Don Joint

The Profanation of the Host, The Host Restored

2016

Ragtime Piano Collage, 1969 Signed and dated '69 lower right Address stamp verso Provenance: Acquired from the artist Joseph M. Erdelac, friend and patron of the artist Stephen Longstreet (1907-2002) The artist’s own grandchildren attempt to fathom the real life and nature of Stephen Longstreet, prolific author, artist, screenplay writer, and jazz aficionado. Born Chauncy Weiner (sometimes spelled Wiener) in New York City in 1907, Longstreet reinvented himself on a regular basis. Changing his name first to “Henry,” then “Henri,” he started his career as a commercial artist for a department store. In various public biographies he claimed to have studied in New York, London, and Paris, and said he was a student of cartoonist Ralph Barton (1891-1931). Facts that can be documented are that he was art editor for Golfer and Sportsman magazines, and was a contributor to various other magazines including The New Yorker, Saturday Evening Post, Colliers, Life, and Hooey, among others. He wrote sketches for NBC radio and the Rudy Vallee Show. In the 1930s, Longstreet worked and wrote under the names Thomas Burton, David Ormsbee, and Paul Haggard before settling on the name Stephen Longstreet in 1939. He wrote 12 novels under this name as well as numerous screen plays, most notably The Jolson Story, The Greatest Show on Earth, and The Helen Morgan Story. Longstreet claimed to have been introduced to ragtime and jazz by no less a legend than singer Paul Robeson while Robeson was an All-American football player at Rutgers University. However it happened, the world of jazz was a constant theme throughout Longstreet’s life. He drew and painted such notables as Count Basie, Sarah Vaughan...

Photograph, gold leaf and magazine mixed media collage Unsigned Provenance: Estate of the artist Sheet: 16 x 14" Peter Marks (1935 -2010) was born in New York City on January 18...

Untitled Collage of small oil on canvas fragments, c. 2006 Unsigned Provenance: Estate of the artist Image size: 15 x 9 7/16 inches Sheet size:: 17 x 14 inches Peter Marks (1935 -2...

Untitled Abstraction Collage with 22K gold leaf Unsigned Provenance: Estate of the artist Metal foil collage on paper Sheet: 14 x 17" (35.56 x 43.18 cm), Image: 8 x 10" (20.32 x 25.4...

Mixed media on handmade paper Signed and dated by the artist lower right Archival framing with Conversation Glass Regarding the artist: Select Exhibition: 1991 Franz Bader Gallery, ...

Colored paper collage, c. 1960 Signed lower right. Provenance: Estate of the artist Distinguished Private Collection, Indianapolis, Indiana Sight dimension...

SANDI NEIMAN (b. 1959) Title: Bird to Bird Medium: Mixed Media; Cold Wax and Oil Pigments on cradled board Measurements: 12 x 24 in

Ryoko Endo was born into a traditional family in Fukushima, Japan and attended a Catholic mission school. As a child, her mother encouraged her to wear a glove on her dominant left h...

Fritz Bultman set himself apart from other Abstract Expressionists with his meticulously organized abstract compositions, use of sculpture, and the adoption of collage as a core prac...

Scott Andresen’s collage and mixed media works explore themes of repair. In the summer of 2010, a major life event occurred when he was bicycling and was struck by a car, suffering a...

Framed with an archival mat and plexiglass with a dark maple wood frame. Framed dimensions are approximately 22 x 18 inches. Craighead describes his work as inhabiting a space between objective and nonobjective painting. The combination of these two worlds, serve as a matrix for what are essentially autobiographical paintings. He is interested in the symbolic potential of the objective world and the possibilities abstraction presents in suggesting the unknown. For a year in the mid-1990’s, circumstances forced Craighead out of his studio and he was left to work at a kitchen table on...

Framed with an archival mat and plexiglass with a dark maple wood frame. Framed dimensions are approximately 22 x 18 inches. Craighead describes his work as inhabiting a space between objective and nonobjective painting. The combination of these two worlds, serve as a matrix for what are essentially autobiographical paintings. He is interested in the symbolic potential of the objective world and the possibilities abstraction presents in suggesting the unknown. For a year in the mid-1990’s, circumstances forced Craighead out of his studio and he was left to work at a kitchen table on...