 4⅜x6¾ inches, with the title in pencil in an unknown hand on verso. Circa 1940s.
From the Estate of Paul Cadmus.
Estimate
$1,400 – $1,800
Pajama (paul cadmus, jared french, and margaret french)
Bob Wallace by Jared French.
Silver print, the image measuring 165x108 mm; 6½x4¼ inches, with the notation “Bob Wallace by JF,” date, and studio address in pencil in Cadmus’ hand, and the Collection of Jon Anderson and Collection of Paul Cadmus stamps on verso. 1947.
From the Estate of Paul Cadmus.
Estimate
$2,500 – $3,500
Pajama (paul cadmus, jared french, and margaret french)
Jared French by Paul Cadmus.
Silver print, the image measuring 121x83 mm; 4¾x3¼ inches, the sheet slightly larger, with Cadmus’ credit in pencil in an unknown hand and the Collection of Jon Anderson stamp, on verso. 1940s.
From the Estate of Paul Cadmus.
Estimate
$2,000 – $3,000
George platt lynes (1907-1955)
Portrait of Jared French.
Toned silver print, the image measuring 232x187 mm; 9⅛x7⅜ inches, with Lynes’ 640 Madison Avenue stamp on verso. Circa 1940s.
Estimate
$2,000 – $3,000
George platt lynes (1907-1955)
Portrait of Paul Cadmus.
Silver print, the image measuring 216x178 mm; 8½x7 inches, with Lynes’ 640 Madison Avenue stamp, the Collection of Paul Cadmus stamp, and Cadmus’ name and date in ink in his hand, on verso. Circa 1940s.
From the Estate of Paul Cadmus.
Estimate
$2,500 – $3,500
George platt lynes (1907-1955)
Yul Brynner.
Silver print, the image measuring 229x181 mm; 9x7⅛ inches, with Lynes’ credit stamp on verso. 1942.
Estimate
$3,000 – $4,000
George platt lynes (1907-1955)
Nicholas Magallanes and Francisco Moncion in Balachines’s Orpheus II.
Silver contact print, the image measuring 254x203 mm; 10x8 inches, with Lynes’ 145 East 52 Street stamp on verso. 1948.
Estimate
$3,000 – $4,500
George platt lynes (1907-1955)
Alexander Jensen Yow Leaning on Bed.
Silver print, the image measuring 235x191 mm; 9¼x7½ inches, the sheet slightly larger, with Lynes’ 229 East 47 Street stamp on verso. Circa 1952.
Estimate
$2,000 – $3,000
George platt lynes (1907-1955)
Portrait of Herbert Bliss.
Silver print, the image measuring 241x191 mm; 9½x7½ inches, with Lynes’ pseudonym Roberto Rolf 229 East 47th Street stamp and the sitter’s name in pencil in an unknown hand on verso. Late 1940s-early 1950s.
Estimate
$2,500 – $3,500
George platt lynes (1907-1955)
Ted Starkowski.
Silver print, the image measuring 235x191 mm; 9¼x7½ inches, with the Collection of Paul Cadmus, Collection of Jon Anderson, and Ten Studio Hill stamps, and Lynes’ and Starkowski’s credits in pencil and ink, on verso. Circa 1950.
From the Collection of Paul Cadmus and Jon Anderson.
Estimate
$3,000 – $4,500
George platt lynes (1907-1955)
Chuck Howard.
Toned silver print, the image measuring 238x194 mm; 9⅜x7⅝ inches, with Lynes’ 145 East 52 Street stamp and the sitter’s name in pencil in an unknown hand, on verso. Circa 1950s.
From the Estate of Chuck Howard.
Estimate
$2,000 – $3,000
Angus mcbean (1904-1990)
David (Ball) sends Christmas greetings.
Silver print mounted in a folded greeting card, the image measuring 165x117 mm; 6¼x4⅝ inches, the mount 248x178 mm; 9¾x7 inches, with McBean’s copyright stamp on mount verso. 1949.
Angus McBean was known as a mask maker and set designer before turning to theatrical photography full time. Innovative and prolific, his style became hugely influential, particularly as a celebrity portrait photographer. McBean was arrested in 1944 on charges of homosexuality and was imprisoned for two years. Nevertheless, after the war, McBean successfully resumed his career. His photograph of the Fab Four served as the cover of The Beatles’ first album Please Please Me.
Estimate
$500 – $750
Angus mcbean (1904-1990)
Surrealist beach scene with a male figure.
Hand-colored silver print, the image measuring 505x679 mm; 19⅞x26¾ inches, flush mounted. Circa 1949.
Angus McBean was known as a mask maker and set designer before turning to theatrical photography full time. Innovative and prolific, his style became hugely influential, particularly as a celebrity portrait photographer. McBean was arrested in 1944 on charges of homosexuality and was imprisoned for two years. Nevertheless, after the war, McBean successfully resumed his career. His photograph of the Fab Four served as the cover of The Beatles’ first album Please Please Me.
Today McBean is also considered a cult figure associated with surrealism. In addition to his “surrealized” portraits of actresses such as Audrey Hepburn and Vivien Leigh, McBean created inventive tableuax that featured elaborate miniatures he designed and construced himself, spending weeks to achieve the desired effect. These images often served as McBean’s Christmas cards, but this large, gorgeously hand-colored silver print is an usual and exceedingly rare oversized example of this work. In it, a nude male figure emerges from the sand under a dreamy pastel sky. In the background, a mysterious figure in gold underneath a tattered sail beckons.
Estimate
$18,000 – $22,000
Horst p. horst (1906-1999)
Male Nude, NY (hands behind buttocks).
Silver print, the image measuring 244x191 mm; 9⅝x7½ inches, the sheet slightly larger, with Horst’s signature in pencil, his copyright stamp, address stamp, and a R.J. Tardiff c/o Horst address stamp, and additional notations including the title, negative date, and other edition and exhibition information, also in pencil in an unknown hand, on verso. 1952; printed 1980s.
Estimate
$4,000 – $6,000
(tab hunter)
Portrait of Tab Hunter.
Silver copy print, the image measuring 244x191 mm; 9⅝x7½ inches, the sheet slightly larger, with the inventory number TH6 in the negative and Hunter’s autograph in pencil on recto. Circa 1957.
Estimate
$1,000 – $1,500
Wallace seawell (1916-2007)
Portrait of Johnny Mathis.
Silver press print, the image measuring 241x191 mm; 9½x7½ inches, the sheet slightly larger, with Seawell’s blind stamp on recto, and his Paul Hesse Studios credit stamp and the sitter’s name and notation “album cover” in ink on verso. 1959.
Estimate
$600 – $900
(gay night life)
Night Owl Bar.
Silver print, the image measuring 98x121 mm; 3⅞x 4¾ inches, the sheet slightly larger. Circa early 1950s.
Estimate
$1,500 – $2,000
Samuel steward (1909-1993)
Untitled.
Watercolor and ink on wove paper, 241x374 mm; 9½x14¾inches.
Provenance: estate of the artist; acquired by the Johnny Cakes Books, Salisbury, Connecticut; purchased from above, 2014 by current owner, private collection, New York.
Raised in a Protestant household fearing sexuality, Samuel Steward quickly realized he was attracted to other boys. Steward attended Ohio State University and graduated with a Ph.D. in English in the early 1930s. He taught at Ohio State during his last year there and, after graduation, moved around to teaching positions at Carroll College in Montana, Washington State University, and Loyola University in Chicago. He arrived at Loyola in 1937, but left academia believing it didn't afford him enough time for writing or his other passion, tattooing. He used the moniker Phil Sparrow in the early 1960s as a tattoo artist on Chicago's notorious South State Street. Steward worked closely with Alfred Kinsey on his landmark sex research. In 1964, he took his tattooing skills to California when he relocated to the East Bay Area. He was the tattoo artist of the Hells Angels Motorcycle club. Steward became an intimate friend of Gertrude Stein, Alice B. Toklas, and Thornton Wilder while maintaining a secret sex life from childhood on and documented these experiences in brilliantly vivid (and often very funny) detail.
Using the aliases Ward States, John McAndrews, and Donald Bishop, he was a prolific essayist in the first European gay magazines; as Phil Andros, he was the author of a series of popular pornographic gay novels during the 1960s and 1970s. He used drugs throughout his life and became addicted to barbiturates at the end of his life. He also struggled with his psychological health, suffering "through long periods of dark depression, loneliness and self-destructive behavior."
Estimate
$2,000 – $3,000
Duncan grant (1885-1978)
Two drawings on paper.
Couple, pen and ink. 122x185 mm; 4¾x7¼ inches * Blue Stool and Red Pillow, pen and ink with watercolor. 125x170 mm; 4⅞x6¾ inches. Circa 1965.
Provenance: Private collection, New York.
Estimate
$1,000 – $1,500
George daniell (1911–2002)
Key West Beach.
Watercolor and pen and ink on cream wove paper. 360x260 mm; 10¼x14¼ inches. Signed in ink, lower right recto, and signed, titled and dated in pencil, verso. 1968.
Provenance: Private collection, Maine.
Estimate
$1,000 – $1,500
Crawford barton (1943-1993)
Deep Creek, Mojave.
Silver print, the image measuring 337x229 mm; 13¼x9 inches, the sheet 356x279 mm; 14x11 inches, with Barton’s signature in ink on recto, and the title and date in pencil in an unknown hand on verso. 1967.
Estimate
$1,500 – $2,000
Keith vaughan (1912-1977)
Untitled (Male Nude).
Pen and ink on cream wove paper. 196x110 mm; 7¾x4⅜ inches. Circa 1945.
Provenance: Private collection, Santa Fe.
Estimate
$800 – $1,200
Blade (neel bate 1916-1989)
“Jack.”
Graphite on paper. 280x217 mm; 11x8½ inches. Signed and dated “Blade 55” in pencil, lower right; titled on verso. Bate was known as “Blade,” as he signed this drawing. He was an American underground artist of gay erotic art whose career began in the 1930s and is best known for his 1948 series of drawings “The Barn.” Like many artists, his work was initially distributed underground as a result of American obscenity laws. His first one-man show was held at the Leslie-Lohman Gallery in SoHo in November of 1980. Its success launched him into greater popularity and his most artistically productive decade. Bate died on June 27, 1989, the twentieth anniversary of the Stonewall riot.
Estimate
$600 – $900
Brian stonehouse (1918-1998)
Portrait of woman.
Graphite on paper. 460x197 mm; 18x7¾ inches, roughly, as paper edges unevenly trimmed. Signed and dated "Brian Stonehouse-N.Y.C. 1956" in lower right image. Tipped to matte and framed.
Stonehouse was a fascinating figure. He served as a World War II spy and went on to become one of the most prominent fashion illustrators throughout the 1950s-60s.
British born but raised in France, his artistic and translation skills earned him the position of Special Operations Executive during the war. He was captured and sent to prison in Germany where, for a time, an SS guard who was sympathetic and appreciated his skills, assigned him to create portraits of officers and their families. He barely survived further imprisonment and concentration camps and formed the International Prisoners Committee with fellow British officers, assisting war victims and raising morale until Liberation Day in 1945. After the war, he resumed his artistic ambitions, emigrating to New York and becoming the first fashion illustrator hired by Vogue since 1939. For the next three decades, his work for Vogue, Harper's Bazaar, and print advertising focused on women's fashion, until the liberal air of the 70's allowed him the freedom of expression to begin creating homoerotic imagery and fine art. Only a small body of his original artwork survives, though a small but excellent show of his drawings was on display at the Henry Miller Fine Arts exhibition at Coningsby Gallery in England last year.
Estimate
$500 – $750
Samuel steward (1909-1993)
Untitled (Erotic Fantasy).
Ink on paper. 420x293 mm; 16½x11¾ inches. Unsigned. Circa 1959. Unexamined out of archival frame.
This wild work is a homoerotic take on Hieronymous Bosch's The Garden of Earthly Delights with human and fantastical creatures engaged in myriad ithyphallic activities.
Steward was an early and wildly prolific pioneer of the erotic arts and somewhat of a Renaissance man. He was a young friend of Gertrude Stein, Alice B. Toklas, Thomas Mann, André Gide, and Thornton Wilder, who influenced his early endeavors as a poet, novelist, and professor of English Literature. Leaving academia to become a tattoo artist under the tutelage of Admund Dietzel, he eventually became the official inker of the Hell's Angels motorcycle gang. In the 1960s he published a series of extremely popular erotica, often on the themes of sadomasochism and interracial relations, under the name of Phil Andros. Throughout these periods, he was also a spiritualist, (unofficial) sex researcher for Alfred Kinsey (with whom he shared his detailed sex journals and photographs), a pulp pornographer, and homoerotic artist/illustrator, sometimes under his own name or pseudonymously. Among biographies of pioneering gay figures, Steward's is certainly one the most fascinating and entertaining.
Estimate
$1,200 – $1,800
Ray johnson (1927-1995)
Untitled.
Mixed media collage on postcard. 85x140 mm; 3¼s5½ inches. Signed in green crayon, lower right recto. Circa 1958.
Provenance: Private collection, Maine.
Estimate
$800 – $1,200
Theodore titolo (1928 - )
Untitled.
Brush and ink and watercolor on cream wove paper. 280x210 mm; 11x8¼ inches. Dated in ink, lower right recto. 1963.
Estimate
$700 – $1,000
Mariette lydis (1887-1970)
Portrait of Two Women.
Oil on canvas. 550x450 mm; 21⅝x18 inches. Signed and dated in oil, lower right recto. 1964.
Provenance: Private collection, New York.
Largely self-taught, Lydis did not dedicate herself to the visual arts until she was in her thirties. Upon moving to Paris in 1925, she gained access to the avant-garde circle of artists and gained commissions as an illustrator while growing her reputation as a painter and lithographer. With the onset on World War II, she sought refuge in Buenos Aires where she spent the majority of her remaining years.
Lydis is known for her depictions celebrating lesbian and bisexual relationships. She personally lived as a bisexual, marrying three men throughout her life and spending her years in Buenos Aires with her partner Erica Marx.
Estimate
$1,000 – $1,500
Corita kent (1918-1936)
Mmmarvelous Sunkist Taste!
Serigraph on fiber paper. 444.5x368 mm; 17 1/2 x 14 1/2 inches. Circa 1965; signed in pen, lower right, “Sister Mary Corita,” with three stanzas of a poem by Joseph Pintauro that begins, “When the day is as clear as perfect ice,” colors slightly faded, unframed,
Estimate
$500 – $700
(drag queen culture)
A selection of 17 movie stills from “The Queen.”
Silver copy prints, the images measuring approximately 178x229 mm; 7x9 inches, the sheets 203x254 mm; 8x10 inches, each with the printed title, release date, and production members on recto; accompanied by an original newspaper advertisement for the film. 1968.
This 1968 documentary directed by Frank Simon and featuring Flawless Sabrina depicted the experiences of the drag queens organizing and participating in the 1967 Miss All-America Camp Beauty Contest at New York City's Town Hall. The film was America's first look at the subculture of drag, predating Paris is Burning and setting the stage for the drag queen culture of the 1970s and beyond.
“The Queen” also featured Crystal LaBeija, who makes it the final round of the competition, and accuses the Flawless Sabrina of favoring the white contestants. Prior to the competition, LaBeija was one only a few African American drag queens to be awarded a “Queen of the Ball” title at a drag ball, and, deciding not to continue participating in a disciminatory system, she worked with another Black drag queen, Lottie LaBeija, to host a ball for Black queens. Their first event was the first to be hosted by a House, for which the term was coined. Cyrstal LaBeija would become the founder of the House of LaBeija and had a foundational role in the formation of “Houses” and underground ball culture.
Estimate
$700 – $1,000
Lloyd yearwood (1925-2011)
Photograph of a drag club in Harlem.
Silver print, the image measuring 165x114 mm; 6½x4½ inches, the sheet slightly larger, with Yearwood’s New York address stamp and a title in pencil in an unknown hand on verso. 1960s.
Estimate
$400 – $600
Geoffrey holder (1930-2014)
Figure with raised arm.
Silver print, the image measuring 292x257 mm; 11½x10⅛ inches, with Holder’s signature in pencil on verso. Circa 1980s.
Estimate
$1,800 – $2,200
Edwin townsend (1879-1957)
Nude with Chains.
Silver contact print, the image measuring 244x197 mm; 9⅝x7¾ inches, the sheet slightly larger. 1930s-40s.
Estimate
$1,000 – $1,500
Edwin townsend (1879-1957)
Tony Sansone with Sword.
Silver contact print, the image measuring 248x197 mm; 9¾x7¾ inches, the sheet slightly larger. 1930s-40s.
Estimate
$1,000 – $1,500
(tony sansone)
Progressive Home Physical Training by Tony Sansone.
A group of 7 posters, most measuring overall 438x673 mm; 17¼x26½ inches, and the reverse, and slightly smaller, the last lesson 813x438 mm; 32x17¼ inches, each with Sansone's printed copyright and date and the first also noting that other sizes and prints are available. 1938.
Including lesson numbers 1, 3, 4, 5, 6, 7, and 10. Each sheet a complete lesson with a series of numbered photographs demonstrating Sansone's exercises as performed by a strapping man; the last lesson is a printed table of muscles and the exercises best applied to develop each (referencing the numbered exercises in the full set).
Estimate
$1,500 – $2,500
(george quaintance)
A signed photograph of the artist George Quaintance (1902-1957).
Silver print, the image measuring 238x190 mm; 9⅜x7½ inches, with a photographer's credit in the negative and Quaintance's signature and inscription in blue ink in the image on recto. Circa 1940s.
The artist is depicted standing with his palette in front of an easel on which rests his 1948 painting Harvasu CreekGeorge Quaintance is well-known for his idealized and homoerotic depictions of men in mid-20th-century physique magazines. Chiseled cowboys and idealized male bodies populate his imagery, turning a queer gaze on subject matter that was at times historical and always traditionally heteronormative. His work helped to establish the macho motif pervasive in gay imagery and influencing artists such as Tom of Finland.
Estimate
$400 – $600
George quaintance (1902-1957)
“Moonglow.”
Oil on canvas. 610x610 mm; 24x24 inches. Signed in canvas, lower right. 1940.
Quaintance was one of the early American pioneers of homoerotic fantasy art. His illustrations for Physique Pictorial magazine in the early 1950s helped to popularize his work. While best known for his images of overtly masculine and campy cowboys, gods, matadors, and other idealized physical specimens, he was also an accomplished portrait painter and landscapist. Outside of his portraiture, there are few known images of women in his ouevre. This monochromatic canvas is a particularly beautiful and sensual study of the female form.
Provenance: Private collection, Los Angeles. Literature: Dian Hanson and Reed Massengill, Quaintance, (New York: TASCHEN, 2010); page 32.
Estimate
$6,000 – $9,000
George quaintance (1902-1957)
“Siesta.”
Color lithograph. 572x445 mm; 22½x17½ inches. Signed “George Quaintance” in ink, lower margin, and printed in the plate; caption and copyright statement printed lower margin. Loose and cornered to matte. 1952. Literature: Dian Hanson and Reed Massengill, Quaintance, (New York: TASCHEN, 2010); illustrated, page 97.
Estimate
$1,500 – $2,500
George quaintance (1902-1957)
Narcissus.
Terracotta with white lacquer. Signed, G Quaintance. 190x305x134 mm; 7½x12x5¼ inches. Circa 1965.
Estimate
$2,000 – $3,000
Physique pictorial
A long run of the popular beefcake magazine.
43 different issues plus 10 duplicates. Octavo, original pictorial wrappers, generally minimal to minor wear. Chicago and Los Angeles, 1954-1987 Includes Fall 1954; Summer and Fall 1956; Summer 1957; Volumes 8:1,2,3; 9:2; 10:1,2,3,4; 11:1,2; 12:1,2,3,4; 13:2,3,4; 14:1,2,4; 15:1,2,3,4; 16:1,3,4; 17:1, 18:1; 22, 23, 24, 27, 28, 30, 31, 32, 36, and 40. Most of the content is photographic, primarily by editor Tom Mizer, but several issues feature art by Tom of Finland, including eight of the covers. The fall 1956 issue features cover art by George Quaintance.
Estimate
$600 – $900
Various authors- various artists
Gay Pulp Erotica Novels
Group of twenty-three early octavo-format paperback male gay erotic novels, 1949-1966. Including: Charles R. Jackson’s The Fall of Valor, New York: New American Library, 1949, first printing; Stuart Engstrand’s The Sling and the Arrow, New York: New American Library, 1950, first paperback edition; Harrison Dowd’s The Night Air, New York: Avon, 1952, first paperback edition; Ander Tellier’s Twilight Men, New York: Lion Books, 1950, first Lion reprint [based on the 1931 first edition]; Blair Niles’s Strange Brother, New York: Avon, first Avon reprint [after the 1931 first]; Fritz Peters’s Finistere, New York: Signet, 1952, first paperback; Lili Elbe’s Man into Woman, New York: Popular Library, 1953, edited by Niels Hoyer, first paperback after the original Danish edition published in 1931, telling Elbe’s life story, she was a Danish painter born under the name of Einar Wegener who died after undergoing gender-affirming surgery in 1931; Bud Clifton’s Muscle Boy, New York: Ace Books, 1958, first edition, cover art by Maguire; Gerald Tesch’s Never the Same Again, New York: Pyramid Books, 1958, first paperback; Lonnie Coleman’s Sam, New York: Pyramid Books, 1959, first paperback; All the Sad Young Men, New York: Wisdom House, 1962, first edition; Larry Maddock’s Sex Life of a Transvestite, Hollywood: K.D.S. Publishing, 1964, first edition; K.B. Raul’s Naked to the Night, New York: Paperback Library, 1964, second printing; Lynton Wright Brent’s The Gay Bunch, Gardena, CA: Anchor Publications, 1965, first edition; Lee Dorian’s The Young Homosexual, New York: L.S. Publications, 1965, first edition; Ross Hossannah’s Gay Vet, Union City, NJ: Star News Co., 1965, first edition; William Konraad’s Someone You May Know, Beverly Hills: Book Co. of America, 1965, first edition; Helene Morgan’s Queer Daddy, San Diego: Satan Press, 1965, first edition; Ken Worthy’s The New Homosexual Revolution, New York: L.S. Publications, 1965, first edition; Donald Evans’s Beach Boy, New York: Selbee Associates, 1966, first edition; Robert Saunders’s The Gay Lords, [No place]: Unique Books, 1966; [and] Ned Winslow’s Bottoms Up, [No place]: Unique Books, 1966, illustrated. (23)
Estimate
$600 – $800
Various authors- various artists
Gay Pulp Erotica
Group of twenty octavo-format paperback male gay erotic novels, 1966-1980s. Including: James Rogers’s Sex Outcast, North Hollywood: Brandon House, 1966, first edition; Lee Dorian’s The Sex Criminal, North Hollywood: All Star Books, 1966; Roger Blake’s The Homosexual Explosion, North Hollywood: Brandon House, 1966, first edition; Mark Dunn’s Queer Guise, San Diego: P.E.C. Inc., 1967, first edition; Ed Wood Jr.’s Death of a Transvestite, Agoura, CA: PAD Library, 1967, first edition; Jay Barrow’s Hollywood: Gay Capital of the World, Van Nuys, CA: Triumph News, 1968, first edition, forward by Don Holliday; Floyd Carter’s Forbidden Fruit, New York: 101 Enterprises, 1968, a pamphlet in wrappers; Len Harrington’s Jock & Rock, San Diego: Publisher’s Export Co., 1968, first edition; James Harper’s Homo Laws in All 50 States, Sandiego: Publisher’s Export Co., 1968, first edition; Milton C. Longe Jr.’s Hard to Handle, New York: 101 Enterprises, 1968, pictorial wrappers, first edition, Tom of Finald cover, pamphlet; Carlson Wade’s Boys of Boles Dorm, Los Angeles: Echelon Book Publishers, 1968, first edition; Tom Wade III’s 1969: The Gay Year, Dallas: Gaylord Publishing, 1968, first edition; Edward Wood Jr.’s The Gay Underworld, Canoga Park, CA: Viceroy Books, 1968, first eidtion; George Anthony’s The Psalm of Sodomy, North Hollywood: Brandon House, 1969, first edition; Brotherly Love & Uncontrolled Passion, [No place]: Proctor File Illustrated, 1970s, illustrated, first edition; Dr. Proctor’s Homosexual Desires: A Study in Analism, [No place]: Proctor File Illustrated, 1970, first edition, illustrated; Lee Ryder’s Surf’s Up, Santee, CA: Surey Books, Adams Gay Readers, 1980s; Patrick Doyle’s School for Lovers, San Diego: Greenleaf Classics, 1972, first edition; Franklin Brooks’s A Crocodile of Altarboys, San Diego: Greenleaf Classics, 1982, first edition; [and] George Kiva’s Chick Hustler, Santee, CA: Surey Books, 1982, first edition. (20)
Estimate
$600 – $800
Various authors- various artists
Gay Pulp Erotica Novels.
Group of twenty-four first editions, octavo-format paperback male gay erotic novels published by Greenleaf Classics in San Diego under a variety of divisional imprint names, including Corinth Publications, Sundown Readers, Nightstand Books, and Phenix Publishing. 1966-1968. Including Don Holliday's The Man from C.A.M.P.; and The Gay Trap; Burt Colman's The Latent Lovers; and J.X. Williams's Born to be Gay, from 1966; Holliday's Brothers in Love; and Gay Buddies; Marcus Miller's A Masculine Scent; Chris Davidson's Caves of Iron; Lance Lester's Cruising Horny Corners; and Dick Dale's The Cruising Class, from 1967; [and] Marcus Miller's Fruit Punch; and Darling Boy; Carl Branch's Idylls of the Queens; All Shades of Gay; and A Few of the Boys; Aaron Thomas's The Greek Affair; and Gay Orgy; Don Holliday's Home of the Gay; Julian Mark's Midtown Queen; Alan Fair's A Man's Affair; Gene North's dady's Boy; Dick Dale's The Fag End; L.J. Brown's The Queens are in the Parlor; and Richard Armory's Fruit of the Loon, from 1968. (24)
William Hamling (1921-2017) was a science fiction writer, publisher, and fan from Chicago that built a paperback publishing empire by focusing on sexually explicit adult content. He started Greenleaf Classics in the mid-1950s, publishing the science fiction magazine Rogue. His first adult novels came out beginning in 1959 and were immensely popular. Song of the Loon sold more than a million copies. Hamling was one of the earliest publishers to print and sell erotic gay fiction.
Estimate
$600 – $800
Various authors- various artists
Lesbian Pulp Fiction.
Group of thirty-four octavo format soft-cover novels with color-illustrated covers, 1951-1972. Including: Tereska Torres’s Women’s Barracks, New York: Fawcett, 1951, 7th printing; Vincent Burns’s Female Convict, New York: Pyramid Books, 1952, 2nd printing; Francoise Mallet’s The Loving and the Daring, New York: Popular Library, 1952, 1st American edition; Wilene Shaw’s The Fear and the Guilt, New York: Ace Books, 1954, first edition; Carol Emery’s Queer Affair, New York: Universal Publishing, 1957, first edition; Orrie Hitt’s Girls’ Dormitory, New York: Universal Publishing, 1958; James Harvey’s A Twilight Affair, New York: Tower Publications, 1960; Jan Stacy’s Twilight House, Chicago: Newsstand Library Books, 1960, first edition; Carlson Wade’s The Troubled Sex, New York: Universal Publishing, 1960, first edition; Joan Ellis’s Gay Scene, New York: Tower, 1962, first edition; Jerry Goff’s Live with Me, Chicago: Camerarts Publising, 1962, first edition; Clair Arthur’s Lesbians in Black Lace, Hollwood: New Chariot Library, 1963, first edition; Jo Ann Radcliff’s They Call Me Lez, Sherman Oaks, CA: Paraiso Books, 1963, first edition; Jay Warren’s The Path Between, New York: Midwood [Tower], 1963, 2nd printing; Marguerite Frame’s All the Gay Girls, Derby, CT: New International Library, 1964; Rick Raymond’s AC/DC Sex, Las Vegas: Neva Paperbacks, 1964, first edition; Augustus Stevens’s Sex U., North Hollywood: Nite Lite Books, 1964, first edition; Ivan Tarpoff’s Bizarre, Cleveland, OH: Connoisseur Publications, 1964, first edition; Clyde Allison’s Nautipuss, Gardena, CA: Ember Library Books, 1965, first edition; Monty Farrell’s Lesbos Beach, Buffalo: First Niter Books, 1965, first edition; Amy Irwin’s The Reluctant Tease, North Hollywood: Brandon House, 1965, first edition; Mark Lucas’s The Left Hand of Satan, Fresno, CA: Saber Books, 1965, first edition; Jon Parker’s Sex Carnival, Buffalo: First Niter Books, 1965, first edition; Rick Raymond’s White Cap Lesbian, North Hollywood: Brandon House, 1965, first editon; Gary Sawyer’s No Man’s Land, Buffalo: First Niter, 1965, first edition; Wayne Wallace’s Strange Desire, North Hollywood: Brandon House, 1965, first edition; Rex Waldo’s The Two-Way Amazon, North Hollywood: Brandon House, 1965, first edition; Ken Gardner’s Tight Fit, Buffalo: Unique Books, 1966, first edition; Fred Haley’s Satan was a Lesbian, San Diego: PUblishers Export Co., 1966, first edition; Miles McDordman’s My Husband was a Woman, Woodside, NY: ZIL Inc., 1967, first edition; Robert Nelson’s Lady Butler, Buffalo: Market Arcade, 1968, first edition; Vivian Staggerman’s Margie’s Pajama Parties, New York: Star Distributors, 1972, first edition; sizes vary slightly, most are approximately 101x165 mm; 4 x 6 1/2 inches. (34)
Estimate
$800 – $1,200
Bob mizer (1922-1992)
Athletic Model Guild, Ted Bentley & Dick Kreutel.
Silver print, the image measuring 483x381 mm; 19x15 inches, the sheet slightly larger, with the Bob Wizer/Athletic Model Guild 1992 Portfolio Limited Edition Published by Wessel O’Connor Gallery, New York with the edition notation 4/25 and the name of the sitters in pencil on verso. Circa 1950s; printed 1992.
Estimate
$2,000 – $3,000
(bodybuilding)
A bound volume with 105 photographs from Studio Arax centered on bodybuilders.
Including artful portraits exposing bulging muscles, group portraits of men as well as competition stills taken during international contests, such as Mr. Universe Contest 1952. Silver prints, the images each measuring 229x165 mm; 9x6½ inches, the sheets slightly larger, and the reverse, each with Bacquemane’s extensive notations identifying the musclemen, location, date, and competition details in ink, in French, and the Studio Arax Paris and Collection Lucien Bacquemane stamps, on verso. 4to, green leather-backed boards over marbled paper. 1951-1953.
From the Collection of Lucien Bacquemane, who was considered the greatest collector of male physique photography, and engaged the photography studio Arax to produce images of his favorite male specimens.
Estimate
$3,000 – $4,500
Bruce bellas (bruce of la) (1909-1974)
Three contact sheets featuring the model Don Hawksley posing with different props.
Silver prints, the individual images measuring 57.2 mm; 2¼ inches square, the overall sheets 203.2x254 mm; 8x10 inches. Circa 1955
Estimate
$1,400 – $1,800
Bruce bellas (bruce of la) (1909-1974)
A selection of more than 70 male physique photographs.
Including studio and outdoor settings, with an array of models posing with props and occasionally together. Silver prints, the images measuring 165x114 mm; 6½x4½ inches, and the reverse, the sheets slightly larger, nearly all with Bruce’s credit stamp and numeric stamp on verso. 1960s.
Estimate
$3,000 – $4,500
(bruce of la/kensington road)
Group of more than 100 photographs produced by Kensington Road from Bruce of LA’s negatives.
The group is comprised of 15 sets (most with 7 photographs each), housed in their original paper envelopes, organized by model. Featuring classically inspired “beefcake” imagery, the models include David Anderson, Paul Strand, Johnny Nogar, Tabby Anderson, Bob Foss, Roger Cook, and others. Silver prints, the images measuring 178x127 mm; 7x5 inches, and the reverse; enclosed in envelopes with the catalogue number stamped on the front. 1950s-60s; printed after 1974.
Estimate
$2,500 – $3,500
(western photography guild)
A group of approximately 180 superb male physique 35mm color slides.
Includes primarily wrestling poses in solo or in duo in outdoor settings, but also some miscellaneous shots with chains or ropes. 35mm color slides, the images measuring 35x22 mm; 1 ⅜x ⅞ inches, the mounts 51 mm; 2 inches square, each with the Western Photography Guild, Denver, Colorado stamp on the mount. 1960s.
Estimate
$1,500 – $2,000
(champion studio–walter kundzicz)
A set of 35 color photographs of scantily clad models with bulging posing pouches and sexy props.
Including Jim Stryker, Joe Parr, Ubi Cruz, Rob Roy, Mike Pohl, Jim Novak, Joe Wild, Walt Covert, and others. Chromogenic prints, the images measuring 120x83 mm; 4¾x3¼ inches, and the reverse, the sheets slightly larger, each with Kundzicz’s signature in ink, and all but three with the model’s name and image number either written or stamped, on verso; six with the additional stamp “A Reference Photo for: Artists and Physical Culturists,” and four with the “Property of Waljim Entrs, Inc.” stamp, also on verso. 1963-1964.
Under the name Champion Studio, Walter Kundzicz became one of the last great pioneers of physique photography when he entered the field in the late 1950s. Unlike the muscle-bound beefcake imagery of earlier the decade, Champion’s handsome young models were a new breed. Not only did Kundzicz push legal boundaries with sexier props and more revealing imagery, his color photographs also pushed the established aesthetics, featuring sunny, youthful models in everyday settings, beautifully capturing a new era on the cusp of sexual revolution. These photographs became wildly popular with mail-order customers and collectors because they stood in stark contrast to most of the physique photography available at that time.
Estimate
$1,000 – $1,500
(target studios)
A group of 13 sets, each with 8 photographs, in glassine envelopes from the iconic studio organized by model or scene.
The selection with 3 duplicates, and includes the sets Dino, The Hayloft (Dino and Joe) (2), Will Seagers, Bill Ford, Sunstruck (Bruno & Will Seagers) (2), Dak & Adam, Kevin Coxe, Bull Dozier, Double Trouble (Josh Kincaid & Franco [Branch Lester]), and Pete Bronsky (2). 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 stamp on verso; enclosed in the original glassine envelopes, each with a Target Studios stamp and a model's name or set name 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
$3,000 – $4,500
(male physique photography)
A group of 13 sets, including 4 from Man’s Image, Inc., of beefcake photographs enclosed in glassine envelopes, each set with 8 photographs of a single model.
The group includes 3 duplicate sets, two of which have stamps from the photographer Sierra Domino. Another set has a Colt stamp on the glassine envelope. Silver prints, the images measuring 165x114 mm; 6½x4½ inches, the sheets slightly larger, the Man's Image, Inc. prints with the copyright in the negative and two sets with a photographer's stamp on verso; each of the Man's Image sets are enclosed in a glassine envelope with the Man's Image printed label and the stamped model's name and a price sticker, and another set with a Colt stamp on the front. 1970s-early 80s.
The Man's Image models include Bart (the sets numbered #1 and #2), Ned, and Ivan.
Estimate
$1,000 – $1,500
(male physique photographs)
Approximately 140 35mm slides, including images by Bruce of LA, Times Square Studio, Man’s Image, and more.
The group features various slides attributed to Bruce of LA, 2 to Times Square Studio, and 20 to Man’s Image. Featuring male figures posing outdoors and in interior scenes, some stylized with props and costumes, others seemingly candid, and many fully nude. 35mm color slides, some Kodachrome and Ektachrome, the images measuring 22x35 mm; 1⅜x⅞ inches, the mounts 51 mm; 2 inches square, some with a stamped date, a few with the model’s name in ink, and some with a studio stamp; enclosed in a later binder and plastic sleeves. 1970s-mid-80s.
Estimate
$1,000 – $1,500
Jim french (1932-2017)
Franco Corelli, Studio.
C-print, the image measuring 444x448 mm; 17½x17⅝ inches, the sheet 610x508 mm; 24x20 inches, with French’s signature, title, date, and edition notation 2/10 in pencil on verso. 1999.
Estimate
$1,000 – $1,500
Jim french (1932-2017)
Jake Tanner, Ball, Studio.
Silver print, the image measuring 476x381 mm; 18¾x15 inches, the sheet 505x406 mm; 20x16 inches, with French's signature, title, date, and edition notation 5/25 in pencil on verso. 1992.
French, Opus Deorum: Photography (Colt Studio Group), cover and pl. 46.
Estimate
$2,000 – $3,000
Jim french (1932-2017)
Jake Tanner, Joshua Tree.
Silver print, the image measuring 489x394 mm; 19¼x15½ inches, the sheet 505x406.4 mm; 20x16 inches, with French's signature, title, date, and edition notation 5/25 in pencil on verso. 1991.
French, Opus Deorum: Photography (Colt Studio Group), pl. 27.
Estimate
$2,000 – $3,000
Tom of Finland & Other Illustrators
Colt (jim french 1932-2017)
Cattlemen.
Pencil with white heightening in gouache on paper. 430x353 mm; 17x13⅞ inches. Signed with the artist’s pseudonym “Colt” and dated in pencil, lower left recto, and signed in pencil, verso. 1968.Provenance: Private collection, California. Jim French began drawing, and then photographing, male erotica in the 1960s. As a successful fashion illustrator, he and a friend co-founded a mail order company in New York City they named Lüger, to which French contributed homoerotic drawings of hyper-masculine types such as bikers, soldiers, and cowboys. He eventually bought out his business partner and by 1967, under the pseudonym Rip Colt, he founded Colt Studio. There he created highly detailed drawings for various Colt Studio books, magazines, and calendars, such as this lot. He soon turned to the Polaroid camera to shoot photographs of posed male models to serve as guides for his drawings, ultimately building a formidable reputation for himself as one of the most important photographers of the male form. French’s fine art training and drawing skills can be credited for that success. As Nat Gozzano, COLT Studio’s archivist and art director since 1997, noted: “As opposed to the early male pin-ups that were for gay audiences, but still masquerading as muscle magazines and athletic training magazines, Jim was more directly tailoring his images to the taste of gay audiences. His composition was so strong and from life drawing classes, he really knew how to pose models with strong tension in their bodies – and that set him apart from other people right away.”
Estimate
$7,000 – $10,000
Colt (jim french 1932-2017)
“Lock and Key.”
Pencil on paper. 432x356 mm; 17x14 inches. Signed and dated “©Colt `68” in pencil, lower image, center. 1968. Loose and cornered to window matte. Provenance: Private collection, Los Angeles. Jim French began drawing, and then photographing, male erotica in the 1960s. As a successful fashion illustrator, he and a friend co-founded a mail order company in New York City they named Lüger, to which French contributed homoerotic drawings of hyper-masculine types such as bikers, soldiers, and cowboys. He eventually bought out his business partner and by 1967, under the pseudonym Rip Colt, he founded Colt Studio. There he created highly detailed drawings for various Colt Studio books, magazines, and calendars, such as this lot. He soon turned to the Polaroid camera to shoot photographs of posed male models to serve as guides for his drawings, ultimately building a formidable reputation for himself as one of the most important photographers of the male form. French’s fine art training and drawing skills can be credited for that success. As Nat Gozzano, COLT Studio’s archivist and art director since 1997, noted: “As opposed to the early male pin-ups that were for gay audiences, but still masquerading as muscle magazines and athletic training magazines, Jim was more directly tailoring his images to the taste of gay audiences. His composition was so strong and from life drawing classes, he really knew how to pose models with strong tension in their bodies – and that set him apart from other people right away.”
Estimate
$6,000 – $9,000
Tom of finland (1920-1991)
Portrait of Eric.
Graphite on paper. 1985. 273x145 mm; 10¾x5¾ inches, image, on 13x9½-inch sheet. Signed “Tom -85” lower right. Accompanied by two Autograph Letters Signed by Tom of Finland to the person who commissioned the drawing, both on his personal letterhead, one with original mailing envelope; business card of shop where acquired by present owners. Tom of Finland Foundation catalogue number 85.16. A skillful and detailed portrait featuring the subject in his favorite leatherwear, accompanied by related correspondence by Tom that explains his specific requests and working process. The first letter, dated April 1, 1985, thanks the client for his order and explains his working media (pencil and color pencils), general image size, price (with deposit amount), time frame for the completed work, and requests two photographs of him in his desired pose, wearing any garments and accessories he wishes to be included in the final image. 1 page, folded 7x5-inch note paper bearing his Los Angeles company letterhead. Signed “Sincerely, Tom of Finland.”The second letter, dated June 5, 1985 confirms completion and delivery of the drawing, along with final payment directions. 1 folded 8vo sheet, on company letterhead bearing his more recognizable trademark “TOM of Finland.” Signed “Best Regards, Tom.” With accompanying mailing envelope containing his return address label from his home in Helsinki, Finland.Provenance: Original owner, Plattsburgh, New York; Plus, Montréal; Chester Marcinkowski and David Schwartz, New Jersey. Literature: Dian Hanson, Tom of Finland: XXL, Cologne: Taschen, 2009; 2021, page 654.
Estimate
$20,000 – $30,000
Tom of finland (1920-1991)
Untitled (Preparatory drawing).
Graphite on paper. 210x147 mm; 8¼x5¾ inches. Signed “Tom” in pencil, lower right. Circa 1968. Cornered and float-mounted in frame to 22½x18½ inches. Tom of Finland Foundation archive number 1528. Provenance: Private collection, California. Certificate from Tom of Finland Foundation accompanies the artwork.
Estimate
$7,000 – $10,000
Tom of finland (1920-1991)
Untitled (preliminary drawing).
Graphite on paper. 295x208 mm; 11¾x8¼ inches, sheet. Signed “Tom” in pencil, lower right corner. Circa 1988. Float-mounted to backing board to which it is attached in a few areas, and framed to 16½x14 inches.Tom of Finland Foundation Certificate accompanies the artwork; catalogue number 0002; 2011.
Estimate
$7,000 – $10,000
Tom of finland (1920-1991)
“A Man and His Boot.”
Color lithograph. 254x210 mm; 10x8¼ inches, on 14¼x12¼-inch sheet. Numbered 7/500, signed “Tom,” and inscribed “To Denis” by Tom of Finland, lower left. Additionally signed and dated in the print, lower right. 1982.
Estimate
$2,500 – $3,500
Tom of finland (1920-1991)
Jack in the Jungle.
Issues 1, 2 and 3, each featuring 20 illustrations without text. Octavo, illustrated wrappers featuring unsigned Tom of Finland artwork, minimal wear, two with price inked in front wrapper. Ringsted, Denmark: D.F.T. /Bellatrix Publications, circa 1970s.These elaborate jungle rape and bondage fantasies put the “graphic” into the graphic novel. The final issue ends with a rescue by a lion who then fellates the protagonist. The inside rear wrappers each have an advertisement for issues 1 through 7 of the artist’s well-known work Kake (launched in 1968). Laid into Issue 1 is a pencil sketch inspired by plate #11.
Estimate
$600 – $900
Tom of finland (1920-1991)
Falcon’s Lair.
Offset lithograph poster. 572x445 mm; 22½x17½ inches. Circa 1970s. Los Angeles’ Falcon’s Lair leather bar was most likely named after Rudolph Valentino’s estate, in Bel Air. It opened in the late 1960s and remained in operation through 1979, after which the location became Greg’s Blue Dot.
Estimate
$700 – $1,000
Tom of finland (1920-1991)
Tom’s Saloon and The Quarter, S.F.
Two offset lithograph posters: Toms Saloon 432x312 mm; 17x12¼ inches, 1981, and The Quarter, S.F. 401x265 mm; 15⅞x10½ inches. Circa 1980s.The murals on the walls of Tom’s Saloon, the famous Hamburg fetish and leather bar, were painted by Tom of Finland in 1974.
Estimate
$600 – $900
Tom of finland (1920-1991)
“AUA American Uniform Association 4th Annual Review New York City Oct. 9-12 1981.”
Offset poster. 432x280 mm; 17x11 inches. Signed and dated “Tom-81” in ink, lower right, additionally inscribed and signed “Best wishes to Denis / Tom” to friend and collector Denis Morin in blue ink, right lower center margin. 1981. The American Uniform Association was an organization for the LGBTQ community who were into uniforms and the people who wore them. Their annual Columbus Day/Canadian Thanksgiving weekend gathering took place in a different North American city. Tom of Finland was invited to design this poster for their third gathering, in New York City.
Estimate
$1,500 – $2,500
After tom of finland
Tom of Finland Temporary Tattoos
Tattoo kit in plastic case. 70x95x25 mm; 2¾ x 3¾ x 1 inch, containing printed paper designs, paints, brush and instructions. Temptu, circa 1980. Provenance: Acquired at Pride Festival, Houston, circa 1980.
Estimate
$100 – $150
Tom of finland (1920-1991)
Vintage T-shirt and swim trunks.
T-shirt manufactured by Lee brand clothing, 100% cotton, Men’s size Medium, white background imprinted with image of biker and nude man standing, Tom of Finland Foundation catalogue number 0591. Partial store price tag attached to Lee tag. Swim trunks manufactured by Tom of Finland Clothing, 80% nylon/20% lycra, Men’s size Small, white background printed with a collage of Tom’s best-known images including hunky sailors, bodybuilders, lumberjacks, bikers, military men, and life guards; identical montage repeated on reverse. Both circa 1990s and appear to be unworn.
Estimate
$150 – $250
Patrick mcmullan (1956 - )
Tom of Finland, #76.
Chromogenic print on glossy paper. 222x343 mm; 8¾x13½ inches, full margins. Signed, titled and numbered 1/10 in ink, verso. 2000.
Provenance: Tony Shafrazi Gallery, New York; and Douglas S. Cramer, New York.
Note one of the men here is wearing the shorts offered as part of lot 141.
Estimate
$1,000 – $1,500
Bruce rapp (1954-1990)
Boot.
Printed in black ink on cream paper mounted to board. 432x280 mm; 17x11 inches. Edition of 100. Signed, numbered, and dated by Rapp “90/100 / Bruce Rapp `86” in pencil, lower margin; additionally signed in the plate. In addition to being used to advertise one of his own early exhibitions, Rapp’s “Boot” was recently featured as part of the collection and appeared on the cover of the exhibition catalogue for All Together: A Group Exhibition from the collection of Tom of Finland Foundation. The show ran simultaneously in Venice and Paris from May through June, 2022. Rapp’s artistic talent in several media led him to produce work for Drummer magazine, safe-sex-themed posters, and various commissioned works. He created a comic book in Spanish called Chicos Modernos, a comic book novella that featured young Latinos confronting HIV and AIDS. Before the disease claimed him in 1990, Rapp enjoyed a successful career; his work was supported by Tom of Finland, who encouraged his talent in depicting the gay leather genre.
Estimate
$3,500 – $5,000
Randal (randy) west (dates unknown)
Reclining cop on motorcycle.
Photographic copy print of a poster. 1981. 280x355 mm; 11x14 inches. Artist’s proof signed “A/P West” and marked “West 81” in the image. Randy was a San Francisco -based artist who created images mainly for books and magazines such as Drummer. With his partner, David Lindsey, they founded West Graphics, a popular LGBT greeting card company. Gifted to current owner by the artists.
Estimate
$2,000 – $3,000
Etienne (dom orejudos, 1933-1991)
Two Men on a motorcycle.
Graphite on board. 380x280 mm; 15x11 inches, sight size. Signed "Etienne" in lower left corner. 1980s. Window matte measuring 24x20 completely mounted to margins.
Etienne, who trained as a ballet dancer, was a prominent member of the Illinois Ballet Company, and continued to create ballets throughout his life, began his commercial art career in 1953 as an illustrator. An early progenitor of male erotic art, along with George Quaintance and Tom of Finland, Etienne's prominent affinity for leather became a hallmark of his work.
Estimate
$1,500 – $2,000
Etienne & stephen (dom orejudos, 1933-1991)
The Gold Coast Two posters
Two offset lithograph posters. 505x355 mm; 20x14 inches and 432x277 mm; 17x11 inches. Circa 1970s.Orejudos used both the pen names Etienne and Stephen, each a variant of his true middle name, Esteban.
The Gold Coast, which opened in 1958, is considered one of America's first leather bars. In the 1970s Orejudos and his partner began hosting "Mr. Gold Coast" competitions at their eponymously named bar. these events became so popular that by 1979 they had been rebranded as "International Mr. Leather."
Estimate
$500 – $750
Etienne (dom orejudos, 1933-1991)
International Mr. LeatherThree posters.
Group of three offset lithograph posters, sizes vary. 1988, 1990 and 1992.
Estimate
$500 – $750
Rex (dates unknown)
The Pleasure Chest and Fey Way Studios. Two Posters.
The Pleasure Chest Offset lithograph poster. 420x290 mm; 16½x11½ inches. 1977. Fey Way Studios, offset lithograph poster, 442x270 mm, 17½x10⅝ inches, 1978.
Estimate
$400 – $600
The stud
Large collection of pinback buttons from the legendary San Francisco bar.
112 pinback buttons, most just under 1½ inches across, a few as large as 2¼ inches across; generally strong condition with a few won or stained. San Francisco, 1981-1991 and undated. Pins were issued to commemorate events such as the annual “Polka-Dot Prom,” the city’s championship appearances in baseball and football, Gay Pride Day, the 1987 visit to San Francisco by Pope John Paul II (“Poke the Pope”), and all of the major holidays.
Estimate
$500 – $750
Various artists
Gay Bars and Clubs
Group of 7 offset lithograph posters advertising: the Leather Cell (Chicago), the Stables (San Francisco), Manhandler Saloon (Chicago), Gateway Saloon (St. Louis), the Eagle (New York, Boston, Washington DC and Munich), the Unicorn (Chicago) and the Bunkhouse (Oklahoma City). Sizes vary. 1977-1985.
Artists include A. Jay, Chuck Craig, Deyhoff, West and others.
Estimate
$1,000 – $1,500
Various artists
Leather and Fetish Bar Posters
Group of 5 photo offset lithograph posters, sizes vary. Circa 1980s-90s.
Featuring leather bars and fetish venues in Chicago (Manhandler), New Orleans (Partners), Las Vegas (Buffalo), Nashville (Chute), Atlanta (Supply House).
Estimate
$500 – $750
Sadao hasegawa (1945-1999)
Angels.
Ink and graphite on paper. 290x270 mm; 11½x10¾ inches, sheet. 1981. Stamp-signed in Japanese, upper right; dated year, month/day “1981 2/15” lower left. Loose and cornered to matte. Provenance: Private collection, Los Angeles. Hasegawa was a master of homoerotic fetish art, often within fantastical and mystical settings, featuring Indian, Thai, Tibetan Buddhist, African, Japanese, and Balinese elements influenced by his extensive travels. Now recognized as one of the most influential creators of homoerotic art in Japan and throughout the global queer community, Hawegawa’s reputation was fairly confined during his lifetime. He was prolific during his short life but commercially limited by his own refusal to distribute his work outside of Japan. His suicide at the age of 54 shocked the art world and his influence might have narrowed even further when his family was prepared to destroy his remaining paintings. But a note he left near his portrait of an earlier queer Japanese writer and victim of suicide, Yukio Mishima, requested that the work he left behind be donated to Gallery Naruyama in Tokyo, who currently holds the majority of his collected works. Aside from their collection and limited appearances in gay magazines, Hasegawa’s monograph Paradise Vision (1996 Kochi Studio) has been the main gateway into his works.
Estimate
$3,500 – $5,000
Sadao hasegawa (1945-1999)
“Red Dan.”
Double-page illustration for the story “Red Dan” by Nat Wit published in the March 1988 issue of Advocate Men, pages 14-15. Mixed media including tempera, watercolor, ink, and metallic paint on paper, 1987. 285x420 mm; 11¼x16½ inches, image, on 12¾x18-inch sheet. Signed in Japanese with fish symbol, lower left, and with characters that translate to “Amulet against Evil.” Tipped to matte and framed. A copy of the published magazine accompanies the artwork. Hasegawa was a master of homoerotic fetish art, often within fantastical and mystical settings, featuring Indian, Thai, Tibetan Buddhist, African, Japanese, and Balinese elements influenced by his extensive travels. Now recognized as one of the most influential creators of homoerotic art in Japan and throughout the global queer community, Hawegawa’s reputation was fairly confined during his lifetime. He was prolific during his short life but commercially limited by his own refusal to distribute his work outside of Japan. His suicide at the age of 54 shocked the art world and his influence might have narrowed even further when his family was prepared to destroy his remaining paintings. But a note he left near his portrait of an earlier queer Japanese writer and victim of suicide, Yukio Mishima, requested that the work he left behind be donated to Gallery Naruyama in Tokyo, who currently holds the majority of his collected works. Aside from their collection and limited appearances in gay magazines, Hasegawa’s monograph Paradise Vision (1996 Kochi Studio) has been the main gateway into his works. Red Dan is a beautiful image that is remarkably more detailed and brilliant in person than the printed version, which dulls the metallic paint and vibrant color of this original.
Estimate
$7,000 – $10,000
Bil schmeling / the hun (unknown-2019)
“What can YOU Offer the Team?”
Mixed media including color pencil, gouache, ink, and watercolor on paper. 553x406 mm; 21¾x16 inches, image, on slightly larger sheet. Signed and dated "©The Hun 1979" in lower image.
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
$2,000 – $3,000
Bil schmeling / the hun (unknown-2019)
“Staked Out” / Special Orders.
Drawing published on page 31 of the Hun Coloring Book Number 2, 1982. 600x457 mm; 230¾x18 inches, sheet. Signed and dated “© the Hun 1982,” lower right.
Estimate
$1,500 – $2,000
Bil schmeling / the hun (unknown-2019)
“Ride a Cock Hoarse!”
Image published in Hun card set “B.” Graphite and ink on paper. 425x355 mm; 16¾x14 inches, sheet. Signed and dated “© The Hun 1981” in pencil, lower left image; captioned and with printing note on verso.
Estimate
$1,200 – $1,800
Teddy of paris (1961-)
“Hot Waves.”
Graphite, color pencil and watercolor on paper. 500x320 mm; 19¾x12¾ inches. Signed “Teddy” lower right image. Teddy of Paris has been creating images of handsome, well-built men caught in various situations, from pin-up to S&M, since the 1990s. The classically taught Teddy of Paris studied French and art history at The Sorbonne and based his masculine figures on paintings of Michelangelo, Tintoretto, and Caravaggio, as well as photos, comics, and the works of other erotic artists such as Tom of Finland, Etienne, Brad Parker, The Hun, and Rex.
Estimate
$700 – $1,000
“beau” (kevin king 1959- )
“Everyone Wins.”
Illustration published in Advocate Men, 1997. Gouache on Arches paper. 585x430 mm; 23x17 inches on 30x22¼-inch sheet. Captioned and Signed "Beau `97" in lower right margin.
Provenance: Acquired directly from the artist by current owner, private collection, Los Angeles, California.
A Hollywood-based artist, BEAU was born in Oakland, California and studied art and costume design at the University of California, Berkeley before moving to Hollywood where he worked as a costume designer for television, film, and theatre. After a magazine editor spotted his erotic art, he was convinced to expand his efforts under a pseudonym. BEAU’s work, saturated in color and reminiscent of American realist painting, has appeared in various publications and media, including Advocate Men, Freshmen, and Torso.
Estimate
$800 – $1,200
“beau” (kevin king 1959- )
Tension.
Illustration published in Advocate Men and republished on the cover of Beau, 1997. Gouache and watercolor on Arches paper. 585x406 mm; 23x16 inches on 29½x29¾-inch sheet. Captioned and Signed "Beau `97" in lower right margin (very faint).
Provenance: Acquired directly from the artist by current owner, private collection, Los Angeles, California.
A Hollywood-based artist, BEAU was born in Oakland, California and studied art and costume design at the University of California, Berkeley before moving to Hollywood where he worked as a costume designer for television, film, and theatre. After a magazine editor spotted his erotic art, he was convinced to expand his efforts under a pseudonym.
BEAU’s work, saturated in color and reminiscent of American realist painting, has appeared in various publications and media, including Advocate Men, Freshmen, and Torso.
Estimate
$1,000 – $1,500
Palanca (pedro palanca 1968-2014)
Study for Untitled (Orgy scene).
Graphite and ink on paper (verso of printed form from Peruvian company Disafex S.A.), 1998. 166x207 mm; 6½x8¼ inches. Signed and dated "Palanca 98" in lower left image. Tipped to matte and framed.
Peruvian artist "Palanca" is known for his peculiar homo-fetish art, much of which involves male bare feet, featured prominently in this drawing. His early cartoon work about the fictional company "Dumbrella" became a jumping-off point to the broader genre of underground erotic drawings and comics. An ambitious self-promoter, by his mid-20s, he developed his pseudonym of Palanca (which means "lever" or "gear shift"), moved to Los Angeles, and made connections in the erotic and gay art circles there, most notably through the Tom of Finland Foundation, who honored him with a Tom's Award in 2007.
Palanca's drawings have been published in European and American magazines including FootScene, Sneerzine, Honcho, and Inches.
Provenance: Tom of Finland Foundation; private collection, California.
Estimate
$800 – $1,200
Leonor fini (1907-1996)
Le Train Blanc.
Color lithograph on Arches. 387x579 mm; 15¼x22¾ inches, full margins. Signed and numbered 105/250 in pencil, lower margin. 1970.
A very good impression.
Estimate
$1,200 – $1,800
Leonor fini (1907-1996)
l’Histoire d’O.
Portfolio with complete text and 12 color lithographs. 380x281 mm; 15x11 inches (sheets), full margins, loose as issued. Edition of 360. Signed and dedicated with an original drawing in pen and ink on the title page, and numbered "326" in pen and ink on the justification page. Printed by Ateliers d'Art de Beaufumé, Paris. Published by Cercle du Livre, Paris. With the original brown velvet portfolio and slipcase. 1962.
Very good impressions. This lot accompanied by a letter from the artist to the dedicatee dated November 29, 1975.
Estimate
$1,500 – $2,500
Leonor fini (1907-1996)
Visage.
Color photolithograph. 410x317 mm; 16¼x12½ inches, wide margins. Signed and numbered 54/200 in pencil, lower margin. A very good impression.
Estimate
$1,000 – $1,500
Delmas howe (1935 - )
Untitled (Wrestlers).
Oil on canvas. 1384x1029 mm; 54½x40½ inches. 1970.
New Mexico-based Howe is best regarded for his figurative images frequently fusing western iconography with classical mythology.
Estimate
$1,200 – $1,800
Delmas howe (1935 - )
Study of Brad.
Oil on canvas; 508x406 mm, 20x16 inches. Signed in oil, lower left. 1995.
Estimate
$1,000 – $1,500
Jason b. fishbein (1937-?)
Reclining Male Nude.
Oil on board. 355x455 mm; 14x18 inches. Signed in oil, lower left recto. Circa 1970.
Provenance: Private collection, Florida.
Estimate
$800 – $1,200
Robert bliss (1925-1981)
Two paintings on board.
Old Woman 609x914 mm; 24x36 inches; Babcock Gallery, New York, with the gallery label on the frame back; Wall and Low Tide 800x393 mm; 31½x15½ inches. Both oil on illustration board. Both signed and dated in oil, lower right. 1956.
Provenance: Private collection Massachusetts; thence by descent to current owner, private collection, Massachusetts.
Estimate
$1,500 – $2,500
Robert bliss (1925-1981)
Seated Figure.
Oil on board. 490x430 mm; 19⅜x17 inches. Signed and dated in oil, lower left recto. 1970.
Provenance: Private collection, Ohio.
Estimate
$5,000 – $8,000
George stavrinos (1948-1990)
Nude models, Rhode Island School of Design.
Together, 2 photographs. Silver prints, one image measuring 114x140 mm; 4½x5½ inches, the second 130x197 mm; 5⅛x7¾ inches, one mount 356x254 mm; 14x11 inches; the second 457x356 mm; 18x14 inches, both with Stavrinos’ signature and date in pencil and his copyright stamp on mount verso. 1968.
George Stavrinos became well-known as an illustrator, and made this series of photographs while a student at the Rhode Island School of Design (he gradated in 1969). His clients would include Bergdorf Goodman, but also included work for gay publications, including Fire Island Pines Society, Colt Studios, Christopher Street, and more.
Estimate
$1,500 – $2,500
(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 (as well as one set taken outdoors), often 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, and some describing the subject’s original advertisement. Polaroids (4) and chromogenic prints, the Polaroid images measuring 79 mm; 3⅛ inches square, the chromogenic prints approximately 89x114 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
Allen ginsberg (1926-1997)
Signature and date on the cover of the August, 1970 issue of Evergreen magazine,
at lower right. 80 pages. 4to, printed wrappers, staple binding, minor rubbing to edges. New York, 1970; inscription: 7 March 1990.
Estimate
$700 – $1,000
Peter berlin (1942 - )
Self-Portrait.
Silver print with pencil embellishments, the image measuring 241x200 mm; 9½x7⅝ inches, the sheet slightly larger, with Berlin’s signature in pencil on recto. Circa 1970s.
Berlin (born Armin Hagen Baron Freiherr von Hoyningen-Huene), trained as a photo-technician and worked as a photographer in his native Germany. He began designing and constructing his own clothing, some of the ensembles skin tight, which he wore cruising the streets in Berlin, where he lived, and then San Francisco, where he moved in the early 1970s and became Peter Berlin, his exhibitionist, ultra-sexual alter-ego. Berlin photographed his ensembles in erotic poses, and in addition to becoming a fixture on the streets, created a demand for his photographs as a mail-order business. With the increase in production, sometimes he would inadvertently underexpose some frames of film. Not wanting to waste any of the prints, Berlin began taking a brush with acrylic and oil paint or just a pencil to enhance the images.
Berlin made a hard-core porn film with his friend Richard Abel titled Nights in Black Leather (1973), which became a cult hit, and led to other film projects, some of which were available as loops by mail order. He was photographed by Robert Mapplethorpe, silkscreened by Andy Warhol, and drawn by Tom of Finland. Radical, unusual, and dedicated to his life as Berlin from the early 70s until the late 80s, Berlin left an indelible mark. He gave a world starved of blatantly gay visual role models a new conception of the beautiful, empowered, self-loving, sensual, shameless gay man.
Estimate
$1,000 – $2,000
(wladziu valentino liberace, 1919-1987)
Three photographs of Liberace retracing key moments of his public life.
The images of the pianist, singer, and actor include Liberace first Hollywood screen kiss * Opening night at Las Vegas * Liberace suing Daily Mirror. Silver press prints, the images measuring 165x191 mm; 6½x7½ inches, 191x165 mm; 7½x6½ inches, and 222x165 mm; 8¾x6½ inches, the sheets slightly larger, one with the negative date and another with the title and caption on recto, and one with the photographer’s credit stamp and each with a United Press Associations NY stamp and a newspaper clipping describing the event taped on verso. June 25, 1955; June 12, 1959; and May 28, 1971.
Estimate
$1,000 – $1,500
Luis caballero (1943-1995)
Two drawings.
Seated Nude, pen and ink on cream wove paper. 285x380 mm; 11¼x15 inches. Signed and dated in ink, lower right recto. 1971 * Sleeping Figure, pencil on cream wove paper. 195x285 mm; 7½x11¼ inches. Signed and dated in pencil, lower right recto. 1977.
Provenance: Private collection, New Hampshire.
Estimate
$2,000 – $3,000
Don bachardy (1934 - )
Portrait of Joseph Flood.
Pencil and brush and ink on paper. 735x580 mm; 28¾x22⅞ inches. Signed in ink, lower left recto, and signed dated by the sitter in pencil, lower right recto. 1971.
Provenance: Private collection, New York.
Estimate
$1,200 – $1,800
Lawrence ferlinghetti (1919-2021)
Poster for a Berkeley poetry reading.
Poster. 269x212 mm; 10½ x 8¼ inches; minimal wear. Berkeley, CA: Berkeley Free Press, 15 January [1967]. As co-Founder of City Lights Bookstoreand an influential San Francisco poet and publisher, Ferlinghetti was an ally and mentor to numerous gay poets including Allen Ginsberg.
Estimate
$400 – $600
Diane di prima (1934-2020); and audre lorde (1934-1992)
Poetry reading broadside, signed by both.
Illustrated broadside titled “Diane diPrima & Audre Lorde read at Intersection, 756 Union,” 355x279 mm; 14x11 inches; minimal wear; signed by both authors in ink. [San Francisco, CA], 20 April [1971]The poet Diane di Prima rose to prominent in the New York beat scene in the late 1950s, and then came to San Francisco in the late 1960s. She became the city’s poet laureate in 2009. Audre Lorde was a New Yorker of Caribbean ancestry; she identified as “black, lesbian, mother, warrior, poet.” She was di Prima’s friend and classmate at New York’s Hunter High School; di Prima edited her first volume of poems in 1968. In 1971 she went west to do this reading with her old classmate. We trace only one other example of this broadside, at the University of Delaware.
Estimate
$500 – $750
Kate millett (1934-2017)
Sita
Screenprint poster on glossy-coated red paper. 696x498 mm; 27½x19⅝ inches. Hand-signed in pen by the author. 1977.
The image, which also appears on the cover of the book and its title page, is a silkscreen by Rachel Ackerman from a drawing by Kate Millett.
Estimate
$400 – $600
Finocchio’s
Program, postcard, and brochures from the famed San Francisco drag club.
4 items, circa 1944-1970: Program, [16] pages. illustrated wrappers, 279x216 mm; 11x8½ inches, minor wear, stain on rear wrapper. Features cover art, centerfold caricature, and introductory essay all by Finocchio’s performer Li-Kar, in addition to numerous photographs of the performers. Undated but circa 1944. “Mailing Souvenir,” 188x281 mm; 7¼x11 inches; address panel left blank, folds. Illustrated with an exterior view and a group shot of the performers. Undated but circa 1960. Illustrated brochure titled “World’s Most Famous and Talented Female Impersonators,” 184x200 mm; 7¼x7¾ inches; with drinks price list on verso. Undated but circa 1965. Postcard, 89x140 mm; 3½x5½ inches, captioned “World Famous, the One and Only Finocchio’s,” with photograph of performers by Concetta Jorgensen; unused. Undated but circa 1970.
Estimate
$500 – $750
Harold stevenson (1929-2018)
Autograph note Signed, to an unnamed recipient, on correspondence side of a photograph postcard:
“Harold Stevenson / Nov. 9-Dec. 11 / Iolas Gallery / 15 East 55th St. / NewYork.” The postcard, showing his 1971 painting entitled “Apollon avant l’aube [Apollo Before Dawn].” Red ink stamp to right of inscription announces preview on November 9th between 5 and 7pm. ½ page, 4¼x6¼ inches; faint soiling to edges. Np, [1972?]
Estimate
$100 – $200
Mart crowley (1935-2020)
The Boys in the Band. Signed by the cast of the 1968 premiere in New York,
on the front free endpaper. 182 pages. 8vo, printed wrappers, cracking to spine with minor loss to text, faint scattered soiling; moderate uneven toning to preliminaries (only faintly affecting signatures). Later edition. New York, (1968); inscriptions: circa 1968.
Kenneth Nelson • Peter White • Leonard Frey • Frederick Combs • Laurence Luckinbill • Keith Prentice • Robert La Tourneaux • Reuben Greene • Tom Aldredge.
Estimate
$300 – $400
Lige clarke and jack nichols
I have more fun with you than Anybody.
8vo, publisher's paper-covered boards; unclipped dust jacket, two short closed tears, light wear to spine panel tips.
First edition, presentation copy, warmly inscribed, signed by both Clarke and Nichols. NY, 1972.
Estimate
$150 – $200
Duane michals (1932 - )
Self-Portrait as a Devil on the Occasion of my Fortieth Birthday.
Silver print, the image measuring 124x181 mm; 4⅞x7⅛ inches, the sheet 203x254 mm; 8x10 inches, with Michals’ signature, title, and date in ink on recto, and his copyright stamp and negative date in ink on verso. 1972.
From the Photographer; to the art director for Art & Antiques Magazine. Michals was included in a story about the first known photograph.
“I’m not interested in what something looks like, I want to know what it feels like.” Duane Michals
Estimate
$2,000 – $3,000
Duane michals (1932 - )
America.
Silver print, the image measuring 216x330 mm; 8½x13 inches, the sheet slightly larger, with Michals’ signature, title, and edition notation 6/25 in ink on recto. 1981.
From G.H. Dalsheimer Gallery, Baltimore, Maryland; to the Present Owner, in 1985.
Estimate
$4,000 – $6,000
Duane michals (1932 - )
Male figure holding book.
Silver print, the image measuring 225x152 mm; 8⅞x6 inches, the sheet 356x279 mm; 14x11 inches, with Michals’ signature and edition notation 20/20 in ink on recto. Circa 1990s.
Acquired by the Present Owner in 1981.
This photograph is part of the series “Salute to Walt Whitman.” This body of work is both an extension and a summation of Duane Michals’s decades-long exploration of desire and an acknowledgment of the lifelong comfort, inspiration, and extraordinary vision he found in the writings of his spiritual mentor and companion, Walt Whitman.
Estimate
$2,500 – $3,500
Jimmy desana (1949-1990)
A portfolio titled 101 Nudes.
A complete and sealed example of this important early series from photographer Jimmy DeSana, who was part of the counterculture punk community of artists in New York in the 1970s and 80s. The set includes 56 halftones, the overall sheets measuring 279.4x390.5 mm; 11x15⅜ inches, the printed title sheet with graphic red text; enclosed in the original plastic bag with a cardboard backing and a staped paper seal. 1972.
Gifted by the artist to Robert A. Stefanotti, his gallerist, in 1974. DeSana moved to New York in 1973 and gifted several copies of this portfolio to friends and acquaintances who helped him get established in the city.
The grainy, flash-lit images in this portfolio, partially influenced by 1950s pornography, depict DeSana’s friends and acquaintances posing nude in various domestic and suburban settings. Far from confrontational (indeed “without eroticism,” as DeSana himself noted), the nudity here is organized around an examination of conformity, consumerism, sexual liberation, and queer identity. Printed himself on a small press (the images could not be commercially printed, given the subject matter), the images also recall the influence of Surrealism on the photographer.
DeSana was a part of the counterculture “punk” community of artists and musicians living in Manhattan’s East Village in the 1970s and 80s. His work is both personal and subversive, and his voice and perspective as complex and revolutionary today as it was then.
Estimate
$4,000 – $6,000
Jimmy desana (1949-1990) & diego cortez (1946-2021)
El Cansearch Presidente, a diptych.
A vertical mixed-media diptych. Silver prints (2) with tape, marker, and the artist's semen, each measuring 609x505 mm; 24x19⅞ inches, the first (top) print with Cortez's notations in marker and applied red tape on recto, and his notation indicating this is the first print and a Hal Bromm label with the artists' credits, title, and edition notation on verso; the second (bottom) print with Cortez's notations in marker on recto, and his signature, date, edition notation "First set of 3 sets (edition of 3 sets)," notation "Shown at Hal Bromm," and description "Photos of James DeSana + D. Cortez by Bobby Printed by Grossman DeSana + Cortez," all in pencil in the same hand, on verso. 1977.
WITH--An exhibition catalogue documenting MOVING, a two-part exhibition, which took place at Hal Bromm Gallery, New York, during October and November, 1977. Here the work (on pg. 21) is titled My Latin Heritage/El Cansearch Presidente, from the Esoterrorist Series. Additional text accompanies the image.
The accompanying exhibition catalogue reads as follows: “The work is the first “PUNK” treatment of any of the existing object lines from the series ‘My Latin Heritage.’ The ‘My Latin Heritage’ series is a personal historical myth construction of the artist’s real and imaginary past. Here, the artist is seen in the bottom photo coupled with his regular photographer’s image seen above in portrait. An indication of the master/slave relationship: photographer to subject. Who’s on top? The graffiti advertises the FALN, a terrorist, Puerto-Rican liberation group; also it titles the top photograph of the artists’ photographer Jimmy DeSana, as El Cansearch Presidente. Cansearch, is a cancer research institute, founded by the artist, and the art objects, such as this one , and his films, videotapes, etc, is the actual research itself, in the direction of understanding cancer. The piece should have an urgency to it: a quick, easy blow up of a not-posed-looking mug shot situation; a rushing to Press: to sell the FALN story: a believable sympathy/identification with FALN and art/terrorism. Finally, the piece is a direct outgrowth of my involvement with the ESOTERRORISTS, a street gang (Anya Phillips, Duncan Smith & myself): we support the notion of PUNK JUNK ROCK CANCER SEND. Our target is: CORP. CANCER RECEIVE.” - Diego Cortez
Estimate
$5,000 – $7,500
Pierre commoy (1950-)
Greeting card with photographic collage of men.
123x152 mm; 4¾x6 inches; folds out to 300mm; 11¾ inches. Left side inscribed by Commoy: “Happy sexy new year!!! See you soon in Paris. All my love for you and Muffin!! Pierre” 1974. Commoy is half of the artistic and romantic duo with partner Pierre Gilles Blanchard, known as Pierre et Gilles. Their fusion of photography and painting features stylized painted photographs which synthesize tropes drawn from celebrity and mainstream gay culture, blended with themes of religion, mythology, and idealized beauty. While most works feature their own friends and family, they have photographed international stars like Andy Warhol, Madonna, Naomi Campbell, Dita Von Teese, Tilda Swinton, Karl Lagerfeld, Marilyn Manson, Mick Jagger, and Iggy Pop.
Estimate
$250 – $350
George tooker (1920-2011)
Three prints.
Repose (Sleep), embossing. Signed and numbered 49/150 in pencil, lower margin. Embossed at Joel Meisner & Company, Foundry, Plainview, New York. 1975 * Embrace (Lovers), lithograph. Signed and numbered 22/175 in pencil, lower margin. Printed by George Miller, New York. Published by Imago Imprint, New York. 1982 * Embrace II, lithograph. Signed and numbered 17/175 in pencil, lower margin. Printed by George Miller, New York. 1984. Various sizes and conditions. Very good impressions. Garver 2, 5 and 6.
Estimate
$1,000 – $1,500
Freddie styles (1944 - )
Rufus I.
Acrylic on gessoed paper and mat board, 1975. 711x635 mm; 28x25 inches. Signed and dated in acrylic, lower right.
Provenance: collection of the artist.The artist recalled Rufus is an anonymous silhouette of a neighborhood boy who he would describe as "Neighborhood Trade." Trade (defunct slang from the United Kingdom) is a term that refers to the non-gay-identified casual partner of a gay man or the genre of such pairings.
Estimate
$3,000 – $5,000
Freddie styles (1944 - )
Rufus II.
Acrylic on gessoed paper and mat board, 1975. 711x635 mm; 28x25 inches. Signed and dated in acrylic, lower right.
Provenance: collection of the artist.
Estimate
$3,000 – $5,000
Freddie styles (1944 - )
Summer Rainbow Revisited.
Acrylic on gessoed rag paper, 2000. 660x1016 mm; 26x40 inches. Signed and dated in acrylic, lower right recto. Signed, titled and dated in pencil, verso.
Provenance: collection of the artist.
Freddie Styles has referenced nature throughout his later paintings and collages - developing a particularly organic abstraction. In his vivid Summer Rainbow Revisited, Styles displays the inspiration he finds in his experiences outdoors, including the joy in a rainstorm and the ensuing rainbow.Freddie Styles has been an influential artistic figure in Atlanta for decades. A graduate of Morris Brown College, Styles has produced an extensive body of work in abstraction in both painting and collage over his career. He was an artist-in-residence at Clark Atlanta University, Clayton State University and Spelman College and has been the recipient of numerous purchase awards from the Atlanta Life Insurance Company. He has had numerous solo exhibitions, including at Clark Atlanta University, Hammonds House, Atlanta, Atlanta Hartsfield-Jackson International Airport and the Tubman Museum, Macon, GA. His paintings can be found in the collections of the High Museum, Spelman College Museum of Art, Clark Atlanta University and the Paul R. Jones Collection, University of Delaware.
Estimate
$3,000 – $5,000
Barton lidicé beneš (1942-2012)
Pier 48.
A portfolio of eight photographs by Andres Lander and David Meyer depicting the empty and run down pier, each cornered into a numbered folder, with text stamped on the opposite side. The text is excerpted from letters from the artist to his Aunt Evelyn, with whom he maintained a long correspondence. The colophon also features stamped text. Chromogenic prints, the images measuring 241.3x158.7 mm; 9½x6¼ inches, and the reverse. Small folio-size muslin cloth enclosure with a gold anchor pin clasp; the colophon with Beneš, Lander, and Meyer’s signatures and the edition notation 5/14 in pencil. 1976.
Barton Lidicé Beneš was a sculptor and visual artist who worked in materials that he described as artifacts from everyday life. He became well-known for his collection and installations of relics ranging from cremation ashes to shredded money to bodily fluids to found objects to celebrity ephemera. Calling these reliquaries “Museums,” Beneš’ own apartment also became a larger-scale installation of its own, holding memento mori. A veteran of the AIDS crisis, Beneš’ work blended activism, poetry, and resistance, forcing a confrontation with death and fears of transmission. His most controversial work was titled Lethal Weapons and featured objects such as a toy gun, darks, and other found objects filled with his own blood.
Estimate
$1,500 – $2,000
Barton lidicé beneš (1942-2012)
Stolen Image.
Unique mixed media shadow box assemblage, featuring a color reproduction photograph of a man’s torso, showcasing his unzipped sweatshirt and undone jacket, as well as two 35mm Ektachrome color slide mounts, one empty and positioned over a cutout section of the image, and the other below, with the cutout pecs inserted within the mount, the overall sheet measuring 267x203 mm; 10½x8 inches, the artist’s frame 311x229x32 mm; 12¼x9¼x1¼, with Beneš’ signature, title, and date in pencil on sheet recto. 1980.
Barton Lidicé Beneš was a sculptor and visual artist who worked in materials that he described as artifacts from everyday life. He became well-known for his collection and installations of relics ranging from cremation ashes to shredded money to bodiliy fluids to found objects to celebrity ephemera. Calling these reliquaries “Museums,” Beneš’ own apartment also became a larger-scale installation of its own, holding memento mori. A veteran of the AIDS crisis, Beneš’ work blended activism, poetry, and resistance, forcing a confrontation with death and fears of transmission. His most controversial work was titled Lethal Weapons and featured objects such as a toy gun, darks, and other found objects filled with his own blood.
Estimate
$600 – $900
Robert giard (1939-2002)
Richard in the Shower: #1 (Reaching for a Towel) * Richard in the Shower: #2 (Draped in a Towel).
Together, 2 photographs. Silver prints, the images measuring 365 mm; 14⅜ inches square, and slightly smaller, the sheets 508x406 mm; 20x16 inches, with Giard’s signature, negative and print dates, and the edition notation 9/20 and 3/25 in ink on recto, and the first with his signature and title in pencil on verso, the second with his signature, title, and dates in pencil on verso. 1978; printed 1984 and 1979.
From the Charles M. Wallis Collection.
Estimate
$2,500 – $3,500
Arthur tress (1940 - )
Band-Aid Fantasy.
Silver print, the image measuring 260 mm; 10¼ inches square, the sheet 356x279 mm; 14x11 inches, with Tress’ signature, title, and edition notation 5/25 in ink on recto. 1978; printed 1990s.
Acquired directly from the Photographer; to the Present Owner.
Estimate
$1,000 – $1,500
Arthur tress (1940 - )
Blue Collar Fantasy.
Silver print, the image measuring 260 mm; 10¼ inches square, the sheet 357x279 mm; 14x11 inches, with Tress’ signature, title, and edition notation 2/25 in ink on recto. 1979.
Acquired directly from the Photographer by the Present Owner.
“Photography is my method for defining the confusing world that rushes constantly toward me. … It is my defensive attempt to reduce our daily chaos to a set of understandable images. … I need it to survive.” -Arthur Tress
Estimate
$2,000 – $3,000
Suzanne poli (1942 - )
Pastel Balloons.
Chromogenic print, the image measuring 314x470 mm; 12⅜x18½ inches, the sheet 406x508 mm; 16x20 inches, with Poli’s signature, title, negative date, and edition notation 1/25 in ink on recto, and her signature again in ink on verso. 1979; printed 2020.A view of New York’s Pride Parade, on Christopher Street, taken from the photographer’s window.
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
Suzanne poli (1942 - )
Ferry to the Pines, Fire Island.
Silver print, the image measuring 343x229 mm; 13½x9 inches, the sheet slightly larger, with Poli’s signature and negative date in ink on recto. 1984.
Estimate
$1,000 – $1,500
Suzanne poli (1942 - )
Legendary
Chromogenic print, the image measuring 181x432 mm; 7⅛x17 inches, the sheet 279x508 mm; 11x20 inches, with Poli’s signature and negative date in ink on recto. 1990; printed 2019.
This view, of the Hudson River at the foot of Christopher Street, was included in the New York Historical Society’s Stonewall 50exhibition. The image depicts ballroom street art by Hector Xtravaganza.
Estimate
$1,000 – $1,500
Arnold lobel (1933-1987)
“Toad tripped over a rock.”
Preliminary drawing for the story "The Hat" from Lobel's book Days with Frog and Toad. (New York: Harper & Row, 1979), page 44. Graphite on opaque tracing paper. 102x152 mm; 4x6 inches, on 6½x10-inch sheet. Unsigned. Tipped to matte at upper edge with archival tape.
In this story, Frog gives Toad a hat for his birthday, but it is too large. Toad is determined to wear it, but it falls over his eyes, causing numerous mishaps during their walk.
Provenance: The Artist's Estate; Private collection, New York.
Estimate
$1,500 – $2,500
Harry fonseca (1946 - 2006)
Coyote, When Coyote Leaves the Res.
Acrylic on canvas, 1979. Signed, Fonseca, and dated, 79, lower left. Signed, Fonseca, dated, 6.22.79, and inscribed as titled on stretcher. 914x610 mm; 36x24 inches.
Harry Fonseca began his art career using imagery from his Native American Maidu heritage in his art. His Coyote Series of paintings started in 1979. These works use the coyote as the trickster of Maidu ancestral stories, depicted in nontraditional clothing and settings.
In this painting Coyote is dressed in black leather and other aspects of queer-dress experienced by the artist in San Francisco, expressing Fonseca's personal narrative as a gay Native American living off-reservation.
Estimate
$4,000 – $6,000
Marco silombria (1946-1977)
Altrocinema ‘81 / i’omosessualita nel cinema
Offset lithograph poster. 692x327 mm; 27¼x12⅞. [Turin,] 1981.Featuring 30 short movies shot between 1972 and 1980 from around the world, this film festival was one of the earlier LGBTQ+ movie showcases in Italy, the winner of which would be selected to participate in the Venice Film Festival, although it is not clear whether this happened. Sponsored in part by FUORI (the Italian Revolutionary Homosexual Unitary Front) who were at the forefront of gay liberation in Italy during the 1970s and early 1980s.Rare.
Estimate
$700 – $1,000
Geoffrey graham (1911-1986)
Gay Olympic Games I
Silkscreen poster. 885x665 mm; 35x26 inches. 1982.
Organized by Tom Waddell, an Olympic decathlete who had competed in Mexico City in 1968, the first Gay Olympic Games were held in San Francisco over nine days, from August 28th through September 5th. The event involved over 1300 atheltes from 10 different countries. The event, which has been held every four years since its inception, ran afoul of the International Olympic Committee, who successfully sued (prior to the opening ceremony) requiring the organizers to change the event's name to the "Gay Games."
Estimate
$400 – $600
Robert duncan (1919-1988)
Autograph Letter Signed, to historian Jonathan Ned Katz,
outlining his views about love and sexuality since his 1944 essay, “The Homosexual in Society,” and giving travel plans. 1½ pages, 8x8¼ inches, written on the recto and verso of a single sheet; paper clip stain at upper left, horizontal fold. Np, 27 March 1982.
“I am pleased that my essay from 1944 might be included in excerpt in your new edition of Gay American History. Was that essay in Politics the first public avowal of an author’s homosexuality? At the time, I knew of no other, and felt the obvious should be done.”My view still remains . . . it is our humanity that is most difficult to remain true to. To affirm our commonality.”That is the deep significant possibility I see in all Gay Liberation–. . . that there is a recognition that the entire range of sexual natures and of love relationships is essential to the strength and reality of the commonweal. . . .”From the collection of Jonathan Ned Katz.
Estimate
$300 – $400
Gore vidal (1925-2012)
Archive of 13 Autograph Letters Signed, “GVidal” or “GV,” to historian Jonathan Ned Katz.
Vp, 1982-2001
Together 24 pages. 8vo or 4to, most on "La Rondinaia" stationery; generally good condition. Each with the original envelope. Vp, 1982-2001.
WITH--Gore Vidal. Photocopied typescript with 10 holograph corrections entitled "Preface to The Invention of Heterosexuality." 4 pages, 4to. Np, circa 1994 * Jonathan Ned Katz. Group of related holograph and typed notes, including retained typed drafts of Katz's letters to Vidal. Over 30 pages, 4to or smaller. Vp, 1982-93.
21 May 1982 [from postmark]: “. . . I think an excellent counter-strategy in Academe is to prove that all the known fag writers (precious, marginal) were really totally hetero–Emphasize the uxoriousness of Oscar Wilde, father of two; show how he was rail-roaded into ‘somdomy’ because of his socialism. . . .” 21 July 1983 [from postmark]: “. . . I thought the Baldwin ‘49 piece brilliant; I never knew it existed, which explains Jimmy’s nervousness with me at the time–‘his panic’ is an excellent description of a state of mind which my characters, perhaps, shared though the author not. But I was a realist back then–if you succeed in driving a stake through those false nouns ‘homosexual’ and ‘heterosexual,’ statues will be built in y’r honor–or perhaps just a large stake to burn you at.”2 September 1988 [from postmark]: “. . . Lucien Price admired Messiah (‘54) in the Boston Globe. This was a time when I was either not reviewed or strongly attacked. I got to know him during the decade (his last) when I could no longer publish novels so turned to theater, TV, etc. I read his book on Whitehead with fascination. He was also splended to talk to, an old-fashioned Platonist in his questioning style, not in his ideas about the state. . . . Anyway, we were as one in our detestation of Christianity and the moral mess that accompanies it like an acid rain. . . . True or false, he wsa a consistent philosopher, and lived in a glowing nativist past. . . .”4 September 1989 [from postmark]: “Do you not fear the FBI? Such vileness as you reveal, as you life the flat rocks of the republic from the temple floor, may yet cause a hetero backlash–It is not enough that you include Abe & Josh in Sodom’s column but Buchanan as well . . . .”[11 April 1990]: “. . . In order to demonstrate that heterosexuality does not exist, one must first posit the blessed category & by so doing, fall into a semantical, sophistical trap. Artful dodging should help you in y’r demolition of this great non-sense, so useful to the rulers, and so perfectly evil.”18 July 1996 [from postmark]: “. . . [H]ad you let slip the dogs of ridicule, you would have been serious, & in our flat-earth society, solemnity is all-important. One can’t be stupid enough for our few dull readers–as for the rest, French horns, the triumph of the will, rally courtesy of Mike Eisner. Keep the war going.”From the collection of Jonathan Ned Katz.
Estimate
$1,500 – $2,500
Allen ginsberg (1926-1997)
Autograph Note Signed, 14 lines written in the blank space at end of typed letter to him, with few additional holograph remarks in margins,
explaining that he is unable to answer his questions, with a postscript written in upper margin: “Catching up with letters–months delayed, piles 2 feet thick.” The letter, from historian Jonathan Ned Katz, concerning an upcoming article he is writing involving Gavin Arthur, Edward Carpenter, and Walt Whitman. 1 page, 4to; Ginsberg’s ink address stamp at upper right, horizontal folds. With the original envelope. New York, 8 August 1990.
“Arthur told me the story, I asked him to write it out, he gave me I think a typed unsigned page close writ on his idiosyncratic typewriter. I reproduced it in Straight Heart’s Delight (Gay Sunshine) exactly as writ. But can’t find his paper now, among 200,000 indexed items at Columbia U. Library special collections. Whitman scholar Miller asked for Arthur’s original letter 10 years ago, I searched then, no luck. I suppose it’ll turn up, hope so.”From the collection of Jonathan Ned Katz.
Estimate
$100 – $200
Paul cadmus (1904-1999)
Autograph Note Signed, to Jonathan Ned Katz, 10 lines written in margins of Katz’s typed letter to him, concerning a painting by Cadmus.
Last lines and signature written vertically along right edge. Katz’s letter, thanking for permission to reproduce his painting in a calendar for the Gay and Lesbian Alliance Against Defamation, and mentioning the possible significance of the red tie worn by a fairy in one of his paintings. 1 page, 4to; horizontal folds. [Weston, CT?], 13 September 1996.
”. . . Yes, by all means use a detail of my painting. Be sure to get the title right and the spelling (REYNALDO) correct. The full title of the picture is LE RUBAN DÉNOUÉ: HOMMAGE À REYNALDO HAHN. . . .”From the collection of Jonathan Ned Katz.
Estimate
$150 – $250
Daniel nicoletta (1954 - )
LGBT San Francisco. Signed and Inscribed on the half-title:
“For Jonathan, / May our stories resonate and / inspire, for now and for all of / time. Thank you for speaking / about Alan Bérubé + Michelle [Maurice] / Gerry at / my NYC event, warmly, Dan Nocoletta.” Additionally signed by Jonathan Ned Katz on credit page. 304 pages. Large 4to, printed wrappers over boards; Jonathan Ned Katz’s bookplate at lower edge of credit page; minor scattered soiling to dust jacket. First edition. London, 2017; inscriptions: Np, nd.
From the collection of Jonathan Ned Katz.
Estimate
$150 – $250
Jonathan ned katz (1938 - )
Reclining Nude on a Sofa.
Gouache and pastel on brown paper. 457x603 mm; 18x23¾ inches.
Jonathan Ned Katz studied at New York's High School of Music and Art. From 1960 until 1972 he worked as a textile designer. His career path changed in 1972 upon the acclaimed release of his documentary play, Coming Out!, presented in New York City by the Gay Activists Alliance. He has since published numerous books about gender and sexuality, lectured at Yale, run a seminar at Princeton, and given a keynote address at Harvard. In 2008 Katz launched Outhistory.org. After attending life drawing classes at Leslie-Lohman Gay Men's Erotic Drawing Workshop and drawing and painting classes at the LGBT Center, NY Jonathan Ned Katz started showing his work in group shows and in 2013 had a one man show at Leslie-Lohman Museum of Art, NY.
From the collection of Jonathan Ned Katz.
Estimate
$800 – $1,200
Jonathan ned katz (1938 - )
Seated Nude on a Red Chair.
Gouache, chalk, and collage on paper. 648x495mm, 25½x19½ inches.
From the collection of Jonathan Ned Katz.
Estimate
$800 – $1,200
Michael leonard (1933-)
“Man’s back and reflection.”
Graphite on paper. 203x120 mm; 8x4¾ inches. Initialed and dated “ML 80” lower right image. 1980. Framed to 15x11 inches, with provenance labels mounted to backing. Provenance: Abbott and Holder, Ltd., London; Henry Miller Fine Art (HM_456) Exhibited: Fischer Fine Art, 1980. Published: Patrick Michael Leonard, Painter & Illustrator, by Patrick Bade, (Peter Owen Publishers, 2021) : Changing. 50 Drawings by Michael Leonard, 1983, (Gay Men’s Press, 1983).
Estimate
$4,000 – $6,000
Gay Liberation Era
Florida legislative investigation committee
Homosexuality and Citizenship in Florida, a.k.a. “The Purple Pamphlet.”
Several illustrations. [48] pages. Octavo, illustrated purple wrappers, uneven toning to rear wrapper; minimal wear to contents. [New York: Guild Book Service,1964].
Unauthorized second edition. The original report was commissioned by the Florida State Legislature to investigate an alleged epidemic of homosexuality, including "infiltration into agencies supported by state funds by practicing homosexuals." The resulting report is filled with moral outrage. Also included are several erotic photographs including a full-page shots of bondage and of oral sex being performed in a public restroom. A "Glossary of Homosexual Terms and Deviate Acts" extends to several pages, as does a "Bibliography on Sexual Deviations." The report was released in mid-March 1964. Copies were distributed to all Florida state legislators, and additional copies were available to the public for 25 cents. The Florida attorney general, in shutting down the distribution of the original printing two days after its publication, warned that "It will become the object of curiosity in every school in the state and could engender perversion."
This second edition was published in unauthorized facsimile by the Guild Book Service, the newly launched mail-order wing of H. Lynn Womack's Guild Press. The price was $2.00. Womack, who had previously been prosecuted and acquitted for sending pornographic gay material through the mail, was investigated by the Postal Investigation Service for mailing the government report. He boasted of "substantial" sales of the "Purple Pamphlet" thanks in part to the legal case: "The publicity has been very helpful." His marketing brochure emphasized the erotic photography, promising that "this is the most amazing book that we have ever seen come from any public body." See Tampa Bay Times, 30 June 1964; Miami Herald, 18 March 1964, 23 July 1964, 15 November 1964.
Estimate
$700 – $1,000
Winterset farm
Registration packet for a men’s summer camp in rural Canada.
5 items: Trifold illustrated camp brochure, 317x228 mm; 9x12½ inches; and 4 smaller items, including and application form, cover letter from the camp registrar, original mailing envelope addressed to a man in Philadelphia; and an unstamped return envelope. Minor to minimal wear. Maberly, ON, 1966.
Winterset Farm was a men's summer camp located about 60 miles southwest of Ottawa in rural Ontario, Canada. They boasted of a staff of cabin boys, pool attendants, and massuers "hand picked from amongst the best physique stars and finest physique models." The brochure is illustrated with photographs of volleyball players and swimmers which emphasize the point.
While we have found no press coverage of Winterset Farm, they did run frequent help-wanted ads in the Ottawa Citizen from 1966 to 1969, seeking masseurs, musclemen, and bodybuilders. We trace no other Winterset material in OCLC or at auction, but the ONE National Gay & Lesbian Archives at the University of Southern California does hold a folder of their marketing materials.
Estimate
$500 – $750
25 to 6 baking & trucking society.
Great Gay in the Morning! One Group’s Approach to Communal Living and Sexual Politics.
Numerous illustrations. 95, [1] pages. 12mo, original illustrated wrappers, moderate soiling including an adhesion on the front wrapper and erased name on rear wrapper, minor wear; minimal wear to contents. [Washington, NJ: Times Change Press, 1972].
A collective memoir of communal living in an old farm house two hours from New York City from 1969 to 1972. It was originally a mixed group of 20 residents, but early in the narrative "all the heterosexuals have left the house. For now, only gay people will live together" (page 23). The narrative is enhanced with poetry, songs, photographs, and a cartoon. A lost hippie classic.
Estimate
$250 – $350
Tavern guild of san francisco
Archive of the Guild’s membership mailings, plus a folder of their financial records from 1971-1972.
Approximately 500 pages in 3 binders and a folder; condition generally strong. San Francisco, CA, 1964-1993.
The Tavern Guild was founded in 1962 as the first LGBTQ business association in the United States, uniting the owners of San Francisco's gay bars against police raids, supporting unemployed members, and staging an annual Beaux Arts Ball. They also raised money for a variety of causes within the LGBTQ community and beyond. The bulk of this lot consists of the Guild's mailings to members from 1971 to 1993, most of them photocopies of typescripts on approximately 400 letter-sized sheets. They include the formal minutes of general membership meetings (often containing lists of unemployed members), circular letters to the membership, newsletters, committee and treasurer reports, election ballots, membership lists, and more. A few records from the 1960s are present, including 4 financial statements dated 1964 to 1966, a 3-page history titled "The Tavern Guild: A Record of Accomplishment," and a copy of the Guild's constitution is stamped "Jul 1 1969."
The bulk of the records begin in 1971 and are more or less continuous through 1993. Condition is generally strong.
Also included is a folder of the Guild's original financial records dated 1971-1972, more than 125 items in a variety of sizes, consisting mostly of invoices and memoranda for regular expenses: printing of bar calendars and yearbooks, dues, event tickets and catering expenses, often stapled with register receipts or other related documents. Individual businesses are often named. A 19 April 1972 memorandum notes the deposit of a $1,000 "returned bail check." A sign-up sheet from the Guild's 27 July 1971 meeting includes 78 signatures with their bar affilation.
Estimate
$800 – $1,200
Committee for homosexual freedom
Homosexual Freedom / Gay Strike.
Rainbow flier, 279x210 mm; 11x8¼ inches; minimal wear. Berkeley, CA, [April] 1969.
More than two months before Stonewall, the Committee for Homosexual Freedom called this April 1969 protest in response to the firing of a gay San Francisco Steamship Lines Company employee. The group also protested the company's role in sending troops to Vietnam, and sought ties with the Black Panthers and the peace movement.
In this flier, the attractive psychedelic art by Cooley catches the eye, but it requires a bit of work to see when and where the strike is taking place: "Picket, Mon thru Fri, 12 till 7, 320 California St."--the headquarters of the San Francisco Steamship Lines Company.
Estimate
$300 – $400
Committee for homosexual freedom
Come Together Again: Gay Liberation Party.
Photocopied flier, 279x216 mm; 11x8½ inches; folds, uneven toning. Berkeley, CA, 14 November [1969].
An announcement for a party at the University of California's Wesley Center: "Dance to the music. Brotherhood, sisterhood, boys & girls together."
Estimate
$400 – $600
“Homosexuals are American Citizens Too” sign from Philadelphia’s Annual Reminder march.
Ink on cardboard. 705x559 mm; 27¾ x 22 inches, taped to another sheet said to bear the same text on verso; 4 staple holes with minor rust staining at edges, other minor wear and staining consistent with use. Not examined out of modern archival frame. [Philadelphia, 1969?].
Annual gay rights marches were held in front of Philadelphia's Independence Hall every year on the Fourth of July from 1965 to 1969. These "Annual Reminder" days were among the first organized gay rights protests in the United States, with a focus on equal employment opportunity. The 1969 march was the largest ever with 150 participants, drawing on the excitement of the previous week's Stonewall Uprising.
Printed copies of this sign can be seen in the hands of picketers at the 1969 Annual Reminder Day in several photographs by Nancy Tucker held by the National Constitution Center and in the Barbara Gittings Collection at the New York Public Library. Two copies can also be seen in the 2004 documentary "Gay Pioneers," which also shows Frank Kameny with his collection of Annual Reminder Day picket signs (although not this one). Provenance: Gift from the pioneering activist Frank Kameny (1925-2011) to the consignor.
Estimate
$4,000 – $6,000
De la cruz (dates unknown)
Mama’s Chicken and Ribs.
Oil on canvas, signed lower right. 559x1016 mm; 22x40 inches. 1961.
In an interview conducted by Legacy Project co-founder, Owen Keehnen, Brooklyn born Stonewall Inn bartender Tree Sequoia mentioned his first encounter of a gathering of gay men was at Mama's Chicken and Ribs. This restaurant was in close proximity to the Stonewall Inn at 53 Christopher Street, and is an important historical landmark in the struggle for LGBTQ equality. This painting is by an unknown artist. Dated 1961, it pre-dates the Stonewall Inn riots by eight years.
Estimate
$800 – $1,200
Rand hogan, lou [aka louis randall] (1910-1976)
The Gay Cookbook
Signed First Edition. Los Angeles: Sherbourne Press, 1965.First edition, large octavo, inscribed on ffep: Xmas-1966 / Lou + Cal; illustrated with cartoons by David Costain, publisher’s white cloth boards with Costain’s illustrations in color; some ofsetting to endleaves, spine faded, small tear at head of spine, contents very good. 254x178 mm; 10 x 7 inches.
(For more on The Gay Cookbook and its author, see the following: https://www.atlasobscura.com/articles/gay-cookbook; [and] https://daily.jstor.org/in-the-gay-cookbook-domestic-bliss-was-queer/)
Estimate
$300 – $500
[mattachine book service]
New York City Gay Scene Guide.
"Vol. #2, Complete 1969 Edition." 32 pages including wrappers. Octavo, original staple-bound illustrated wrappers, minor wear; numerous inked notes and marks including a light "X" through the Stonewall listing; early owner's inked stamp on title page. New York: Apollo Book Co., 1968.
This guide was issued in late 1968, just a few months before the Stonewall Rebellion. The Stonewall is named in the listings of Manhattan bars: "It continues operating amid persistent rumors of closing. Caters to a younger crowd who seem to spend all their time perfecting their dancing. Observers note that 'go-go-boys' installed on platforms have failed to attract the dwindling crowds." The recent prosecution of the club's mobster co-owner for extortion and larceny is also discussed. In addition to the listings and ads, the guide includes longer pieces on political activism, the "Gay Cruising Scene," the Homosexual Bill of Rights, and "Wave of Killings Shock Homosexual Community." Other annual and quarterly editions of this guide were issued by the Mattachine Book Service, which is uncredited here but actually held the copyright per "The Stonewall Riots: A Documentary History," page 326.
WITH–“How to Get There, Where to Stay, Where to Eat, Where to Play: Fire Island.” Numerous illustrations. 88 pages. Octavo, original color illustrated wrappers, abrasions and other minor wear. Ocean Beach, NY: Trigar Publishing, 1986. Includes substantial descriptions of the well-established gay resort communities of Cherry Grove (pages 17-20) and Fire Island Pines (27-29), covering both local history and modern culture, including still-extant spots such as the Ice Palace and Top o’ the Bay.
Estimate
$1,000 – $1,500
Angelo d’arcangelo (nd)
The Homosexual Handbook.
281, [7] pages. Octavo, original pink wrappers printed in black, moderate wear. New York: Ophelia Press, Inc., 1969.
First Edition of the popular guidebook which is humorously written but honest and practical in its instruction. The cover quite thoroughly lists its intended audience and broad contents: "for Men & Boys, Also for the Edification of Ladies and of the Lay Public ~ Being an Introduction to the Arts, Crafts, and Sports, and to the History, Sociology and Philosophy of Masculine Love ~ Also Courtship, Marriage between Males ~ designed to Amuse, Enlighten and Instruct all Manner of Readers."
Estimate
$150 – $250
(guidebook)
The Timely Gay Bar Guide 1971. New, Completely Revised Edition.
47 pages of listings and 13 pages of black-and-white illustrated advertisements. 8vo, original stapled wrappers, some creasing. Deer Park, Long Island: Timely Books, 1971.
A gay guide to bars, hotels, florists, bath houses, clothing stores, barbers, and other services, covering over 1500 listings in the U.S., Canada, Mexico, Puerto Rico, and the Bahamas.
Estimate
$400 – $600
Gay flames
Group of 12 Gay Flames pamphlets.
Includes Gay Flames Pamphlets #1-9 and 11-13 from a series of 15, each 4 to 8 pages on folded unbound sheets, plus a cover sheet titled "Gay Liberation," and the Winter and Fall 1970 publication catalogs; minor wear and soiling, cover sheet defective. New York: Gay Flames, circa 1970.
Contents include "Gay is Good" by Martha Shelley; "The Woman-Identified Woman: What is a Lesbian?" by Radicalesbians; "An Open Letter to Jerry Rubin Which May Fix His Bad Mouth" by Step May; "Gay Consciousness" by Stevens McClave and Gary Alinder; "A Letter from Mary"; "Gay Liberation Meets the Shrinks"; "3rd World Gay Revolution" featuring Black Panther leader Huey Newton's "A Letter from Huey to the Revolutionary Brothers and Sisters about the Women's Liberation and Gay Liberation Movements"; "Hey Man" by Steve Dansky; "A Gay Manifesto" by Carl Wittman (with a centerfold poster "Come Out! Join the Sisters & Brothers of the Gay Liberation Front"); "Revolutionary Love: An Introduction to Gay Liberation" by Guy Nassberg; "The Flaming Faggots and Two Other Poems of Gay Rage and Beauty"; and "Working Paper for the Revolutionary People's Constitutional Convention by Chicago Gay Liberation."
Estimate
$400 – $600
John heys, editor (1951- )
Group of early issues of Gay Power, “New York’s first homosexual newspaper.”
Group of 7 issues (Volume I, issues #1, 2, 3, 4, 5, 11, and 15). Folio, each 20 to 28 pages on newsprint with color covers; paper fragile with scattered chipping and browning. New York: Joel Fabricant, [September 1969-April 1970].
Gay Power set out to be bold and provocative. "First of all we must approach the subject from within. Whatever examples of gay power have been demonstrated thus far, whether it be through straight media or on the part of homosexuals themselves--it's either met with some kind of legal or ignorant interference or too one-sided a picture has been presented. Variety is the spice of life and Gay Power is by and for all people. A people is what we shall exemplify first not in any 'half see how far we can get' subtle way, but in the best entertaining and educational way"--from the mission statement introducing the first issue. Includes activist news and editorials, erotic stories and photographs, personal ads, poetry, and more.
Estimate
$600 – $900
Su negrin, peter hujar, suzanne bevier
Gay Liberation
Offset lithograph poster. 559x432 mm; 22x17 inches. 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
Wes jones (dates unknown)
Gay May Day
Silkscreen poster. 426x280 mm; 16¾x11 inches. 1971.
A scarce, previously unrecorded poster, likely produced by members of the Gay Liberation Front for the March on Washington in May 1971.
Estimate
$300 – $400
Donna gottschalk
Sisterhood Feels Good .
Offset lithograph poster. 395x555 mm; 15 1/2x21 7/8 inches. Times Change Press, New York. 1971.
Estimate
$700 – $1,000
Special identity women’s periodicals, 1970s-1980s.
A period archive of small press second wave feminist, lesbian, and women's liberation magazines, newspapers, and ephemera containing women's liberation tracts, pro-lesbian political and artistic works, anti-Vietnam War, pro-Black women, and other materials compiled by and for a variety of marginalized women's populations with a strong emphasis on queer women, compiled by a lesbian activist from the midwest active in the 1970s and 1980s.
Including: five lesbian bumperstickers; several issues of the Scarlet Letter, Madison, WI, 1971-1972; and Lavender Papers, New York Women's School, 1975; pamphlets published by Gay Flames; self-published lesbian poetry; grass-roots produced handbills promoting gay pride and international women's day events; publications of the New England Free Press in Boston; works on birth control;
Newsprint publications including copies of the following titles: The Red Papers; Lavender Woman; Liberated Guardian; New York City Star; Big Mama Rag; Berkeley Tribe; her-self; kaleidoscope; Rat; Whole Woman; and others.
Estimate
$800 – $1,200
Delia davis (dates unknown)
Women for Freedom . . . Stars & Dykes Forever.
Offset lithograph poster. 273x402 mm; 10¾x16 inches. 1973.
Estimate
$500 – $750
Designer unknown
In Celebration of Amazons - Midwest Lesbian Conference and Music Festival.
Silkscreen poster. 839mmx585 mm; 33x23 inches. Women’s Graphics Collective, Chicago,1974.
Estimate
$1,200 – $1,800
Designer unknown
Lesbian Pride.
Silkscreen poster. 434x590 mm; 17x23½ inches. Circa 1970s.
Estimate
$400 – $600
Designer unknown
Sisters Pick Up Sisters.
Lithographed poster. 277x430 mm; 10⅞x16⅞ inches. Circa 1970s.
Estimate
$400 – $600
Designer unknown
Sisterhood is Blooming / Springtime Will Never be the Same.
Silkscreen poster. 665x505 mm; 26x20 inches. Graphics Chicago Womens Liberation Union, Chicago, circa 1975.Originally printed in 1972 when the WLU was located on Belmont Avenue.
Estimate
$700 – $1,000
Lesbo magazine
Five Issues.
Ljubljana, Slovenia: ŠKUC-LL Association, 1997-1999.
Large format illuatrated periodicals, five issues from January 1997; May 1997; December 1997; March 1998; and December 1999; as issued, some signs of handling, each 18 1/2 x 13 1/2 inches.
Lesbo is a Slovenian quarterly lesbian magazine that focuses on politics, society, and culture edited by Natasa Velikonja and designed by Irena Woelle. "[Lesbo magazine] promotes politics, stories and views, arts and attitudes, practices and theories about the resistance and radical fights against homophobia and any other exclusive orientations. As such it participates in wider civil, political, social, and cultural efforts aiming at breaking the massive walls of civil apathy, political ignorance, ideological terror, and mind exploitation." (cf. http://www.ljudmila.org/lesbo/lesbo_1112summary.htm)
Still operational through the present day, the SKUC continues to run queer events and runs an LGBT historical archive in Slovenia.
Estimate
$500 – $750
Mattachine society
Flier for the Society’s “Fucking Films” screenings.
Illustrated flier, 215x139 mm; 8½x5½ inches; minimal wear. [San Francisco], circa 1972.
The Bay Area reporter of 6 September 1972 noted film presentations at the Mattachine office at this address, although with slightly different times. They officially opened as CineMattachine in February 1973, and were raided by the police in August (see Sears, "Behind the Mask of the Mattachine," page 276). The San Francisco Examiner of 13 November 1973 described their rejected application to build a proper "pornographic movie house" for the society.
Estimate
$300 – $400
Robert morgan [art] & john armstrong [layout]
Gay Freedom Celebration
Offset lithograph, double-sided newsprint poster and program. 762x578 mm; 30x22¾ inches. Gay Freedom Day Committee, San Francisco. 1975.A rare document from the early years of San Francisco’s Pride celebrations. Begun in 1970 the event was originally known as the Gay Liberation March and then Christopher Street West. It took the name Gay Freedom Day in 1974. According to the San Francisco Chronicle, Harvey Milk (at that point a candidate for City Supervisor) participated in the parade in 1975.
Estimate
$400 – $600
Harvey milk (1930-1978)
In Honor of Our Friend Harvey Milk.
Program, 285x215 mm; 11¼x8½ inches; minimal wear. San Francisco, CA, 30 November [1978].
Program for a memorial service held at the San Francisco Opera House just three days after the assassination. It features a facsimile of a quotation from Victor Hugo in Milk's hand, on his letterhead: “All the forces in the world are not so powerful as an idea whose time has come.” 4,000 mourners attended the service.
Estimate
$500 – $750
Michael murphy (dates unknown)
1st Annual Gay Festival, New Orleans.
Offset lithograph poster. 700x534 mm; 27½x21 inches. Signed by the artist and numbered 50/500 in pencil, lower right. 1979.
Estimate
$700 – $1,000
Mimi maxwell (dates unknown)
Gay Pride Day ‘79.
Lithographed poster. 555x310 mm; 22x15 inches. 1979.
1979 marked the 10 year anniversary of the Stonewall Riot and the parade was less than a year after the assassination of Harvey Milk. It was also the year of the first national march on Washington , D.C. This exceptional design incorporates men and women and hearts and triangles in an almost M.C. Escher like repeating pattern.
Estimate
$400 – $600
AIDS Era
Richard allan white (dates unknown)
I Want You To Play Safe! Let’s Fight AIDS Together.
Offset lithographed poster. 450x300 mm; 17¾x12 inches. NYU AIDS Mental Health Project (NIMH); NYU AIDS Education and Training Center (HRSA). 1986.
Actor John Burke and Sybil Bruncheon have been performing since the 1980s. This poster, commissioned by Bruncheon was privately printed and distributed to the G.M.H.C. and health clinics.
Estimate
$400 – $600
Susie gaynes, amy e. bartell, jan phillips
Come Out…Come Out…Wherever You Are / National March on Washington for Lesbian and Gay Rights.
Lithograph poster. 515x410 mm; 21¼x16⅛ inches. 1987.
Poster for the second national march on Washington.Rise Up! p. 47.
Estimate
$600 – $900
Designer unknown
Civil Rights Now
Lithograph poster. 615x505 mm; 24x20 inches. 1993.
Estimate
$600 – $900
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 Avram Finkelstein, 1800 hundred copies of the poster were printed, “nine hundred posters, plus another nine hundred replacement posters” (After Silence p. 42)Provenance: from the collection of Christopher Lione. This is the second of two original editions of the poster kept by Mr. Lione.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.After Silence pl. 1, Aids Demographics p. 30, Up Against the Wall p. 199 (all var).
Estimate
$15,000 – $20,000
Oliver johnston (1952-1990)
Original colored sketches for Silence=Death
Color crayon on vellum. 349x280 mm; 13¾x11 inches. Circa 1986.
The sketches, four on a single sheet, include pink triangles on light blue, light green and black backgrounds along with two proposed text placements. "Silence is Death" was Johnston's original contribution to the Collective's search for an effective tagline for the poster (After Silence, p. 45), and during the design process "Oliver kept pushing for versions with brightly colored backgrounds" (ibid p. 47).
These recently re-discovered sketches were left in the home of Silence=Death collective member, Jorge Socarras, after the final 1986 Silence=Death collective meeting at which Johnston drew them. They shed light on a pivotal moment of the visionary design process involved in originating the Silence=Death logo.
Oliver Johnston was one of the original 6 members of the Silence=Death Collective. He was a graduate of Parsons and a graphic designer in his own right. He was the only member of the collective not to survive the AIDS era, he passed away from AIDS complications in 1990.
with- Adhesive Silence=Death sticker in yellow and pink, issued in memoriam for Oliver Johnston.
Provenance: consigned by the Silence=Death Collective.
Estimate
$1,500 – $2,000
Silence=death collective
Silence=Death mechanicals for poster.
Group of 5 paste ups, mechanicals, bluelines, proofs and overlays used to create a subsequent printing of the Silence=Death poster, Silence=Death Vote poster and typographic layouts in Spanish and French used to create foreign T-shirts and buttons bearing the iconic slogan. Sizes vary. Circa 1987-1988.An exceptional insight into the creative and technical processes used by the Silence=Death Collective in forming and executing their most famous image.
The font chosen to use by the Collective was Gill Sans Serif Ectra Condensed. "It was graphically on-trend at the time, but more important, it was chosen for its ability to maximize point size within the narrowness of the poster's topography. The condensed font allowed for the increased vertical scale, giving maximum readability from a distance. It did, however, have kerning pitfalls. The space between the letters made for a very hard read. After the poster hit the streets, a few people asked us why science equals death. In the subsequent printing, we opened up the spaces between the I, L and E." (After Silence p. 47).
Provenance: consigned by the Silence=Death Collective.
Estimate
$4,000 – $6,000
Silence=death collective
AIDS 22,000 are dead. Don’t Join their silence.
Offset lithograph flyer. 355x216 mm; 14x8½ inches. 1987.
Provenance: from the collection of Christopher Lione.
Actup was founded in March, 1987, and this 4 day protest outside of New York's Memorial Sloan-Kettering Cancer Center (one of the city's AIDS Treatment Evaluation Units) was the group's 4th demonstration.
Estimate
$700 – $1,000
Silence=death collective
Aidsgate
Offset lithograph poster. 860x560 mm; 34x22 inches. [New York]: AIDS Coalition to Unleash Power [ACT UP], 1987.
Provenance: from the collection of Christopher Lione.
Aids Demo Graphics p. 36, After Silence fig. 2, Up Against the Wall p. 179.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).
Estimate
$2,000 – $3,000
Silence=death collective
Silence=Death VOTE.
Offset lithograph poster. 838x546 mm; 33x21 1/2 inches. AIDS Coalition to Unleash Power, [New York]. 1988.
Provenance: from the collection of Christopher Lione.
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."
Estimate
$3,000 – $4,000
Richard deagle and victor mendolia
“Know your scumbags”
Offset lithograph poster. 560x535 mm; 22x21 inches, 1989.
New York's Cardinal O'Connor, (Archbishop from 1984-2000) was staunchly and virulently anti-condom and anti-safe sex. His stance on not using condoms to help prevent the spread of AIDs evoked the wrath of gay activist groups, which culminated in ACT UP's "Stop the Church" demonstration in December,1989.
Aids Demographics p. 135.
Estimate
$1,200 – $1,800
Designer unknown
Dress For The Occasion.
Offset lithographed poster. 493x381 mm; 19½x15 inches. San Francisco AIDS Foundation, San Francisco. 1988.Up Against the Wall p. 17.
Estimate
$500 – $750
Designer unknown
Get Carried Away With Condoms.
Offset lithograph poster published by the San Francisco Aids Foundation. 518x354 mm; 20¼x14 in. Grapics Communications International Union (GCIU), Sam Francisco, 1990.Up Against the Wall p. 17.
Estimate
$400 – $600
Michael sabanosh (dates unknown)
Cojelo Con Cuidado / Take It Safely.
Offset lithograph poster, published by the Gay Men’s Health Crisis, inc. 557x429 mm; 22x16¾ in. 1989.
Estimate
$400 – $600
Todd dewitt kendall (dates unknown)
Don’t Get Scared. Get Help.
Offset lithograph poster. 558x530 mm; 22x21 inches. Illinois Gay and Lesbian Task Force, 1991.
Estimate
$400 – $600
Carolyn jones (photographer)
Living Proof / HIV and the Pursuit of Happiness
Offset lithograph poster. 885x583 mm; 35x23 inches. 1994.
Inspired by an earlier photo exhibition, this documentary presented inspirational stories of a cross section of Americans living with AIDS. It shows that life doesn't end with a positive test result. "A gay men's swim team provides a particularly potent image of health and vitality that seems entirely at odds with images of deformity, sickness, debilitation, and misery we associate with AIDS" (tvguide.com).
Estimate
$400 – $600
James brian davis & bernie wert
Bears…Learn from Each Other
Group of 3 offset lithograph posters, each 609x914 mm; 24x36 inches. Gay Men’s Health Project of the AIDS Prevention Collaboration, Tucson, Arizona. 1999.Includes: Big, Furry, Healthy, Happy, Bears, As a Kid it was Fun Cuddling Up To a Teddy Bear and Bears.
Estimate
$700 – $1,000
Various artists
AIDS posters
Group of 18 photo-offset posters. Sizes vary. Mostly from San Francisco and the Bay Area. Circa 1990s. Includes: The Names Project, National Tour (1988); AIDS. It’s Time For Schools to Act! (1992); Different Spokes San Francisco AIDS Bike-A-Thon (1994); Full list and images available upon request.
Estimate
$700 – $1,000
Designer unknown
Fly Forward / American Airlines
Photo offset poster. 711x559 mm; 28x22 inches. 2008.
One of two posters in a small, retro series published by American Airlines as part of their larger LGBTQ initiative which was put into effect in 1994.
Estimate
$300 – $400
Eric avery, m.d. (1948 - )
Lifecycle of HIV Showing Sites of Actions of Medications.
Linoleum relief on Okawara paper, 254x127 mm; 9⅞x5 inches, full margins. Stamped by the artist in red ink, lower margin. 1997.
This print from Eric Avery, M.D. pictorializes the seven stages of the HIV lifecycle and how they develop in the cells. Binding, fusion, reverse transcription, integration, replication, assembly and budding are the stages of HIV that lead from infection to progression of HIV to AIDS.
Eric Avery, M.D. is a printmaker who became a physician during the Vietnam War. He attained his medical degree from The University of Texas Medical Branch, Galveston and completed his psychiatry training at the New York State Psychiatric Institute in New York City. For twenty years, he worked as the HIV psychiatrist at the University of Texas Medical Branch conducting clinical art actions that highlighted developments in HIV care, then moved his HIV medical practice into aesthetic spaces of museums and galleries to prove that art can heal.
For forty years Avery has worked at the intersection of visual art and medicine creating artworks that explore Human Rights, social response to disease, death and sexuality. He has been included in recent exhibitions at the Blanton Museum of Art, The University of Texas at Austin, Oct 31-Jan16, 2022; Eric Avery/Anne Wallace Kirk Hopper Fine Art, Dallas, Texas, Nov 6-December 18, 2021; Print+, Hunterdon Art Museum, Clinton, New Jersey, May 8-September 5, 2021. His prints are in the collections of the National Gallery of Art, Washington DC; the Smith College Art Museum; the Baltimore Museum of Art; the Boston Museum of Art; the Pennsylvania Academy of Fine Art; The British Museum. Avery remains Associate Professor Emeritus at the Institute for Medical Humanities after moving from Texas to New Hope, PA.
Estimate
$500 – $750
Joe eula (1925-2004)
Pat Ast.
Full-length portrait of Ast. Graphite on paper. 610x457 mm; 24x18 inches. Signed "Eula" lower right.
Ast was the brash and colorful muse to both Halston and Andy Warhol. With her equally outsized body and personality, she drew attention both on the runway and on film, starring in such movies as Warhol's "Heat" and her cinematic claim to fame "Reform School Girls." Eula captures her perfectly here, donning her signature Halston caftan and bold jewelry. Provenance: The Estate of Joe Eula.
Estimate
$1,000 – $1,500
Joe eula (1925-2004)
Diana Ross.
Graphite and watercolor on paper, circa 1983. 480x320 mm; 18¾x12½ inches. Signed "Eula" in pencil, lower right.
Eula's most famous image of the great singer was the iconic 1965 concert poster for The Supremes at Lincoln Center. This image, reflecting her later solo career look, is likely an unused study for the cover or concert announcement for her 1983 album "Ross." Provenance: The Estate of Joe Eula.
Estimate
$1,000 – $1,500
Joe eula (1925-2004)
Bette Davis and Joan Crawford.
Rough sketch of the actresses from their famous 1962 horror film “What Ever Happened to Baby Jane?” Graphite on paper. 345x260 mm; 13⅝x10¼ inches, sheet. Signed and captioned in lower margin “Davis - Crawford - Baby Jane H’wood / Eula.” Circa 1962. The psychological thriller about a parapalegic former movie star (Crawford) who is tormented by her ageing child star sister (Davis), was directed and produced by Robert Aldrich. The stars’ real-life rivalry added to its palpable drama. It became a cult classic and revitalized the careers of the two Hollywood legendary actresses. In 2021, the film was selected for preservation in the United States National Film Registry by the Library of Congress. Provenance: The Estate of Joe Eula.
Estimate
$600 – $900
Joe eula (1925-2004)
“Bacall Sweet Bird.” Portrait of Lauren Bacall.
Watercolor, graphite, and ink on paper. Image measures 305x178 mm; 12x7 on 14½x11-inch sheet. Signed “Eula” at bottom right image, captioned by Eula [given title] vertically along right edge. Bacall starred as The Princess Kosmonopolis in Harold Pinter’s adaptation of Tennessee Williams’s “Sweet Bird of Paradise” at the Haymarket Theatre, London, in 1985, before the production was transferred to Los Angeles. Eula did not do the costumes, but did create this wonderful study of Bacall. Provenance: The Estate of Joe Eula.
Estimate
$500 – $750
Joe eula (1925-2004)
Shirley MacLaine.
Two drawings, likely from her show “Shirley MacLaine on Broadway,” New York 1984. Graphite and ink wash on rough-edged paper. 300x223 mm; 11¾x8¾ inches, sheets. Signed “Eula” in pencil and titled in marker; image with both hands on hat contains a pencil sketch on verso of MacLaine with cane in her left hand, identical to pose in the other drawing.Provenance: The Estate of Joe Eula.
Estimate
$600 – $900
Joe eula (1925-2004)
“Liza’s Back!” Portfolio of drawings of Liza Minnelli from her live album from 2002.
One large image of Liza reclining, ink on paper, measuring 457x610 mm; 18x24 inches. Captioned and signed by Eula; one ink, watercolor, and color pencil drawing titled “Liza and Peter,” measuring 305x300 mm; 12x11¾ inches, plus 30 variant sketches of Liza by herself, similar to the final album cover image, rendered in different media including graphite, ink, watercolor and/or crayon on sketchbook paper. Sizes vary, but average sheet measures 12x9 inches. Some signed by Eula. All circa 2002. Laid into one of Eula’s typical black board drawings fashion drawing folders, repurposed for the Liza drawings. The album was recorded at the Beacon Theatre, New York City, on April 2, 2002 and produced by Minnelli’s then husband, David Gest. It featured some of her greatest hits and cover tunes, as well as introduce the title song, written by her longtime collaborators, John Kander and Fred Ebb. Provenance: The Estate of Joe Eula.
Estimate
$2,500 – $3,500
Joe eula (1925-2004)
Portrait of Diahann Carroll.
Pen and ink on paper. 353x425mm; 16¾x14 inches, sheet. Unsigned and undated.A similar drawing of Carroll was among the items in the sale of her estate in 2020.Provenance: The Estate of Joe Eula.
Estimate
$700 – $1,000
Keith Haring
Keith haring (1958-1990)
Barking Dog.
Paper cut out with prepared metallic acrylic ground. 115x175 mm; 4⅝x6⅞ inches. Signed and dated in felt-tip pen and ink, upper right recto. 1981.Provenance: Estate of Dan Farrell, Old Chatman, New York; private collection, East Greenbush, New York.During his attendance at the School of Visual Arts, New York, Haring studied semiotics, the usage and interpretation of signs and symbols. In 1980, the artist started to create chalk drawings on the unused advertising panels of the New York Subway stations, and would continue doing so for the next ten years to the delight of the city’s commuters. Barking dogs were among his repeated icons, along with flying saucers and his signature radiant baby. Haring’s pictographs, for their simplicity and accessibility, were replicated on T-shirts as well as a multitude of other consumer goods, securing Haring’s place in 1980s popular culture.
Estimate
$7,000 – $10,000
Keith haring (1958-1990)
Poster for Nuclear Disarmament.
Hand-signed and dated by Haring, with crawling baby drawing.
Black and white offset lithographed poster. 600x450 mm; 23¾x17¾ inches. Hand-signed and dated by the artist in marker, with crawling baby drawing. 1982.This was Keith Haring’s first poster. “Haring had twenty thousand copies of his first poster printed on his own initiative. On June 2, 1982, he transported the stack of paper in a handcart to what was the largest demonstration to date against nuclear weapons and the arms race, which took place in Central Park in New York. There were one million protesters, and Haring gave his posters away for free.” (Haring p. 106). Haring Posters 1.
Estimate
$2,500 – $3,500
Keith haring (1958-1990)
Keith Haring at Robert Fraser Gallery.
Offset Lithograph poster. 673x1016 mm; 26½x40 inches. 1983. Haring Posters 11.
Estimate
$800 – $1,200
Keith haring (1958-1990)
Keith Haring: Into 1984/Tony Shafrazi Gallery
Offset lithograph poster. 889x585 mm; 35x23 inches. 1984. Haring Posters 12.
Estimate
$800 – $1,200
Keith haring (1958-1990)
Keith Haring: Into 1984/Tony Shafrazi Gallery.
Color offset lithograph. 880x580 mm; 34¾x22¾ inches, full margins. Signed and dated “86” in silver ink, lower center. 1984. Haring Posters 12.
Estimate
$4,000 – $6,000
Keith haring (1958-1990)
Free South Africa.
Offset lithograph poster. 1219x1200 mm; 48x47¼ inches. 1985.Haring Posters 26.
Estimate
$500 – $750
Keith haring (1958-1990)
Keith Haring for Emporium Capwell.
Color offset-lithograph poster. 712x559 mm; 28x22 inches. Signed by the artist in red ink, lower right. 1985.Haring Posters 31.
Estimate
$1,000 – $1,500
Keith haring (1958-1990)
Pop Shop.
Offset lithograph poster. 610x555 mm; 24x21⅞ inches. Signed by the artist in black ink, with his cipher and a drawing of a crawling baby. 1985.This image was used, both in black and white and color, on shopping bags from Haring’s acclaimed boutique.Not in Haring Posters .
Estimate
$1,200 – $1,800
Keith haring (1958-1990)
Bad Boys.
Screenprint on BFK Rives wove paper. 430x560 mm; 17x22 inches, full margins. One of 7 numbered artist’s proofs, aside from the edition of 30. Signed, dated, inscribed “AP” and numbered 5/7 in pencil, lower right. 1986.Published in Littmann, Keith Haring, Editions on Paper, 1982-1990, Stuttgart, 1997, page 59.
Estimate
$8,000 – $12,000
Keith haring (1958-1990)
Jigsaw Puzzle.
Screenprint on 100 jigsaw puzzle pieces. 180x180 mm; 7x7 inches, assembled. With the original printed cardboard box, signed, dated and with the artist’s cipher in felt-tip pen and ink, on the underside. Published by Pop Shop, New York. 1986.
Estimate
$1,500 – $2,500
Keith haring (1958-1990)
Crack Down!
Offset lithograph poster. 546x419 mm; 21½x16½ inches. 1986.”In 1984, Haring had employed a young assistant who became addicted to crack. His struggle with the drug prompted Haring to come up with an idea for a large scale mural in East Harlem, directly on the FDR Drive… : Crack is Wack. the poster originated at the same time.” (Haring p. 114)Haring Posters 47.
Estimate
$600 – $900
Keith haring (1958-1990)
National Coming Out Day…
Offset lithograph poster. 613x571mm; 24 1/8x22 1/2 inches. 1988. Haring Posters 77.
Estimate
$700 – $1,000
Keith haring (1958-1990)
Postcard dated and Signed, “K. Haring ‘88,”
showing reproduction of his untitled 1983 painting featuring an exploding head. Signed in the blank lower margin, correspondence side blank. 6x4¼ inches; remnants of mounting at corners verso. Np, 1988.
Estimate
$1,000 – $2,000
Keith haring (1958-1990)
Untitled (Wedding Invitation).
Color screenprint on canvas. 161x165 mm; 6⅜x6½ inches, full margins. Signed, dated, numbered 24/125 and with the artist’s cipher in felt-tip pen and ink, lower margin. 1988.A very good impression. Littmann 92.Provenance: Purchased at Haring’s Pop Shop, New York, 1988, with the original printed paper bag, by the current owner, private collection, New York.
Estimate
$3,000 – $5,000
Keith haring (1958-1990)
The Valley.
Etching on white wove paper. 252x225 mm; 10x9 inches, full margins. Signed, dated and numbered 48/80 in pencil, lower right. 1989.Published in Littmann, Keith Haring, Editions on Paper, 1982-1990, Stuttgart, 1997, page 141.The Valley is a collaboration between Haring, who made 16 separate etchings for the series, and the Beat Era poet and novelist William S. Burroughs, whose text-based “cut-up” method of writing influenced Haring’s pictographic style. Reflecting a shift from Haring’s more light-hearted early works, The Valley series is dark and menacing, made during the final years of his life when he was living with AIDS. Alongside his Apocalypse series (1988), this series introduces stylistic shifts of more complex compositions and characters such as jesters, masks, skills and martyrs. This series tells the story of the valley people who live in hellish conditions, then rescued by people from the outside world. Haring and Burroughs set up an “us” and “them” narrative in this series, notably around contamination from the valley people. Thus, The Valley series strikes parallels with contemporary crises like the AIDS epidemic and functions as a compelling social commentary.A portion of Burroughs’s corresponding text for this etching reads: “The Press, of course, wallowed in speculation and clamored to be allowed to interview the Valley people and take pictures. They were firmly admonished that the possibility of a virgin soil epidemic imposed emergency conditions. No one but scientists and doctors from the CDC would be allowed access to the Valley people, unless or until there was no danger of an unknown disease agent getting loose in the world’s population.”
Estimate
$4,000 – $6,000
Keith haring (1958-1990)
Ignorance = Fear / Silence = Death.
Offset lithograph poster. 610x1092 mm; 24x43 inches. 1989. Published by ACT-UP. Haring Posters 83, Up Against the Wall p. 210, The Whitney 2014.265.
Estimate
$800 – $1,200
David hockney (1937 - )
Two David Hockney posters.
Offset lithograph posters. Sizes vary. Group includes: “David Hockney / Allen Jones”, 1966 and “1972 Munich Olympics”, 1972.Hockney Posters 12 and 34.
Estimate
$800 – $1,200
David hockney (1937-)
[Corbusier Chair and Rug.]
Photo offset poster. 686x552 mm; 27x21¾ inches. Hand-signed by the artist in pencil. 1969Hockney Posters 23 (var).
Estimate
$800 – $1,200
David hockney (1937 - )
In an Old Book.
Etching on Crisbrook paper. 350x223 mm; 13¾x8⅞ inches, full margins. Signed, dated and numbered 58/75 in pencil, lower margin, and titled in pencil, verso. Printed by Alecto Studios, London. Published by Editions Alecto, London, with the ink stamp verso. From Illustrations for 14 Poems from C. P. Cavafy. 1966.A very good impression. Scottish Arts Council 52; Musem of Contemporary Art, Tokyo 52.
Estimate
$4,000 – $6,000
David hockney (1937 - )
An Erotic Etching.
Etching on handmade paper. 150x112 mm; 5⅞x4⅜ inches, full margins. Signed, numbered 18/100 in pencil and with the artist’s copyright blind stamp, lower margin. Printed by Michael Rand, London. Published by Secker and Warburg, London. From The Erotic Arts. 1975. A very good impression. Scottish Arts Council 172.
Estimate
$5,000 – $7,500
David hockney (1937 - )
The Blue Guitar (title page).
Color soft ground etching with aquatint. 423x344 mm; 16¾x13½ inches, full margins. Signed and numbered 80/200 in pencil, lower margin. Published by Petersburg Press, London. From The Blue Guitar by Wallace Stevens, with portfolio sheet. 1976-77.A very good, clean impression. Scottish Arts Council 199; Museum of Contemporary Art, Tokyo 178.
Estimate
$1,500 – $2,500
David hockney (1937-)
Drawing with a Camera
Photo offset poster. 990x686 mm; 39x27 inches. Hand-signed and inscribed “to Dorsey love,” by the artist in pen. 1982.Hockney Posters 130.
Estimate
$800 – $1,200
David hockney (1937-)
New Work With A Camera.
Photo offset poster. 990x622 mm; 39x24½ inches. Hand-signed by the artist in pencil. 1983.Hockney Posters 142.
Estimate
$800 – $1,200
David hockney (1937 - )
Check accomplished and Signed, to “Cash” in the amount of $900
Los Angeles, 24 October 1991
drawn on the Bank of Hollywood. 2¾x6 inches; ink cancellation stamp at center recto (not affecting signature), vertical folds, remnants of mounting at corners verso, 3 ink bank stamps on verso, endorsed vertically in unknown hand verso.
Estimate
$200 – $300
David hockney (1937-)
Some Very New Paintings.
Photo offset poster. 1010x629 mm; 39¾x24¾ inches. Hand-signed by the artist in pen. 1993.Hockney Posters 198.
Estimate
$800 – $1,200
Peter hujar (1934-1987)
Clown.
Silver print, the image measuring 190.5 mm; 7½ inches square, the sheet 254x203.2 mm; 10x8 inches, with Hujar’s signature, credit, address, and copyright in ink on verso. 1973.This print was made by Hujar and is unique in this size.
Estimate
$5,000 – $7,000
Peter hujar (1934-1987)
Torso (Keith Cameron).
Silver print, the image measuring 375 mm; 14¾ inches square, the sheet 508x406.4 mm; 20x16 inches, with Hujar’s signature, title, date, numeric notation 907, and edition notation 4/15 in ink on verso. 1981.
Acquired directly from Peter Hujar; to a Private New York Collector.
Estimate
$15,000 – $25,000
Peter hujar (1934-1987)
Portrait of H.M. Koutoukas.
Silver print, the image measuring 372x375 mm; 14½x14¾ inches, the sheet 508x406 mm; 20x16 inches, with Hujar’s signature, title, date, numeric notation 946-4-12, and edition notation 4/15 in ink on verso. 1981.
Acquired directly from Peter Hujar; to a Private New York Collector.
Estimate
$7,000 – $10,000
Peter hujar (1934-1987)
Portrait of Sarah Jenkins.
Silver print, the image measuring 362x300 mm; 14¼x11¾ inches, the sheet 540x403 mm; 19⅞x15⅞ inches, with Hujar’s signature, date, and inscription “For Sara - with love from Peter” in pencil on verso. 1984.
From the Photographer; to Sarah Jenkins; to the Present Owner.
Estimate
$8,000 – $12,000
Robert mapplethorpe (1946-1989)
Jim, Sausalito * John, N.Y.C, from the X Portfolio.
Together, 2 silver prints, the images measuring 191 mm; 7½ inches square, the black rag mounts 330x318 mm; 13x12½ inches, each with Mapplethorpe’s signature and edition notation 3/25 in pencil and the plate number blind stamp on mount recto. 1978
Estimate
$8,000 – $12,000
George valentine dureau (1930-2014)
Robert Mapplethorpe Shirtless #1.
Silver print, the image measuring 464x356 mm; 18¼x14 inches, the sheet slightly larger, with Dureau’s signature, title, and edition notation 1/10 in ink on recto. 1985. George Valentine Dureau is best known for his black and white photography and charcoal drawings. Born, raised, and educated in Louisiana, Dureau spent most of his artistic career in the French Quarter of New Orleans. His photographs focused primarily on athletes, amputees, and dwarves, capturing the vulnerability and humanity of his subject. Robert Mapplethorpe was a student of Dureau’s and credited his works as inspiration.
Chris Boot & Philip Gefter, George Dureau, The Photographs (Aperture), p. 87.
Estimate
$2,500 – $3,500
George valentine dureau (1930 - 2014)
Standing Male Angel.
Charcoal on paper. Signed, Dureau, lower right. 737x584 mm; 29x23 inches.
Estimate
$800 – $1,200
Don herron (1941-2012)
Jackie Curtis - Actress, NYC.
Silver print, the image measuring 190.5x127 mm; 7½x5 inches, the sheet 254x203.2 mm; 10x8 inches, with Herron’s signature, title, and dates in ink on recto. 1980; printed 1992.
Estimate
$1,200 – $1,800
Don herron (1941-2012)
John Keys as Diana Vreeland, Sept. 24, 1992, 2:30 PM.
Silver print, the image measuring 190.5x127 mm; 7½x5 inches, the sheet 254x203.2 mm; 10x8 inches, with Herron’s signature, title, and date in pencil on recto. 1992.
Estimate
$1,200 – $1,800
Robert indiana (1928-2018)
Untitled (Sex Anyone?).
Color lithograph on Rives BFK. 410x287 mm; 16⅛x11⅜ inches, wide margins. Edition of 2000. Printed by Maurice Beaudet, Paris. Published by E. W. Kornfeld, Bern. From 1¢ Life, with a poem by Walasse Ting, verso. 1964.A very good impression with strong colors. Sheehan 31.
Estimate
$700 – $1,000
Robert indiana (1928-2018)
Falco.
Color screenprint poster with metallic silver ink. 915x610mm; 36x24 inches. Aspen Center of Contemporary Art, 1968.Indiana also designed the sets for this Colorado production of Louis Falco’s dance troupe.
Estimate
$800 – $1,200
Robert indiana (1928-2018)
Sante Fe Opera, Twentieth Season.
Color screenprint. 788x559 mm; 31x22 inches, full margins. Signed, dated and numbered 189/250 in pencil, lower margin. 1976.
Estimate
$1,200 – $1,800
Robert indiana (after) (1928-2018)
[Sunburst Marilyn.]
Color screenprint poster on white wove paper. 845x710 mm; 33¼x28 inches, full margins. 2001. A very good impression.
Estimate
$1,000 – $1,500
Richard bernstein (1939-2002)
The Beatles.
Offset lithograph poster. 610x730 mm; 24x28¾ inches. 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
$600 – $900
Richard bernstein (1939-2002)
Jello (Heart).
Offset lithograph poster. 762x1016 mm; 30x40 inches. Artist’s proof. Signed, titled, dated “7/9/69” and inscribed “A/P” in pencil, lower edge. 1969.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
$800 – $1,200
Michael volbracht (1947-2018)
[Bloomingdale’s Bag]
Screenprint. 445x597mm; 17½x23½. Circa 1975.A prominent fashion designer and illustrator, Volbracht was arguably most recognized for the two shopping bags he designed for Bloomingdale’s in the 1970s (ironically he neglected to use the store’s name on his design, and yet the images became advertising icons all the same). One of the bags featured a portrait of a woman on one side, and this portrait of a man on the oppposite side. Although never specifically identified it is believed the portrait is of Robert Yoh, a Zoli model.
Estimate
$500 – $750
Andy warhol (1928-1987)
In the Bottom of My Garden.
Offset lithograph with hand coloring in watercolor. 215x280 mm; 8½x11 inches (sheet), full margins. Signed in ink, upper left recto. From the same-titled book. 1956. Feldman II.94.
Estimate
$3,000 – $5,000
Andy warhol (after) (1928-1987)
Love You Live.
Color offset lithograph on newsprint. 383x564 mm; 15⅛x22¼ inches, full margins, with center fold as issued. Signed in felt-tip pen and ink, lower left. Published by Interview Magazine. 1977.Based on the same-titled album cover for the Rolling Stones designed by Warhol (see Maréchal 11).
Estimate
$1,500 – $2,000
Andy warhol (1928-1987)
Body Builder.
Unique silver print, the image measuring 254x203 mm; 10x8 inches, with Warhol’s blind stamp on recto, and the Estate of Andy Warhol and Foundation stamps on verso. 1982.
Estimate
$5,000 – $7,500
Andy warhol (after) (1928-1987)
Group of 4 invitations to Andy Warhol A Memorial Lunch.
Four offset lithographs. 165x85 mm; 6½x3¼ inches. 1987.
Estimate
$600 – $800
Stephen sprouse (1953 - 2004)
Sid Viscious.
Screen print and acrylic on canvas, 1988. Inscribed, Merry Christmas. Happy 89, John [Reinhold]. Thanks for being my friend. Love signed, Stephen, and dated, 88, on stretcher. 1880x1880 mm; 74x74 inches. Provenance: The artist; John Reinhold, acquired from the artist, 1988. Stephen Sprouse is widely known in the design world for his Louis Vuitton Graffiti logo bags created in collaboration with Marc Jacobs in 2000. He also designed the dress worn by Debbie Harry in the 1978 video for Heart of Glass. His punk style in design caught the attention of Andy Warhol. Through their friendship Sprouse began experimenting with media such as silk screen printing, photography, and collage. The recipient of this painting, John Reinhold, was friends with Stephen Sprouse and Andy Warhol. Reinhold, a jeweler, gave Warhol a jar of diamond dust suggesting he might incorporate it into his work. Andy Warhol’s diamond dust works would follow.
Estimate
$12,000 – $18,000
Stephen sprouse (design), brigitte lacombe (photo)
Andy Warhol’s Interview / 20 Years.
Screenprint bust stop poster. 1752x1174 mm; 69x46¼ inches. [New York,] September, 1989.The 20th anniversary issue of Warhol’s seminal magazine featured a cover story on Jody Foster, who had just won her first Oscar for Best Actress for her role in The Accused. In addition to the poster, Lacombe also took the photographs for the article. The actual magazine for the month featured a straightforward black and white photograph of the actor resting her chin on her knees. For the poster Sprouse animated the image with his trademark day-glo palette.Rare-we were unable to locate any other copies
Estimate
$700 – $1,000
Herb ritts (1952-2002)
Interview.
Screenprint, bus stop poster. 1739x1200 mm; 68½x47¼ inches. [New York,] June, 1990.In the year of her Blonde Ambition tour, Madonna was scandalizing the world and courting controversy with her simulated masturbation moves on stage. Herb Ritts catches that moment for the cover of Warhol’s magazine with his now infamous “crotch grab” portrait in which the performer is also grabbing her breast. Rare
Estimate
$800 – $1,200
Herb ritts (1952-2002)
Calvin Klein [Marky Mark]
Two photo offest posters, sizes vary. [New York,] Circa 1992.This indelible, 1992 add campaign, which by some accounts increased Calvin Klein sales by 34%, came to an ignominious end in 1993 when Mark Wahlberg was attributed as the source of several homophobic statements. His contract expired in December 1993 and was not renewed. The images appeared in bus shelters and magazines catapulting the young rapper to a new level of stardom and simultaneously creating a fashion sensation and a new aesthetic.
Estimate
$400 – $600
David wojnarowicz (1954-1992)
Untitled (Buffaloes).
Platinum print on rag paper, the image measuring 270x352.4 mm; 10⅝x13⅞ inches, the sheet 406.4x508 mm; 16x20 inches, with the Wojnarowicz Estate stamp with the Executor’s initials and edition notation 2/100 in pencil on verso; with a RB Lewis Collection label on mat verso. 1988-89; printed 1992.
Estimate
$10,000 – $15,000
Hugh steers (1962-1995)
Green Towel.
Oil on paper. 273x292 mm; 10¾x11½ inches. Signed, titled, and dated in pencil, verso. 1988.Published in Hugh Steers: The Complete Paintings, 1983-1994, New York: Visual AIDS, 2015, page 200, catalogue number CR189 (not illustrated).Provenance: Midtown Gallery, New York, with the label on the frame back; private collection, Greenwich, Connecticut.
Estimate
$4,000 – $6,000
Hugh steers (1962-1995)
Wire Hangers.
Oil on paper. 374x271 mm; 14¾x10⅞ inches. Signed, titled and dated in pencil, verso. 1989.Published in Hugh Steers: The Complete Paintings, 1983-1994, New York: Visual AIDS, 2015, page 213, catalogue number CR305.Provenance: Private collection, Greenwich, Connecticut.
Estimate
$4,000 – $6,000
Hugh steers (1962-1995)
White Pitcher.
Oil on paper. 380x285 mm; 15x11¼ inches. Signed, titled and dated in pencil, verso. 1988. Provenance: Midtown Galleries, New York, with the label; private collection, New York.
Estimate
$4,000 – $6,000
Hugh steers (1962-1995)
Edge of the Tub.
Oil on gessoed paper. 15x10⅛ inches. Signed, titled and dated in pencil, verso. 1994.Published: Hugh Steers: The Complete Paintings, 1983-1994, New York: Visual AIDS, 2015, page 236, catalogue number CR538.Provenance: Richard Anderson Fine Arts, New York, with the label on the frame back; private collection, New York.
Estimate
$6,000 – $9,000
Todd trexler (1944-2014)
The Cockettes & Sylvester.
Offset lithograph poster. 635x521 mm; 25x20½ inches. [San Francisco]. 1971. Founded in 1969, the Cockettes were a popular and successful San Francisco-based performance troupe. Their overall ecclectic vision augmented by elaborate costumes, music, imagination combined with hippie psychedelia had catapulted them to local stardom and they were considered the darlings of the Bay City counterculture. Their fame led to a New York tour in 1971 where they were coupled with Sylvester. The show was not successful, with many of New York’s downtown gliteratti walking out on opening nght. The show closed at the end of it’s three week contract. Sylvester himself only performed for a few evenings before he heeded the advice of his friends and disassociated himself from the rest of the troupe.
Estimate
$700 – $1,000
Ron lieberman (dates unknown)
Jackie Curtis’ Vain Victory / Vicissitudes of the Damned.
Offset lithograph poster. 432x279 mm; 17x11 inches. Skyline Offset, NYC, 1971.
Estimate
$600 – $900
Michael vernaglia (1956-1991)
The Saint.
Offset lithograph poster. 1041x686 mm; 41x27 inches. Graphic Arts International Union, Cleveland, 1980.Michael Vernaglia was an accomplished illustrator and artist throughout the 1970s. He is perhaps best known for designing the logo and, this, the first poster for The Saint night club. His illustrations appeared in various magazines, including Mandate, and his art work graced the covers of a number of LPs including Andrew Hill Jazz 1979; Katmandu (soul) in 1979; The Kinks Second Time Around 1980 as well as a number of classical music albums.
Estimate
$300 – $400
Various artists
The Saint at Large.
Collection of 26 invitations to various events sponsored by The Saint, primarily in the form of posters. Folded as issued. Various sizes. 1986-1996.
Estimate
$350 – $500
Boris vallejo (1941 - )
The New St. Marks Baths.
Offset lithograph poster. 978x705mm; 38½x24¾ inches. Hand-signed by the artist in black marker. 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
1980s - 1990s
Paul davis studio
The Normal Heart.
Offset lithographed poster. 712x490 mm; 28x19¼ inches. 1985.Larry Kramer’s semi-autobiographical play premiered at New York City’s Public Theatre on April 21, 1985.
Estimate
$700 – $1,000
My comrade
Group of 8 issues of the magazine My Comrade.
8 volumes, all quarto in illustrated wrappers except for the 1994 issue in large folio newspaper format; minor wear. This irreverent zine was published by drag queen Linda/Les Simpson from 1987 to 1994, and returned for two more issues in 2004 and 2006. This extensive but incomplete run includes issues dated Summer 1989; Winter 1990; Winter 1991; Summer 1992; Summer 1993; Early 1994; Fall 2004; and 2006.
Estimate
$400 – $600
(ru paul, 1960-)
DNA Lounge Presents: RuPaul is Star Booty.
Offset lithograph poster. 433x280 mm; 17x11 inches. 1987.
Estimate
$400 – $600
(wigstock)
Pair of programs for Wigstock ‘89 and Wigstock ‘92 festivals.
[36]; [72] pages. 4to, illustrated wrappers; minor wear. DIY-style black and white programs for the annual drag festival held in Manhattan from 1984 onward. The 1989 program features as the headliner “over six feet of leggy glamour, look out Diahann Carroll, Ru-Paul Charles” (years before his song Supermodel brought him national fame). An ad for the forthcoming album release appears on the verso of the 1992 program.
Estimate
$300 – $400
Various designers
Rock and Roll Fag Bar
Group of 4 offset lithograph posters. Sizes vary. 1987, 1989, 1990Artists include: Leslie Sternbergh, 1989 and 1990.Dean Johnson’s founded his eponymous Rock N Roll Fag Bar in 1987.
.WITH “Oh! Jackie! Oh!” performed at The World every Friday night, from a photo by Will Daley, circa 1980s.
Estimate
$800 – $1,200
Michael comte (photograph)
Paris is Burning>/b>
Photo offset movie poster. 1040x685 mm; 41x27 inches. Hand-signed and inscribed by the director Jennie Livingston in red ink. 1990.
Estimate
$400 – $600
Mark geller (dates unknown)
Joan Jett-Blakk for President.
Offset lithograph poster. 655x495mm; 25¾x19½ inches. 1992.
In 1992 drag queen and activist Terrance Alan Smith ran for president of the United States as Joan Jett-Blakk, representing the Queer Nation Party. Her memorable slogan from the ultimately unsuccessful campaign was “Lick Bush in ‘92.” With plans to have Dykes on Bikes patrolling America’s borders, and to paint the White House lavender, her campaign was effective in its cutting satire and helped bring queer issues into the American political debate. As Smith she was able to sneak in to the Democratic National Convention in Madison Square Garden, where she changed back into a star spangled mini dress and announced her candidacy from the floor of the convention. A performance that caused Pat Buchanon to proclaim that her appearance was “the greatest single exhibition of cross-dressing in American political history.” This poster borrows liberally from the famous Black Panther image from the early 1970s of an armed Huey Newton sitting in a wicker chair.
Estimate
$1,000 – $1,500
Oliver hadji (photpgrapher)
Bitch! Dyke! Faghag! Whore!
Photo offset poster. 437x316 mm; 17⅛x12½ inches. Signed by the performer in red marker. Circa 1994.The photograph for this poster promoting a stop on the Australian tour of Penny Arcades famous show was taken in 1992 when she performed at New York’s Village Gate in 1992. Conceived in the early 1990s as a “fuck you” response to Senator Jesse Helms’s stance on banning obsence art from the NEA, Penny Arcade’s show has been performed on and off ever since and is considered a “joyful, sex-positive, queer carnival that asks us to get up from our seats and dance, even as it nurses our political and spiritual wounds.” (https://www.intomore.com/culture/bitch-dyke-faghag-whore-the-united-states-of-penny-arcade)
Estimate
$400 – $600
Jack mitchell (photograph)
Superstar in a Housedress
Photo offset movie poster. 1016x686 mm; 40x27 inches. Hand-signed by Holly Woodlawn and Craig Highberger in pen. [New York,] 2003. This documentary about the life of Andy Warhol superstar Jackie Curtis features interviews with Penny Arcade, Harvey Fierstein, Joe Dalessandro, Paul Morrisey and others. It is narrated by Lily Tomlin.
Estimate
$500 – $750
Various artists
Unfortunately, History has set the Record a Little Too Straight.
Offset lithograph posterWith two other posters.
Estimate
$200 – $300
Robert loughlin (1949-2011)
Untitled.
Acrylic on found object. 350x740 mm; 13¾x29 inches.Provenance: Private collection, New York.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
Robert loughlin (1949-2011)
Velvet Under.
Acrylic on found canvas. 560x460 mm; 22x17 inches. Initialed and titled in acrylic, verso.Provenenace: Private collection, New York.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
$1,000 – $1,500
Robert loughlin (1949-2011)
The Yardbirds.
Acrylic on found canvas. 380x760 mm; 15x30 inches. Signed, titled and dated in oil, verso. 2003.Provenance: Private collection, New York.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
$1,000 – $1,500
James snodgrass (1929 - 2013)
Untitled, (Three Graces).
Oil on canvas, 829x1372 mm; 72x54 inches. Circa 1980.
Estimate
$3,000 – $4,000
(gay zines)
Straight to Hell: The Manhattan Review of Unnatural Acts.
33 issues. Each about 32 pages, staple-bound, with minor wear and occasional foxing. New York, 1975-circa 1986. The title varies from issue to issue, usually headed either “Straight to Hell” or “S.T.H.,” with subtitles including “Archives of the American Academy of Homosexual Evidence” and “The Manhattan Review of Unnatural Acts.” This lot includes issues 24, 27, 28, 30, 31, 33-36, 38-53, 57, 58, 62, 64, 67, 2:1, and 2:2, plus a duplicate of 58. WITH–20 paperbacks, including 9 volumes of “True Homosexual Experiences from S.T.H.,” Volumes 1-7, 11, and 13; 3 other S.T.H. publications; and 8 other anthologies and memoirs. Various places, 1981-1996.
Estimate
$800 – $1,200
Various designers
On Our Backs.
Two offset lithograph posters. Each approximately 432x560 mm; 17x22 inches. 1985. Includes “Rachael and Elexis”, photo by Honey Lee Cottrell and “Even Femmes Go Down”, photo by Morgan Gwenwald. From consignor– “Featuring the photograph “Westbound Train” by noted photographer HL (Honey Lee) Cottrell”On Our Backs, published and edited by women for a female audience, was America’s first erotic lesbian magazine. It ran from 1984 until 2006.
Estimate
$600 – $900
JEB (Joan E. Biren) (1944 - )
Randy and Tara.
Pigment inkjet print on cotton rag paper, the image measuring 197x279.4 mm; 7¾x11 inches, the sheet 279.4x355.6 mm; 11x14 inches, with JEB’s signature, title, and dates in ink on verso. 1979; printed 2019.
A print of this image was included in the exhibition About Face: Stonewall, Revolt and New Queer Art, Wrightwood 659, Chicago, May 22-August 10, 2019.
Estimate
$2,000 – $3,000
JEB (Joan E. Biren) (1944 - )
Sarah Shulman and other members of the Zap Action Brigade are arrested for disrupting the US Senate hearings on an anti-abortion bill.
Silver print, the image measuring 177.8x228.6 mm; 7x9 inches, the sheet 270x330.2 mm; 10⅝x13 inches, with JEB’s signature, title, and dates in ink and her copyright stamp on verso. 1981; printed 1997.
A print of this image was included in JEB’s traveling retrospective exhibition Queerly Visible, George Washington University, 1997.
This image was on the cover of Sarah Schulman’s My American History, Lesbian and Gay Life During the Reagan and Bush Years (Routledge, 2nd edition).
Estimate
$2,000 – $3,000
JEB (Joan E. Biren) (1944 - )
Urvashi Vaid and Sue Hyde of the National Gay and Lesbian Task Force at DC’s Gay and Lesbian Pride Parade.
Silver print, the image measuring 177.8x212.7 mm; 7x8⅜ inches, the sheet 254x330.2 mm; 10x13 inches, with JEB’s signature, title, and dates in ink and her copyright stamp on verso. 1982; printed 1997.
A print of this image was included in JEB’s traveling retrospective exhibition Queerly Visible, George Washington University, 1997.
Urvashi Vaid (October 1958 - May 2022) was an Indian-born American LGBTQ+ rights activist, lawyer, and writer. She was the author of two books and held a series of roles at the National LGBTQ Task Force, including leading the organization (then called the National Gay and Lesbian Task Force) during the height of the AIDS crisis. Many years before intersectionality became a common approach to activism, she insisted that freedom for gay men and lesbians meant fighting for gender, racial, and economic equality as well. She also argued against fighting for access to the mainstream, instead fighting for power to change and alter it, a progressive position that was completely unique. “My understanding of liberation did not come from the feminist and gay activists with whom I worked, but rather from movements working to end colonial occupation and white supremacy,” she wrote on the website OpenDemocracy in 2014.
Sue Hyde was the co-founder and, for 30 years, the Director of NGLTF’s Creating Change Conference. She is currently Executive Director and Board Secretary of the Wild Geese Foundation.
Estimate
$2,000 – $3,000
Jean baptiste carhaix (1946 - )
A group of three photographs of members of the Sisters of Perpetual Indulgence.
Silver prints, the images measuring 216x311 mm; 8½x12¼ inches, 324x222 mm; 12¾x8¾ inches, 330x464 mm; 13x18¼ inches, the sheets approximately 260x356 mm; 10¼x14 inches and 406x495 mm; 16x19½ inches, the smaller two with Carhaix’s signature, title, inscription, and dates in pencil on verso and the larger with his signature, title, date, edition notation EA, and inscription in pencil on recto. 1984, 1989, 1993.
Founded in 1979, the Sisters of Perpetual Indulgence an Order of queer and trans nuns. The group is dedicated to community service, protest, and street performance, using drag and religious imagery to bring attention to sexual intolerance and satirizing issues of gender and morality. Joyful and committed to their community, the group “use humor and irreverent wit to expose the forces of bigotry, complacency and guilt that chain the human spirit.”
Estimate
$700 – $1,000
Shelby sharie cohen (1959 - )
Live to Ride, a self-portrait, Berkeley, California.
Digital print, the image measuring 267x343 mm; 10½x13½ inches, the sheet slightly larger, with Cohen’s signature, title, and edition notation 10/50 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.
Shelby Sharie Cohen has been a photographer in the San Francisco Bay Area for close to 40 years. Her recently discovered photographic archive offers a rare look at San Francisco’s lesbian, BDSM, erotic, and queer communities during the Feminist Sex Wars and the AIDS crisis of the 1980s and 1990s. The Archive is represented by Bolerium Books in San Francisco and contains over 10,500 negatives and slides and more than 700 prints. These photographs, many of which were taken for the groundbreaking sex-positive magazine On Our Backs, document San Francisco’s lesbian leather community and the rise of sex clubs during the Feminist Sex Wars, as well as the city’s wider queer community as reflected in Theatre Rhinoceros, AIDS fundraisers, the Gay Games, gay weddings, music festivals, and political activism. Cohen currently lives in Northern California and focuses on portrait photography.
Estimate
$1,500 – $2,500
Shelby sharie cohen (1959 - )
Polyamorous Butch Lovers.
Digital print, the image measuring 349x235 mm; 13¾x9¼ inches, the sheet slightly larger, with Cohen’s signature, title, and edition notation 7 of 50 in ink on verso. 1986; printed later.Accompanied by Cohen’s Certificate of Authenticity, also with her signature and edition notation, and her Artist Statement.
Reproduced in the San Francisco Bay Area Reporter, October 9, 1986, pg. 40, for the story “Women at the Castro Street Fair.” Cohen’s statement reads, in part: “I photographed Sky, Shadow and their other friend (lover) many times especially for On Our Backs. On Our Backs was the first women-run erotica magazine to feature lesbian erotica for a Lesbian audience. […] Back in the 80s we were wild with imagination and sexual pleasure was created often in front of my camera.”
Shelby Sharie Cohen has been a photographer in the San Francisco Bay Area for close to 40 years. Her recently discovered photographic archive offers a rare look at San Francisco’s lesbian, BDSM, erotic, and queer communities during the Feminist Sex Wars and the AIDS crisis of the 1980s and 1990s. The Archive is represented by Bolerium Books in San Francisco and contains over 10,500 negatives and slides and more than 700 prints. These photographs, many of which were taken for the groundbreaking sex-positive magazine On Our Backs, document San Francisco’s lesbian leather community and the rise of sex clubs during the Feminist Sex Wars, as well as the city’s wider queer community as reflected in Theatre Rhinoceros, AIDS fundraisers, the Gay Games, gay weddings, music festivals, and political activism. Cohen currently lives in Northern California and focuses on portrait photography.
Estimate
$800 – $1,200
Shelby sharie cohen (1959 - )
Self Portrait of True Love Times Two, Eel River, Garberville, California.
Digital print, the image measuring 279x356 mm; 11x14 inches, with Cohen’s signature, title, and edition notation 4 of 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.
Reproduced in On Our Backs, Fall 1987 issue. Cohen’s photographs were the centerfold of the story “Getting Away From It All.” Her statement reads, in part: “I am a self portrait artist and I loved putting my film camera on my tripod and creating beauty. I put the timer on and sat down and kissed my beloved with all my heart! A group of Lesbians gathered together at Devils Elbow every summer for a month to enjoy each other’s company. […] As a queer woman I stand for photographing love as we are all created equally.”
Shelby Sharie Cohen has been a photographer in the San Francisco Bay Area for close to 40 years. Her recently discovered photographic archive offers a rare look at San Francisco’s lesbian, BDSM, erotic, and queer communities during the Feminist Sex Wars and the AIDS crisis of the 1980s and 1990s. The Archive is represented by Bolerium Books in San Francisco and contains over 10,500 negatives and slides and more than 700 prints. These photographs, many of which were taken for the groundbreaking sex-positive magazine On Our Backs, document San Francisco’s lesbian leather community and the rise of sex clubs during the Feminist Sex Wars, as well as the city’s wider queer community as reflected in Theatre Rhinoceros, AIDS fundraisers, the Gay Games, gay weddings, music festivals, and political activism. Cohen currently lives in Northern California and focuses on portrait photography.
Estimate
$800 – $1,200
Patrick angus (1935-1992)
Two pencil drawings.
Standing Nude. 305x227 mm; 12x9 inches * Reclining Nude. 227x305 mm; 9x12 inches. Both with the artist’s estate blind stamp and inscribed with initials “PA” in pencil, lower right recto, and inscribed “Estate of Patrick Angus/DBT” in pencil, verso.Provenance: Estate of the artist, certified by Douglas B. Turnbaugh; gifted to current owner.
Estimate
$2,000 – $3,000
Patrick angus (1935-1992)
Two pencil drawings.
Standing Nude * Seated Nude. Both 305x227 mm; 12x9 inches. Both with the artist’s estate blind stamp and inscribed with initials “PA” in pencil, lower right recto, and inscribed “Estate of Patrick Angus/DBT” in pencil, verso.Provenance: Estate of the artist, certified by Douglas B. Turnbaugh; gifted to current owner.
Estimate
$2,000 – $3,000
Luis frangella (1944 - 1990)
Encounter.
Oil on canvas, 1983. Signed, LF, lower right. 1524x1270 mm; 60x50 inches. Argentine artist, Luis Frangella earned a master’s degree in architecture at the University of Buenos Aires before traveling to the United States to further his studies at the Massachusetts Institute of Technology. In 1976 he moved to New York City where he created paintings, sculpture and murals while also organizing art shows at Limbo, a club for artists and a venue for film screenings. In 1982 Frangella received a Guggenheim Fellowship. He became very active with the Act Up movement after contracting the AIDS virus. He died in 1990 due to complications from the virus.
Estimate
$4,000 – $6,000
Luis frangella (1944 - 1990)
Untitled, (Torso).
Charcoal on paper, c. 1983. 584x381 mm; 23x15 inches.
Estimate
$1,500 – $2,500
Luis frangella (1944 - 1990)
Untitled (Six Torsos).
Gouache on black paper, 1984. Signed, LF, lower right. 293x692 mm; 11½x27¼ inches.
Estimate
$1,500 – $2,500
Robert w. richards (1941-2019)
Vincent Thomas.
Three pencil on vellum drawings. Each 432x355 mm; 17x14 inches. One initialed in pencil, lower center recto. The three drawings top, middle and bottom form a continuous image of the subject.
Estimate
$1,200 – $1,800
Robert w. richards (1941-2019)
Group of three drawings.
Seated Nude, color pencils on light pink paper. 497x650 mm; 19½x25½ inches. Initialed in pencil, lower right recto * Two Standing Figures in Suits, felt-tip pen and ink on cream wove paper. 605x483 mm; 24x18⅞ inches. Initialed in ink, lower right recto* Nick Rodgers, Nick’s Dick, pencil on vellum. 480x605 mm; 18x⅞x23⅞ inches. Initialed in pencil, lower left recto.Provenance: Gifted by the artist to the current owner.
Estimate
$1,500 – $2,000
Kenny burgess (1935-1989)
Untitled (Male Nude).
Colored inks on cream wove paper. 279x355 mm; 10⅞x14 inches. Signed in ink, lower right. Provenance: Gifted from the playwright William Hoffman to producer John Glines; gifted to private collection, New York. Kenny Burgess's Untitled (Male Nude) is referred to in the script of As Is, a play by William M. Hoffman. Directed by Marshall W. Mason and co-produced by The Circle Repertory Company and The Glines production company. The show opened on March 10, 1985, at the Circle Theatre, where it ran for 49 performances. The cast included Jonathan Hadary, Jonathan Hogan, Lou Liberatore, Ken Kliban and Claris Erickson. As Is portrays the effect that HIV, a relatively new epidemic in the 1980s, has on a group of friends living in New York City. The scene Kenny Burgess portrays is of a nude reclining sex worker. This play depicts a gay couple, Saul and Rich, who open the play with their relationship separation. Rich's decision to separate is reversed when he returns to Saul after contracting AIDS from his new lover. Seeking emotional support, Rich shows how people with AIDS were treated by the American family, doctors and friends. Their impersonal and detached attitudes lead Rich to recognize the importance of a partner for the gay individual. Kenny Burgess designed the posters for the early plays of Cafe Cino, the West Village home of the Off-Broadway movement. Robert Patrick, William Hoffman, and Lanford Wilson are some of the successes from Cafe Cino. Burgess hid clues in the posters tipping off "in the know" audience members about the performances at Cafe Cino without alerting the NYC Police Department since Cafe Cino wasn't licensed for live performances. He was the dish-washer at Cafe Cino and created the posters and artwork on the side. Many of his works are in the permanent collection at the New York Public Library, Billy Rose Theatre Collection.
Estimate
$1,500 – $2,500
Allen ginsberg (1926-1997)
Young Friend at Ellie Dorfman’s Home.
Silver print, the image measuring 356x352 mm; 14x13⅞ inches, the sheet 508x406 mm; 20x16 inches, with the Allen Ginsberg Trust stamp with Trustee Bob Rosenthal’s signature and edition notation 1/25 in pencil on verso. 1985; printed after 1997.
Estimate
$700 – $1,000
Trevor southey (1940-2015)
Only Child.
Pencil on Arches. 572x380 mm; 22½x15 inches. Signed, titled and numbered “86•31” in pencil, lower edge, recto. 1986.Provenance: Royce Burton Fine Art, Arlington, Virginia, 2011; private collection, Santa Fe.
Estimate
$800 – $1,200
Evergon (1946 - )
Untitled (Full Nude Figure).
A 4-part assemblage of Polaroids, each a detail of a nude figure. Polaroids, the images measuring 79.4 mm; 3⅛ inches square, the overall size 365x88.9 mm; 14⅜x3½ inches, with Evergon’s signature in pencil on recto of the bottom print. 1980s.
Estimate
$1,000 – $1,500
Mark morrisroe (1959-1989)
Self-portrait.
Unique Polaroid, the image measuring 95.3x73 mm; 3¾x2⅞ inches, the sheet slightly larger, with Morrisroe’s Estate stamp with Pat Hearn’s signature and dates in pencil, and the numeric notation 101 in pencil, on verso. Circa 1985.
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.
Estimate
$5,000 – $7,000
Antonio lopez (1943-1987)
Portrait of Jean-Claude Suarez, for his birthday.
Black ballpoint ink pen on paper. 279x216 mm; 11x8½ inches. Signed “Antonio” in ink along left side, captioned “J.C. Suarez” at bottom, and inscribed and dated along right side “Happy Birthday with all the love in the world 1986.” Float-mounted and framed to 14x11½ inches, with a second signature and date “Antonio 10/86” cut and taped to frame backing. A bust portrait of fellow illustrator and the groundbreaking first art director of The New York Times Op-Ed page.
Estimate
$1,000 – $1,500
Steven arnold (1943-1994)
Angel Ascending.
Silver print, the image measuring 356 mm; 14 inches square, the sheet 505x406 mm; 19⅞x16 inches, with Arnold’s signature, title, and edition notation 3/12 in pencil on verso. 1987; printed 1994.
Estimate
$2,500 – $3,500
Del lagrace volcano (1957 - )
Angie + Robyn, Cold Store Romance, Vauxhall, London.
Chromogenic print, the image measuring 323.8x495.3 mm; 12¾x19½ inches, the sheet 400x508 mm; 15¾x20 inches, with Volcano’s signature, title, and date in ink on verso. 1988.
Love Bites (GMP éditions Aubrey Walter).
Estimate
$1,200 – $1,800
Joe ziolkowski (1960 - )
Vulnerable * Support.
Together, 2 photographs. Silver prints, the images measuring 356 mm; 14 inches square, the sheets 508x406 mm; 20x16 inches, each with Ziolkowski’s signature, title, date, and edition notation 1 of 25 and 2 of 25 in pencil on verso. 1989 and 1988-90.
From the Charles M. Wallis Collection.
Estimate
$1,200 – $1,800
Tom bianchi (1945 - )
First Outpost Pool Party.
Silver print, the image measuring 292x429 mm; 11½x16⅞ inches, the sheet 406x508 mm; 16x20 inches, with Bianchi’s signature, negative date, and edition number 2 of 10 in ink on verso. 1988; printed 1990s.
From the Charles M. Wallis Collection.
Estimate
$1,000 – $1,500
Tom bianchi (1951 - )
Lee on a Wall.
Silver print, the image measuring 700x200 mm; 18⅜x12½ inches, the sheet 508x406 mm; 20x16 inches, with Bianchi’s signature, date, and edition notation 1/35 in ink on recto. 1991.
From the Charles M. Wallis Collection.
Estimate
$1,000 – $1,500
Tom bianchi (1945 - )
Statue (DAVID/HARD).
Silver print, the image measuring 467x317 mm; 18⅜x12½ inches, the sheet 508x406 mm; 20x16 inches, with Bianchi’s signature and edition notation 7/35 in ink on recto. 1990.Tom Bianchi: In The Studio (St. Martin’s Griffin), pg. 27.
Estimate
$1,200 – $1,800
Lowell nesbitt (1933 - 1993)
Richie.
Pencil on illustration board, 1974. Signed, L. Nesbitt, and dated, 1974, lower center. 1124x768 mm; 44¼x30¼ inches. Provenance: estate of the artist; [Capsule, New York, September 9, 2021, lot 153]; Private collection, NJ. Lowell Nesbitt is perhaps best known for his large realist paintings of flowers, though his subjects varied widely over his career, including shoes, bridges, building facades, and male nudes such as the drawings included in this auction.Nesbit was born in Baltimore, MD and studied art at the Tyler School of Art at Temple University, Philadelphia, and at the Royal College of Art, London. His works are in the collections of the Museum of Modern Art, NY, the National Gallery of Art, Washington DC, the Art Institute of Chicago, and the Philadelphia Museum of Art. In 1964 Nesbitt had his first museum show at the Corcoran Gallery of Art, Washington DC.
Estimate
$800 – $1,200
Lowell nesbitt (1933-1993)
Standing Nude.
Color pencils on paper mounted to board. 1524x1009 mm; 60x39¾ inches. Signed and dedicated “For Chett.” 1981.Provenance: Private collection, New York.
Estimate
$3,000 – $5,000
Lowell nesbitt (1933-1993)
Standing Nude.
Color pencils on paper. 1505x1000 mm; 59½x39½ inches. Signed and dated in color pencil, lower recto. 1989.Provenance: Private collection, New York.
Estimate
$3,000 – $5,000
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
Ellsworth kelly (1923-2015)
Two color lithographs.
EK/Green. 1194x940 mm; 47x36¾ inches (sheet), full margins. Signed and numbered 23/50 in pencil, lower margin * Jack/Gray. 1194x940 mm; 47x37 inches (sheet), full margins. Signed and numbered 23/35 in pencil, lower margin. Both published by Gemini G.E.L., Los Angeles, with the blind stamp. Both 1990.Both very good impressions. Axsom 250 and 252; Gemini 1429 and 1431.
Estimate
$1,200 – $1,800
Len prince (1953 - )
Nigel with rope.
Hand-toned silver print, the image measuring 229x378 mm; 19x14⅞ inches, the sheet slightly larger, with Prince’s blind stamp on recto and his signature in ink on verso; enclosed in the original studio frame. 1990.
Acquired directly from the Photographer; by the Present Owner, in 1990.
Estimate
$1,000 – $1,500
Herb ritts (1952-2002)
Duo III, Los Angeles.
Platinum paladium print, the image measuring 464x365 mm; 18¼x14⅜ inches, the sheet 565x457 mm; 22¼x18 inches, with Ritts’ copyright blind stamp on recto, and his signature, title, negative date, and edition notation 11/25 in pencil on verso. 1990.
Estimate
$3,500 – $4,500
Ferd eggan (1946-2007)
Pornography.
An artist’s book featuring twelve intimate color photographs (seemingly made from Polaroids), including the first (title) page, interspersed with fourteen pages of printed text describing explicit and intimate sexual encounters. Chromogenic prints, the images each measuring 76x92 mm; 3x3⅝ inches, the sheets 102 mm; 4 inches square. 32mo with two punched holes two and silver rings, the first page (a photograph) with Eggan’s printed credit and title, and the second with his signature in ink, the printed date and edition notation 6 (in ink) of 100, and the printed notation “This project was funded in its entirety by a grant from the National Endowment for the Arts.” 1990.
An activist who was known to be brash and charismatic, Ferd Eggan served as Los Angeles, California’s AIDS coordinator from 1993-2001 (the city’s third to hold that post). His influential tenure in the role included sponsoring the city’s first needle exchange program as well as advocating for public housing assistance for homeless people with HIV and AIDS. Eggan was also outspoken about other groups affected by the epidemic, helping to create Women Alive, a group that is now a national organization.
Estimate
$800 – $1,200
Arch connelly (1950-1993)
A Good Argument.
Paper collage with glitter and sequin embellishments and acrylic on canvas. 255x205 mm; 10x8 inches. Signed, dated, titled and dedicated in pencil, verso. 1990.Provenance: Gifted by the artist to current owner, private collection, New York.
Estimate
$1,000 – $1,500
Vincent cianni (1952 - )
Drag Queen Blowing Kiss, NYC Gay Pride March.
Silver print, the image measuring 314x229 mm; 12⅜x9 inches, the sheet 356x279 mm;14x11 inches, with Cianni’s signature, title, negative and print dates, and edition notation AP1 in pencil on verso. 1990; printed 2020.
Estimate
$1,400 – $1,800
Vincent cianni (1952 - )
Man in Fishnet/Stop the Hate, NYC Gay Pride March.
Silver print, the image measuring 324x216 mm; 12¾x8½ inches, the sheet 356x279 mm; 14x11 inches, with Cianni’s signature, title, and negative and print dates in pencil on verso. 1993; printed 2020.
Estimate
$1,400 – $1,800
Vincent cianni (1952 - )
Miss Bronx, NYC Gay Pride March.
Silver print, the image measuring 318x213 mm; 12½x8⅜ inches, the sheet 356x279 mm;14x11 inches, with Cianni’s signature, title, negative and print dates, and edition notation AP1 in pencil on verso. 1995; printed 2021.
Estimate
$1,400 – $1,800
Bill mack (1944 - )
Valiant Detail.
Bonded sand relief sculpture. 660x508x44.5 mm; 26x20x1.75 inches. With frame: 889x762 mm; 35x30 inches. 1991.
Estimate
$1,200 – $1,800
Jim long (1949 - )
A group of four photographs from his Intimacy series.
Silver prints, the images measuring 76x51 mm; 3x2 inches, the sheets 356x279 mm; 14x11 inches, each with Long’s signature, title, edition notation of 15, copyright, and date in pencil on verso. 1990-1991.I became a witness to a sacred ritual of tenderness and care, 1990, 6/15 * I dreamt he would keep me from harm, 1991, 1/15 * I envied their moments of release, their touch of surrender, 1991, 6/15 * As if reaching for him, it moved to gracefully touch his sleeping lips, 1991, 7/15.
From Nye Gomez Gallery, Baltimore, Maryland; to the Present Owner, in 1990-92.
Estimate
$600 – $900
Nan goldin (1953 - )
Yogo Putting on Powder, Second Trip, Bangkok.
C-print, the image measuring 102x187 mm; 4⅞x7⅜inches, the sheet slightly larger, with Goldin’s signature and edition notation 112/325 in ink on verso. 1992.
Estimate
$1,200 – $1,800
Nan goldin (1953 - )
Bea with a whip at The Other Side.
Silver print, the image measuring 336.5x225.4 mm; 13¼x8⅞ inches, the sheet slightly larger, with Goldin’s signature in pencil and a stamp with the title, date, edition information, and edition notation 58/100, on verso. 1973This print is a special edition to benefit Dr. Daniel Berger, M.D. and Northstar Healthcare/AFC Addictions Program.
Estimate
$1,000 – $1,500
Nan goldin (1953 - )
Clemens at Lunch at Le Café de Sade, Lacoste, France.
C-print, the image measuring 337x225 mm; 13¼x8⅞ inches, the sheet 356x279 mm; 14x11 inches, with Goldin’s signature and edition notation 194/500 in ink and a stamp with the title, dates, and edition information on verso. 1999; printed 2002.Special Benefit Edition for Whitechapel Art Gallery, produced on occasion of Nan Goldin: Devil’s Playground, 26 January - 31 March 2002.
Estimate
$800 – $1,200
David armstrong (1954-2014)
Building, Potsdam.
Photogravure, the image measuring 688x457mm; 27x18 inches, the sheet 838x610 mm; 33x24 inches, with Armstrong’s intitials, title, and the tonal proof edition notation 2/3 in pencil on recto. Circa 1992.
During the late 1970s, Armstrong became associated with the transgressive “Boston School” of photography, which included artists such as Nan Goldin, Mark Morrisroe, and Jack Pierson. Armstrong first received critical attention for his intimate portraits of men, either lovers or friends, whom he captured with an erotic gaze. In the 1990s, he began photographing cityscapes and landscapes in soft focus to contrast with the sharpness of his portraits.
Estimate
$800 – $1,200
Jose arroyo (dates unknown)
Man with open jacket.
Silver print, the image measuring 343x267 mm; 13½x10½ inches, the sheet slightly larger, the mount 407x508 mm; 16x20 inches, with Arroyo’s signature, date, and edition notation 3/50 in pencil on mount recto and the overmat. 1992.
Estimate
$1,000 – $1,500
Greg gorman (1949 - )
Rex and Gregory.
Gum platinum print, the image measuring 610x476 mm; 24x18¾ inches, the sheet 810x660 mm; 31⅞x26 inches, with Gorman’s signature in pencil on recto, and the edition notation 12/18 in pencil on verso. 1993; printed 2004.
Estimate
$2,500 – $3,500
Don gene bell (1935-)
Merry Go Round.
Watercolor on paper, 419x533 mm, 16½x21 inches. 1993.
Estimate
$800 – $1,200
Ross bleckner (1949 - )
Gay Flag.
Color screenprint on wove paper. 840x572 mm; 33⅛x22½ inches, full margins. Signed and numbered 150/500 in pencil, lower left. Published by The Stonewall Community Foundation, New York. 1993.A very good impression with strong colors.
Estimate
$2,000 – $3,000
José villarrubia (1961 - )
Teen Angel VI.
Cibachrome print, the image measuring 492x349 mm; 19⅜x13¾ inches, the sheet slightly larger, with Villarrubia’s signature, title, date, and edition notation 2/25 in pencil on verso. 1993.
Acquired directly from the Photographer by the Present Owner.
Estimate
$700 – $1,000
Robert giard (1939-2002)
Scott O’Hara.
Silver print, the image measuring 337x365 mm; 13¼x14⅜ inches, the sheet 508x406 mm; 20x16 inches, with Giard’s signature, dates, and edition Copy I in ink on recto. 1993-94.
Scott O’Hara (1961-1998) was an American pornographic performer, author, poet, editor, and publisher. He rose to prominence during the mid-1980s for his work in gay adult films such as Winner Takes All, Below The Belt and In Your Wildest Dreams. O’Hara wrote four books: SeXplorers: The Guide to Doing it on the Road, Do It Yourself Piston Polishing (for Non-Mechanics), Autopornography: A Memoir of Life in the Lust Lane, and Rarely Pure and Never Simple: Selected Essays of Scott O’Hara, and edited and published the quarterly men’s sex journal Steam and the cultural magazine Wilde.
Estimate
$1,500 – $2,000
Everett engbers (dates unknown)
The Gilded Mirror * Perfumes of the Night.
Together, 2 photographs. Platinum palladium prints, the images measuring 120x95 mm; 4¾x3¾ inches, and slightly smaller, the mounts 356x279 mm; 14x11 inches, each with Engbers’ signature and edition notation A/P and 2/25 in pencil on mount recto, and his address label with the title, medium, negative and print dates, and edition limitation in pencil on mount verso. 1994.
From the Charles M. Wallis Collection.
Estimate
$800 – $1,200
Bill jacobson (1955 - )
Interim Couple #1098.
Silver print, the image measuring 241x200 mm; 9½x7¾ inches, the sheet 508x406 mm; 20x16 inches, with Jacobson’s signature, title, date, and an inscription in pencil on verso. 1994.
These early works, titled Interim Portraits, feature shadowy, pale figures that evoke the loss experienced by many during the height of the AIDS epidemic. The blurred subjects underline the futility of capturing a true human likeness in both portraiture and memory.
Estimate
$1,000 – $1,500
Cornelius mccarthy (1935 - 2009)
Untitled.
Gouache on foamcore, 1994. Signed, CMC, and dated, 94 lower right. 324x158 mm; 12¾x6¼ inches.
Estimate
$800 – $1,200
John burton harter (1940-2002)
Two studies for Pete Asleep.
Grease pencil and white conte on toned sketch paper, both 374x423 mm; 13⅞x16⅞ inches. Both signed and dated “1/9/83” in graphite, lower edge. 1983.Provenance: Estate of the artist to benefit The John Burton Harter Foundation.This pair of drawings are two studies for Harter’s artwork Pete Asleep.John Burton Harter documented the richness of gay experience through his artwork. Harter is most known for male figure studies and compositions of the male body. These works range from classical studio drawings to completed paintings and self-portraits. Many convey camaraderie and affection and are filled with joy. Harter participated in the AIDS discourse, leading to his creation of the AIDS Wall. Executed from 1992-2001, the AIDS Wall is a tribute to friends and people he admired who died from AIDS-related complications or who were living with HIV.Born in Jackson, Mississippi, Harter grew up in Louisville, Kentucky. Interested in anthropology, archaeology, and the arts, he was educated at the University of Louisville, BA Art History, 1963 and Louisiana State University, MA, Painting, 1970. Harter worked at the Louisiana State Museum in the late 1960s and gained a reputation for his attention to detail in caring for fine art. The museum promoted him to curator and then collections manager, overseeing all holdings. Meanwhile, Harter produced paintings and drawings that often reflected his explorations as a gay man. He credited Paul Cadmus (1904-1999) for establishing an artistic climate that motivated him to explore the male nude and relationships between men openly in art. He died in an unsolved murder at his home in New Orleans.Recent exhibitions of his work include The Messenger: John Burton Harter & R. E. Roberts, SPRING/BREAK Art Show, Los Angeles, CA, 2022 and his work was included in Art after Stonewall, 1969-1989, Leslie-Lohman Museum, New York, NY, 2019. His artwork is held in The Historic New Orleans Collection, New Orleans, LA; the Leslie-Lohman Museum, New York, NY; the Louisiana State Museum, New Orleans, LA; the New Orleans Museum of Art, New Orleans, LA; the Wadsworth Atheneum Museum of Art, Hartford, CT.Biography provided by the artist’s website.
Estimate
$700 – $1,000
John burton harter (1940-2002)
Darby, Nude Study for “Man Bathing.”
Pen and ink on museum board, 660x457 mm; 26x18 inches, full margins. Signed and dated in ink, lower right. Signed, titled and dated in ink, verso. 1995.Provenance: Estate of the artist to benefit The John Burton Harter Foundation.John B. Harter focused his artistic practice on the male body. He worked from photographs, first shooting his models then creating fully formed compositions based on these images. Often they depict his friends and acquaintances, he even photographed himself as a model. In addition to his artwork, he worked as a curator for many years before dedicating himself to his studio practice. He stated: “The development of my art has paralleled my homoerotic exploration and as I discovered aspects of the gay world, I incorporated them into my paintings and drawings. My translation of the gay world to imagery, to art, defined what I was learning to myself, and each – art and lifestyle – became a part of the other.”
Estimate
$700 – $1,000
John burton harter (1940-2002)
Sunshine.
Oil on panel, 762x609 mm; 30x24 inches. Signed and dated in oil, lower right. 1997.Provenance: Estate of the artist to benefit The John Burton Harter Foundation.
Estimate
$800 – $1,200
Mylo quam (1941 - 1996)
Papessa.
Oil on canvas. Signed, Quam, lower right. Inscribed as titled on verso. 1168x1016 mm; 46x40 inches. Mylo Quam’s background in Greek and Classical studies is apparent in his mythic compositions. Self-taught as a painter, Quam started his journey in the arts as a television and stage actor. He also designed costumes and set designs. In 1965 he and his partner, Miles Baron moved to the Woodstock region on New York. Quam devoted himself to his painting, with over twenty one-man shows, many group shows, exhibiting nationally and internationally. His prolific body of work includes 761 oil paintings.
Estimate
$2,000 – $3,000
Mylo quam (1941 - 1996)
Moonrite.
Oil on canvas. Signed, Quam, upper right. Inscribed as titled on verso and on stretcher. 1372x1016 mm; 54x40 inches.
Estimate
$2,000 – $3,000
Peter flinsch (1920 - 2010)
Double Portrait, Jean-Luc Duchamel.
Pencil, pastel and charcoal on paper. 940x1143 mm; 37x45 inches.1995.German-born Flinsch was a set designer who immigrated to Canada in 1953 where he went on to a career in art directing for Canadian television.
Estimate
$800 – $1,200
Yannis nomikos (1949 - )
Untitled (Painted Ostrich Egg).
Tempera on ostrich egg. Signed, Y. Nomiko, and dated, 7-27-95. 178x127 mm; 7 x 5 inches. 1995.
Estimate
$1,000 – $1,500
Yasumasa morimura (1951 - )
Aimai-no-bi [Ambiguous Beauty].
Color offset photolithograph on a folding paper fan with a wooden monture, the open fan measuring 292x508 mm; 11½x20 inches, the box 324x67x35 mm; 12¾x2⅝x1⅜ inches, with Morimura’s printed signature on fan verso; enclosed in a bespoke silkscreened wooden box. 1995.
This multiple was commissioned by the Peter Norton Foundation.
Morimura, who is well-known for transforming himself into Western icons as a critique on gender and culture norms, has here appropriated the iconic Tom Kelley photograph of Marilyn Monroe (1949) that was published in Playboy magazine’s very first issue in 1953. The fan as format allows the alluring nude figure to appear and disappear at will, implicating the gaze of the holder.
Estimate
$400 – $600
Marcus leatherdale (1952-2022 )
St. Sebastian.
Silver print, the image measuring 311x111 mm; 12¼x4⅜ inches, the sheet 356x279 mm; 14x11 inches, with Leatherdale’s signature, title, negative and print dates, and edition notation 4/15 in pencil, and his credit stamp, on verso. 1985.
Estimate
$800 – $1,200
Marcus leatherdale (1952-2022 )
Dunce (Self-Portrait).
Silver print, the image measuring 203x152 mm; 8x6 inches, the sheet slightly larger, with Leatherdale’s credit stamp and title in ink on recto. Circa 1992.
Estimate
$800 – $1,200
Marcus leatherdale (1952-2022 )
Rohit Sharma, Banaras.
Toned silver print, the image measuring 378x330 mm; 14⅞x13 inches, the sheet slightly larger, with Leatherdale’s signature, in Hindi, in pencil on recto, and his signature, title, date, edition notation 1/10 and further notations in Hindi in pencil on verso. 1997.
Estimate
$800 – $1,200
Eve fowler (1964 - )
Untitled (Hustlers), a suite of 8 photographs.
Chromogenic prints, the images measuring 336.5x260.3 mm; 13¼x10¼ inches, the sheets slightly larger, each with Fowler’s signature, date, and edition notation 3/10 in ink on verso. 1996-97; printed 1997.
Estimate
$2,500 – $3,500
Jack pierson (1960 - )
Brooklyn Nocturne.
Chromogenic print, the image measuring 127x178 mm; 5x7 inches, with Pierson’s credit, title, and date in the negative, and his signature in ink on verso. 1996.
Estimate
$600 – $900
Rick castro (1958 - )
Japanese Bondage Buddies * Head Bondage * Back Bondage * Homeboy.
Together, four silver prints, 3 on RC paper, one measuring 302x203 mm; 11⅞x8 inches, the sheet slightly larger, with Castro’s signature, title, date, and edition notation 1/35 in pencil on verso, the other three 241x165 mm; 9½x6½ inches, the sheets slightly larger, each with a label with Castro’s signature and title in ink. Circa 1997.WITH–Rick Castro. The Bondage Book #4, The Art of Tying Men Up Firmly. An artist’s book featuring numerous illustrations and reproductions of Castro’s bondage photographs as well as text. 4to, photo-pictorial wrappers; staples. 1997.
Acquired directly from the Photographer by the Present Owner, in 1999.
Estimate
$800 – $1,200
Jim hodges (1957 - )
Untitled (Peter Norton Christmas Project).
Woven wool blanket, double-sided. 132x189 mm; 52x72 inches. Artist’s name, date and manufacturer information, machine embroidered on tag sewn to the corner. Fabricated by Anichini, Inc., Milan. Published by The Peter Norton Family Christmas Project, Santa Monica, with the printed cards. With the original cardboard box and plastic sleeve. 1998.
Estimate
$600 – $900
John blackburn (1939-2006)
“Coley Wild in the Street.”
Illustration published on the cover of the second book in Blackburn’s Coley series. Ink and marker on paper with glaze. 406x289 mm; 16x11½ inches. Signed “©John Blackburn” and “Jay Blackburn” lower margin. 1989. Provenance: Private collection, Los Angeles, California.John Blackburn was born in Statesboro, Georgia in 1939. He attended art school in Nashville, Tennessee. After graduation, he settled in Atlanta but relocated to Los Angeles in the 1960s where his career flourished. There he drew illustrations for such publications as Physique Pictorial, Physique Art Quarterly, One, In Touch, FirstHand, ManTalk, Manscape, and Guys magazines. During the late 70’s, Blackburn created the character of Coley Cochran, a 19-year-old bisexual who is kidnapped and undergoes a rite which turns him into a Dorian Gray-like ageless “voodoo sex god,” narcissistic and able to seduce anyone. The artist incorporated his own experiences and memories of being a young gay man in the south during the ’60s and ’70s into Coley’s character and narrative. He self-published four volumes of the popular series between 1989-1991.
Estimate
$600 – $900
Glen hanson (1965- ) and allan neuwirth (1956- )
Chelsea Boys #2: “It’s a Grand Slam!”
Original 14-panel comic strip, 1998. Pen and ink with some graphite, on paper. 310x324 mm; 12¼x12½ inches, on 14x14½-inch sheet, mounted to board along verso top edge. Signed and dated “©1998 Hanson and Neuwirth” along right margin. The second strip of the wildly popular syndicated comic that followed the adventures of three gay roommates in New York City’s Chelsea neighborhood in the late 1990s-mid 2000s. In this vignette, Nathan desperately tries to enjoy a Yankees game on TV in between interviewing a series of potential roommates, one more disappointing than the next, until muscular hunk Sky appears at his door, providing a second “Grand Slam” to his day. Chelsea Boys was carried first by Next magazine, and then syndicated throughout the United States, Canada, the United Kingdom, Spain, and South Africa. Its acclaim led to two book anthologies (Chelsea Boys. Alyson Books, 2003; Chelsea Boys Steppin’ Out. Bruno Gmunder, 2006) and an exclusive art show (Chelsea Boys: Hung) at the Leslie-Lohman Museum in October 2003.
Estimate
$1,000 – $1,500
Glen hanson (1965- ) and allan neuwirth (1956- )
Chelsea Boys #79: “Makin’ Love.”
Original 10-panel comic strip, 2002. Pen and ink with some graphite on paper. 305x324 mm; 12x12½ inches, on 14x14½-inch sheet, lightly taped to backing board. Signed and dated “Chelseaboys.com / ©2002 Hanson & Neuwirth” along right margin. The seventy-ninth strip of the wildly popular syndicated comic that followed the adventures of three gay roommates in New York City’s Chelsea neighborhood in the late 1990s-mid 2000s. In this vignette, Sky and his boyfriend Chris express their love for each other after an intimate moment before Sky leaves for a weekend yoga retreat, only to be distracted by the handsome Ché (who was playfully modeled on Ethan Zohn, that year’s winner of the TV show “Survivor: Africa”).
Estimate
$1,000 – $1,500
Glen hanson (1965- ) and allan neuwirth (1956- )
Chelsea Boys #80: “Lust Weekend.”
Original 11-panel comic strip, 2002. Pen and ink with some graphite on paper. 310x324 mm; 12¼x12½ inches, on 14x14½-inch sheet, mounted to board along verso top edge. Signed and dated “Chelseaboys.com / ©2002 Hanson & Neuwirth” along right margin. The eightieth strip of the wildly popular syndicated comic that followed the adventures of three gay roommates in New York City’s Chelsea neighborhood in the late 1990s-mid 2000s. In this vignette, Sky succumbs to Ché’s seduction after a day of increasingly arousing yogic connections. Ché was playfully modeled on Ethan Zohn, that year’s winner of the TV show “Survivor: Africa.”
Estimate
$1,000 – $1,500
Nicole eisenman (1965 - )
Anatomy 101.
Watercolor on paper. 229x292mm; 9x11½ inches. Titled in ink, upper center. Signed and dated in pencil, lower right. 1998Provenance: Pierogi Gallery, Brooklyn, New York; private collection, New York.
Estimate
$4,000 – $6,000
Phyllis christopher (nd - )
San Francisco.
Silver print, the image measuring 352x254 mm; 13⅞x10 inches, the sheet slightly larger, with Christopher’s copyright stamp on verso. 1999.
Quim magazine, Spring 2001, Issue 6.Dark Room: San Francisco Sex and Protest, 1988-2003 (BookWorks).
Estimate
$1,000 – $1,500
John dugdale (1960 - )
Restored Torso (Roma).
Cyanotype, the image measuring 240x203 mm; 10x8 inches, the artist’s frame 368x317 mm; 14½x12½ inches, with Dugdale’s studio label with his signature in ink and his typed title, date, and edition notation Artist’s Proof #2 of 3, on frame verso. 1996.
Estimate
$2,000 – $3,000
John dugdale (1960 - )
Portrait of Me at Twilight.
Toned cyanotype, the image measuring 254x203 mm; 10x8 inches, the artist’s frame 368x317 mm; 14½x12½ inches, with Dugdale’s studio label with his signature in ink, and the typed title, date, and edition notation #3 of 10, on frame verso. 1996.
Estimate
$2,000 – $3,000
Arthur tress (1940 - )
Groom and the White Arabian, CA.
Silver print, the image measuring 375 mm; 14¾ inches square, the sheet 508x406 mm; 20x16 inches, with Tress’ signature, title, date, and edition notation 2/50 in ink on recto. 1996.
Estimate
$2,000 – $3,000
Laurence jauget-paget (nd - )
Untitled * Untitled.
Together, two silver prints on RC paper, the images measuring approximately 165x241 mm; 6½x9½ inches, the sheets slightly larger, each with Jauget-Paget’s credit labels, Gaze International labels, and a caption “Tracey + Beverly” in ink, on verso. 1990.
One of these images was published in Susie Bright & Jill Posener, Nothing But the Girl: The Blatant Lesbian Image (Freedom Editions), p. 18.
Estimate
$800 – $1,200
2000 - 2021
Ian spence (dates unknown)
Group of 4 paintings.
Figures on a Balcony * Reclining Figures * Interior with Two Figures * Walls of Troy. Each oil on board. Each signed in ink, lower recto. Various sizes and conditions. Each circa 2000.
Estimate
$1,200 – $1,800
John b. lear (1910-2008)
Nude with Classical Column.
Pencil and color pencil on cream wove paper, 2000. 355x333 mm; 14x12⅞ inches. Signed and dated in pencil, lower right recto. 2000. Provenance: Acquired directly from the artist by current owner, private collection, Los Angeles, California.
Estimate
$1,200 – $1,800
John b. lear (1910-2008)
Airborne.
Pencil on cream wove paper. 355x275 mm; 14x10⅞ inches. Signed and dated in pencil, lower right recto. 2003.Provenance: Acquired directly from the artist by current owner, private collection, Los Angeles, California.
Estimate
$1,200 – $1,800
Paul marcus (1953 - )
Scarlet Letter.
Acrylic on cotton canvas, 762x509 mm; 30x20⅛ inches. Signed in acrylic, lower right. Circa 2001.Provenance: Acquired directly from the artist by the current owner, private collection, New York.In Scarlet Letter, Paul Marcus examines Nathaniel Hawthorne’s famed novel The Scarlet Letter and applies a queer recontextualization of the text. The unalienable right to love between Hester Prynne and Arthur Dimmesdale is alternative to a queer couple’s right to marry and love of one another. The figure’s puritan drag and the bundle of holly lend a hand to the revisionist grasp of Harthorne’s text. Marcus dons Prynne’s scarlett letter but uses the greek letter for lambda now known as the symbol for the 1970s gay liberation movement. The pink triangle behind the lambda initially intended as a badge of shame by Nazi Germany, later reclaimed as a positive symbol of self-identity during the 1970s as a popular symbol of LGBTQ pride.Painter and printmaker Paul Marcus focuses his social justice-based practice on the subjects of HIV, war, discrimination, and poverty. He studied at the Cooper Union and attained a BFA from Cooper Union in 1976 and an MFA from the University of Buffalo in 1978. In 1990, he collaborated with David Wojnarowicz (1954 - 1992) on an exhibition examining the current state of the AIDS crisis at their gallery P.P.O.W. Solo exhibitions have included Horsplay, University of Buffalo Art Galleries, University of Buffalo, Buffalo, New York, 2011; Paul Marcus: The Bush Years, ACA Galleries, New York, 2008; A Critical Reality: Works by Sue Coe and Paul Marcus, ACA Galleries, New York, 1997. He has artworks in the collections of The Metropolitan Museum of Art, the Museum of Modern Art, and the National Gallery of Art. He is currently a part-time Associate Teaching Professor at The New School Parsons.
Estimate
$1,000 – $1,500
Len prince (1953 - )
A Day in May, Tampa, Florida.
Pigment print, the image measuring 378x476 mm; 14⅞x18¾ inches, the sheet 432x559 mm; 17x22 inches, with Prince’s blind stamp on recto and his signature, title, date, and edition notation 6/10 in pencil and two of Prince’s studio stamps on verso. 2001.
Estimate
$1,500 – $2,500
Hilary knight (1926-)
“Tsa the Eunuch.”
Costume design for an unrealized musical comedy based on “The Shanghai Gesture.” Watercolor, crayon and pencil on paper. 610x456 mm; 24x18 inches, sheet. Rubber-stamped “Collection of Hilary Knight,” lower right, and with penciled descriptive note and caption to lower right of image reading “Black Leather Straps / Sea Shells / Black Coq Feathers / TSA-The Eunuch.”Knight is most famous for his Eloise children’s books but has produced countless other book, magazine, poster, and advertising illustrations over his long career.Provenance: Collection of the artist; by auction to private collection, California.
Estimate
$500 – $750
Hilary knight (1926-)
“Dear Edna.”
Illustration of Dame Edna opening fan letters and rocking a small cradle fashioned as a waste basket with her foot. Published in <I>Vanity Fair<M> magazine. Pen, ink, and wash on Bristol board, with faint graphite tracing beneath. 318x254 mm; 12½x10-inches sight size. Signed and dated "Hilary Knight 2001" in lower left. Archivally matted and framed to 17¼x14¾ inches. <br><br>During 2001-03, <I>Vanity Fair<M> introduced a monthly mock advice column by Dame Edna to their readers, occasionally illustrated by Knight, best known for his ELOISE children's book series.
Estimate
$700 – $1,000
Ernesto pujol (1957 - )
Bather #1 (Nude).
Chromogenic print, the image measuring 889x578 mm; 35x22¾ inches, mounted to board, with Pujol’s signature, title, date and edition notation 1/7 in pencil on mount verso; his signature, title, and date 2001 in ink on the gallery frame verso. 2002.
Estimate
$800 – $1,200
Michael bergt (1956 - )
Breaking the Surface.
Gouache and color pencils on paper mounted on tan wove paper. 380x565 mm; 15x22⅛ inches. Signed in pencil, lower right recto. 2003.Provenance: Turner Carroll Gallery, Santa Fe, 2006; private collection, Santa Fe.
Estimate
$1,500 – $2,000
John bankston (1963 - )
The Giant Invites Him In #4.
Watercolor, colored pencil and acrylic on cream wove paper, 495x387 mm; 19½x15¼ inches. Signed, titled and dated in pencil, verso. 2004.Provenance: acquired from Jack Shainman Gallery, New York, with gallery label on the frame back; private collection, New York.Born in Benton Harbor, Michigan, John Bankston received his BFA from the University of Chicago and his MFA in painting from the School of the Art Institute in Chicago. Bankston is known for his signature coloring book style format where he employs playful characters who develop commonality, shared interests and explored behavior as a metaphor for male relationships. Themes of masculinity are challenged with the use of traditional macho accessories juxtaposed with flamboyant headpieces and clothing. Bankston takes the notions of “drag” and “impersonation” to a new level in order to get to the root of important human traits such as trust, admiration, and love.John Bankston’s work has been exhibited at The Studio Museum in Harlem, The Andy Warhol Museum, Pittsburgh, The Institute of Contemporary Art, Boston, The Contemporary Art Museum Houston, and Wexner Center for the Arts. Bankston is the recipient of the Fleishhacker Award (2004), the Joan Mitchell Foundation Award (2002), the SECA Art Award (2002), and the Louis Comfort Tiffany Foundation Fellowship (2001).
Estimate
$1,000 – $1,500
James gobel (1972 - )
Before Paramount.
Felt, yarn and acrylic paint on canvas mounted on board, 2004. 711x609 mm; 28x24 inches. Signed, titled and dated in ink, verso.Provenance: acquired from Kravets Wehby Gallery with gallery label, verso, private collection, NY (2005).Exhibited: Ridicule is Nothing to Be Scared of, Kravets Wehby Gallery, New York, 2005.Ridicule is Nothing to Be Scared of is an excellent example of James Gobel’s felt artworks that he began making in the 1990s. He first draws his figures in pencil and then in yarn, and then creates a mosaic of felt pieces. The use of felt emits drama and solicits empathy for its character from the viewer. Inspired by the Bear community and Edwardianism, Gobel channels Aubrey Beardsley, Peter Max, and 1980s New Wave imagery. He uses the ideologies of feminist and queer theories to forge a vignette of a zaftig gay man. Gobel’s foreshadows issues of gender and physicality while emoting while constructing a language outside of a perceived societal norm.Born in 1972 in Portland, Oregon, James Gobel received his BFA at the University of Nevada, Las Vegas, 1996 and his MFA at the University of California, Santa Barbara, 1999. He had a solo exhibition at the UCLA Hammer Museum in 2000 and has been included in group exhibitions at the Leslie-Lohman Museum of Art, Des Moines Art Center, Asian Art Museum San Francisco, Akron Art Museum, Parrish Art Museum and the New Museum in New York. Gobel is a professor in the Painting and Drawing Program at California College of the Arts.
Estimate
$1,000 – $1,500
Sonia melara (1960-)
Alexander and Haephestion.
Mixed media on museum board, signed with artist’s mark at lower center. 1486x1016 mm, 58½x40 inches. 2005
Estimate
$1,500 – $2,000
Sonia melara (1960-)
Field of Love.
Mixed media on museum board, 2013. Signed with artist’s mark at lower left. 1029x1321 mm; 40½x52 inches.
Estimate
$1,500 – $2,000
Sabin howard (1964 - )
Fragment of Hermes.
Cast bronze mounted on travertine marble base, 914x660x355 mm; 36x26x14 inches (overall). Incised signature, date, and numbered 7/15 at rear lower edge, 2005.Sabin Howard is a classical figurative sculptor based in New York City and is a board member of the national Sculpture Society. He is the sculptor for a project entitled “The Weight of Sacrifice” that is one of five finalists for the World War I Memorial in Pershing Park, Washington D.C. His notable works include the recent national WWI memorial sculpture. Howard is the creator of the large-scale pieces Hermes, Aphrodite and Apollo, as well as many smaller pieces. His works are owned by private collectors and museums including The Mount, Edith Wharton’s home. Art critic James Cooper wrote in 2012: “Howard’s sculptures have content as well as exquisite form”. He is currently sculpting the National WWI Memorial, a 60 foot long bronze relief to be installed in Pershing Park, Washington D.C. In his studio, Apollo, Hermes, Aphrodite, and others all demonstrate the journey we trace from being fragmented to becoming complete. Howard’s aesthetic is focused on timeless appeal and harmony.
Estimate
$2,000 – $3,000
Ewoud broeksma (1957-2019)
Tennisser/Tennis Player, a diptych from the Dubbelaars/Doubles series.
Digital print on Ilford inkjet paper, each image measuring 605x232 mm; 14⅜x9⅛ inches, the overall sheet 385x563 mm; 15⅛x22⅛ inches, flush mounted to polystyrene, with Broeksma’s signature, title, series name and citation, date, and additional notations in ink, and his stamp on mount verso. 2006.
From Galerie Mooiman, Groningen, The Netherlands; by the Present Owner, 2012.
Estimate
$600 – $900
Kalup linzy (1977 - )
Dream Giant, Becoming Real.
Collage and ink on paper, 2008. 360x260 mm; 14⅛x10¼ inches. Signed, inscribed “Shaun ‘EIC’ Leonardo, Katonya 08 (Kalup Linzy)” and dated in pencil, lower right verso.Provenance: the artist, donated to the Senator Chuck Allen III Scholarship fund; sold at Swann Galleries on February 17, 2009; private collection, New York.This drawing is inspired by the fictitious character Katonya featured in Linzy’s soap opera video series Conversations Wit De Churen. The drawings serve as storyboards that illustrate the character’s experiences offscreen.Kalup Linzy is a video and performance artist based in Brooklyn, NY. Born in Stuckey, FL, Linzy received his MFA from the University of South Florida in 2003 and also attended the Skowhegan School of Painting and Sculpture. Linzy has been the recipient of numerous awards, including a grant from the Louis Comfort Tiffany Foundation in 2005, a fellowship from the John Simon Guggenheim Memorial Foundation in 2007 and a 2008 Creative Capital Foundation grant. Linzy’s best known work is a series of politically charged videos that satirize the conventions of the television soap opera.His works have been included in exhibitions as far ranging as Melodies, Dramas, Limerents, La Conserva Centro de Arte Contemporaneo, Murcia, Spain, 2011; If it Don’t Fit, Studio Museum of Harlem, New York, NY, 2009; Kalup Linzy: Shades of Black and White, International & National Projects, P.S.1 Contemporary Art Center, Long Island City, NY, 2006; 30 Americans, Rubell Family Collection, Miami, FL, 2008. Awards and grants include Alumni Awards Residency, Headlands Center For The Arts, Sausalito, CA, 2012; the Jerome Foundation Grant, 2008; John Simon Guggenheim Memorial Foundation Fellowship Award, 2007; Louis Comfort Tiffany Foundation Grant, 2005.
Estimate
$1,000 – $1,500
Patricia coffie (1975 - )
Untitled #1.
C-print, mounted on archival board, 508x508 mm; 20x20 inches. Printed in 2008. Signed and dated in pencil, verso. 2007.Adorned in nothing more than pink feathers, New York-based performance artist Michael Calloway holds a powerful yet sensual pose against a satin brocade background. His presence conjures a persona rooted in the burlesque feather fan dances of the 1930s.Ghana-born artist Patricia Coffie earned her BFA in Photography in 2008 from the School of the Visual Arts, New York. Coffie’s photographs appropriate and re-construct notions and myths regarding Black masculinity through role-playing. She has been awarded the Brian Weil Memorial Scholarship. Her work was included inOur Lady, 1St Gallery’s exhibition of a collective of eight female contemporary photographers, including Xaviera Simmons. Coffie’s first solo exhibition was at Mary Boone Gallery, New York in 2009.
Estimate
$1,000 – $1,500
Anonymous
Jukebox Jackie
Offset lithograph poster, 910x610mm, 36x24 inches. [New York}, 2012. Signed by the cast and the writer/composer Scott Whitman in blue and black marker.This production at La MaMa was a musical based on Jackie Curtis’ personal writing.
Estimate
$500 – $750
Paul mpagi sepuya (1982 - )
Untitled (Desktop, April 2023).
Digital C-print, 152x127 mm; 6x5 inches. 2010.This work from Paul Mpagi Sepuya was issued in Studio Work (Familiar), 2012 after he completed after finishing the Artist-in-Residence program at The Studio Museum in Harlem. The artist writes about his works: “I am exploring how the studio environment, as the site of creation, editing, and accumulation affects and frames portraiture, and the performance of portraiture.”Born in San Bernardino, California, Paul Mpagi Sepuya received his BFA from New York University’s Tisch School of the Arts in 2004 and his MFA from the University of California, Los Angeles 2016. Known as a postmodern portrait photographer, he challenges traditional portraiture by filtering it through the black queer gaze and involving his queer community. Sepuya's body of work highlights the constructed nature of the photograph and the performative space of the studio, embracing the medium’s potentials for fragmentation and connection.His work has been included in group exhibitions at institutions including the Studio Museum in Harlem, New York, 2015; Artist Institute, Hunter College, City University of New York, 2016; Museum of Contemporary Art, Los Angeles, 2016; New Museum, New York, 2017; Institute of Contemporary Art, University of Pennsylvania, Philadelphia, 2018; Museum of Modern Art, New York, 2018; and Museum of Contemporary Art Chicago, 2018. Sepuya was awarded the Rema Hort Mann Foundation’s Los Angeles Emerging Artist Grant in 2017. Sepuya lives and works in Los Angeles.Sepuya, p. 161.
Estimate
$1,000 – $1,500
Andrew lamar hopkins (1977 - )
The New Orleans Home of two Confirmed Bachelors #2.
Acrylic on canvas board, 2014. 347x457 mm; 13⅝x18 inches. Signed and dated in ink, lower left. Signed, titled and dated in ink, verso.Provenance: commissioned by the owner, private collection, New York.Poised in the painting are two elegant bachelors seated in a 19th-century sitting room basking in daytime attire amongst the fine and decorative arts of the period. Andrew LeMar Hopkins has created a fictionalized scene, not of continental France but Creole New Orleans. Inspired by a research-based practice, he has constructed a world where two men could be confirmed bachelors or more. Incorporating architectural elements of 18th century French Quarter and designs from antiquity, Hopkins weaves together a neo-classical world that subtly alludes to the their queer life together.Experienced as a professional antiquarian, Hopkins is a self-taught artist born in Mobile, Alabama. Currently living and working in New Orleans, Andrew LeMar Hopkins creates historical fantasies of Creole people in the 19th century. Through research, exploration and his imagination, he creates maximalist paintings that are detailed with every possible aspect of Creole life. Working in a continuum, he explores the past while tweaking it to involve the viewer in intimate vignettes, injecting overtly homosocial scenarios or overt references to queer culture. He uses his identity as a Black, queer man living in New Orleans to revisit, recontextualize, and bring histories that have been lost to us. In Addition, his parallel practice is as a drag queen; his alter ego, Désirée Joséphine Duplantier, is a grande dame empress from New Orleans.
Estimate
$12,000 – $18,000
Barry bridgwood (1957 - )
Still Life with Tea pot, (Pair).
i) Acrylic on masonite, diptych, 2012. Signed, Barry Bridgewood, dated, 2012, and inscribed as titled on verso. 425x184 mm; 16 3/4 x 7 1/4 inches. ii)Acrylic on masonite, 2015. Signed, Barry Bridgewood, dated, 2015, and inscribed as titled on verso. 425x368 mm; 16 3/4 x14 1/2 inches.
Barry Bridgwood attended The Art Institute of Boston from 1978-81 and the School of Visual Arts, NY from 1981-83. He emerged from school just as the short-lived art scene of Manhattan's East Village was in its boon. This was a vibrant time with youth culture vying for attention in the galleries, clubs and graffiti decorated walls of the city. Though much of the art in New York during the 1980s was socially charged realism, Bridgwood chose abstraction as his means of expression.
Estimate
$1,000 – $1,500
Scooter laforge (1967 - )
Leigh Bowery.
Acrylic on linen, 2018. Signed, Scooter Laforge, dated, 2018, and inscribed as titled on verso. 610x508 mm; 24x20 inches. In 2001 Scooter Laforge moved to New York City on a Cooper Union Residency scholarship. He has remained a part of the East Village art scene ever since. Known for his vibrant palette and expressive brushwork, Laforge creates in many media including painted unique clothing that has adorned such stars as Beyonce, Rihanna, Madonna, Miley Cyrus and Debbie Harry.
Estimate
$1,000 – $1,500
Jared buckhiester (1977 - )
Acro Duo Knife Fight Billy Budd.
Graphite on paper. 863x596 mm; 34x23½ inches. Signed, titled and dated in pencil, verso. 2021.Provenance: private collection, NY.
Estimate
$1,500 – $2,000
Anthony cudahy (1989- )
Lean Mirrored (with Redon Flowers).
Archival pigment print. 556x420 mm; 22x16⅝ inches, full margins. Signed and numbered 26/35 in pencil, lower right recto. Published by Art for Change, Brooklyn. 2021.