Masonite Paintings

Mid-Century Modern Abstracted Cubist Table Still-Life in Acrylic on Masonite Vibrant mid-century modern still life with abstracted synthetic cubist elements in warm colors, highligh...

Posing Nude by Mikhail Turovsky, Russian (1933) Date: 2001 Oil on Masonite, signed lower left Size: 48 x 30.5 in. (121.92 x 77.47 cm)

Jean Krillé’s paintings are known for their expressive use of color and dynamic, abstract forms, blending realism with abstraction in his depictions of nature. His landscapes often f...

Verdant oil landscape with textural impasto of a calm stream winding through the trees of a lush, green forest, by San Jose, CA artist Jules Jacques (American, 20th Century). Signed "Jaques" on verso on frame. Displayed in a rustic green wood frame. Jules Jaques painted ocean and forest...

Edward Pechmann Renouf (1906-1999). Oil on panel measures 16 x 24 inches. Signed lower margin. Excellent condition. Provenance: Allan Stone Pr...

Exhibited at the Pennsylvania Academy of Fine Arts (1947) and the University of Illinois Exhibition of Contemporary Painting (1948), this painting by Philip Evergood exemplifies the ...

Ben Wilson Byzantium, 1975 Oil on Masonite painting Hand signed reverse, Titled, "Byzantium", dated 1975 by the artist and also with estate stamp - in addition to Ben Wilson's hand s...

Signed lower left, and lower right, 'Patricia Cunningham' for Patricia Stanley Cunningham (American, 1907-1984) and painted circa 1965. A vibrant, Post-Impressionistic oil showing a...

Cliffs and Cypresses at Pt. Lobos, California - Seascape Charles F. Cummins 1929 (American, 1850-1941). One of the beautiful coves from the cliffs near the ocean at Point Lobos State Park, the viewer looks out past several cypress trees towards a rocky point...

Erik Tryggelin (1878–1962) Sweden Winter Shore, Vadstena, 1940–1950 signed and dated lower right E. Tryggelin inscribed Vadstena 8/12 1940–50 oil on canvas laid on masonite unframe...

Redwoods in the Snow by Bernice Huntington 1906-1998 Idyllic scene depicting a creek running through a snowy redwood forest. The trees reflect slightly in the water and add a pop of...

Acrylic on masonite. This is a pivotal work in deep and radiant cobalt blue from 1950. It dipicts calligraphic and hieroglyph structures over a grid and pyramidal base by the first generation abstract expressionist. Provenance: Skinner: November 13, 1992 [Lot 00219}, The entry in the Skinner catalog indicates that the painting came directly from the artist to the family of the consignor to Skinner. Kaminsky Auctions. There is an unbroken paper trail that traces the ownership of the painting from the current owner, through two auction houses to the artist. Perfect unbroken provenance. Pousette-Dart was among the most inventive of the Abstract Expressionist generation, His uncanny talent was to expand the nature of abstraction and still make each mark each element very much his own; a reflection of what he called   "the concealed power of the spirit," he said, “not of the brute physical form."   His was not aiming for a singular, realized aesthetic formula but to expand the possibilities of painting; the transcendental in painting. Typical of such invention and exploration is this  painting  Untitled 1950 when the artist was only 34 years old and represented by one of the champions of the new American painting, Betty Parsons.  
A banner year for Pousette-Dart, the Museum of Modern Art acquired their first painting by the Minnesota born artist.  He worked on easel size works such as this painting an oil on masonite. At the same time Pousette-Dart was also working on larger scale works such as Path of the Hero, running over ten feet in length now in the collection of the Metropolitan Museum of Art.  Both contain fields of color articulated by a highly sophisticated white hieroglyphic vocabulary. Rather than demonstrate an expressionist sensibility, Pousette-Dart harnesses his more cerebral ideas transforming thick areas of paint into a more refined composition of geometric forms akin to the pattern and forms of say a stained glass window. In a way he is looking back at Fugue, 1940 a black and white composition which makes use of a similar format of painting albeit smaller. Color and form are minimal, but what Pousette-Dart has maximized is the rhythmic and syncopated character of painting casting his ideas into purely symbolic terms that one might link to the pictograms of Adolph Gottlieb. Nonetheless, nature is always at the core of Pousette-Dart’s thinking and dreaming. Here he has transformed the local Ramapo Mountains—where he will eventually move with his family to live and work— into a complex series of articulated fragments linked by style, scale and color.  The painting’s imagery built on two large triangles and reduced to just two colors, cobalt blue and white all outlined in black.  Pousette-Dart symbols stacked in horizontal and vertical rows:  blue is ground, white is language, symbolic of light, consciousness and awareness . The painting maintains a mystical character images compounded that formulate a secret code and linked to the series of white paintings Pousette-Dart authored in the first half of the 1950s. Get up close to the picture and you discover images within images a kind of picture puzzle...

Arresting and evocative oil abstract titled "Female Priests" by Les (Leslie Luverne) Anderson (American, 1928-2009). Unframed. Signed "Les Anderson" on...

Isolda Hermes de Fonseca Brazilian, 1924–2004 Portrait of a Young Woman with Bouquet, ca. 1970. Oil on masonite panel, 24 x 36 inches. Framed Dimension: 34 x 46 inches. Signed lo...

Bold abstract composition by RH Barnard (American, 20th Century). The backdrop of this piece is composed of rectangular sections of brown, red, blue, and tan. In the center of the composition, there is a black object...

Exceptional detail in this painting of boys playing dice by R. Hauslar (German, 20th Century). A Hausler interpretation of a work by the famous Bartolome Esteban Murillo (1617-1650) ...

A Cheerful, 1930s American Scene Landscape Painting of Country Road by Notable Chicago Modern Artist, Francis Chapin (Am. 1899-1965). A gem of a painting, exemplifying Chapin's stea...

Beautiful cubist still life painted in jewel tones. ca. 1970. Oil on masonite panel measuring 20 x 24 inches. Unfrmaed. Signed "Galbrun" lower right.

Sylvia Rutkoff (1919–2011) "The Cowboy" c. 1950s · Oil, gesso, on masonite · Period wood frame About this work Few paintings in the Rutkoff estate cache reveal her range as ...

Wayman Elbridge Adams (1883-1959). From a Balcony, New Orleans, French Quarter, ca.1930. Oil on masonite panel, 12 x 16 inches; 17.5 x 21.5 inches framed. Excellent condition. ...

Gilbert Lewis (b.1945). Influence of Red (male portrait), ca. 1990s. Oil on masonite panel, 16 x 20 inches. Signed upper right. Excellent condition. Measures 18 x 22 inches in custom gold leaf float frame. Original gallery labels affixed on verso. Provenance: estate of the artist. Artist statement: Figurative art is a vital active process. The image has its own meaning; not storytelling, not just a picture of a face or a flower. Neither is it simply an exercise in the arrangement of shapes or colors. I want to translate my immediate impression into paint to present the image of an outstretched branch of flowers or a face – direct and simple. My art reflects human concerns expressed symbolically, through fantasy and in a more concrete manner in the process of making the representation itself. Art is my response to the image, the end result of an active process of exploration of the limits of the paint on paper within the confines of representation. The painting of a face is not just a face. My feelings are expressed through these images. My paintings speak to anyone in touch with their own humanity; to anyone else my art may be dismissed as “to personal”. Biography: Gilbert Braddy Lewis born September 25, 1945 in Hampton, Va. Son of David Blake Lewis (born in Atlanta, Ga.) and Gladys Louise Braddy [Lewis] (of Sanford, Fl.); brother of David Blake Lewis (Jr.) and Linda Lewis [Hunter]. The family resides at 3 South Linden Street, Hampton, Va. 1953 until 1962 “I studied from the age of seven, in Virginia, with two well-known Tidewater artists, Jean Craig and the late Allan Jones. The teaching methods of carefully observed studies from nature in charcoal or tempra paint, derived, of course, from the original French academic model, conveyed its impact on my early development; however, my eye and consciousness were mostly activated by the reproductions on the studio wall of works by Botticelli, Da Vinci, and Michelangelo.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1963-68 Studies at Pennsylvania Academy of the Fine Arts with Franklin Watkins, Hobson Pittman, Morris Blackburn, and Walter Stuempfig. While a student at PAFA he shares apartment [261 South 21st Street] with PAFA students, Jody Pinto and Barbara Sosson. In 1967 he receives PAFA’s: Bergman Prize in Painting; M. Herbert Syme Prize; and Samuel Cresson Memorial Travelling Scholarship. The latter award enables Lewis to travel to Europe during the summer of 1967 where he visits museums. “In 1967, after having seen the Italian master’s work while on scholarship from the Pennsylvania Academy, I was to realize my great influences and to discover the earlier Sienese masters whose clarity and energy still move me.” Gilbert Lewis in Contemporary Philadelphia Artists: A Juried Exhibition, (Philadelphia Museum of Art 2000), p. 145 1968 Horizontal painting [of an interior with a seated woman and cat by a large window] reproduced in black and white in school catalog for Pennsylvania Academy of the Fine Arts 1968-1969, p. 24. Other students whose works are reproduced include Clayton Anderson, Barkley...

Kimono with Rope Texture - Collagraph Master Plate Master plate for collagraph printmaking featuring a kimono with rope texture in warm neutral peach tones, by California artist Pat...

A dynamic, abstract expressionist image with lavender and earth tones by Les (Leslie Luverne) Anderson (American, 1928-2009). From the estate of Les Anderson in Monterey, California....

This wonderful painting depicts a rich floral arrangement in a round, transparent glass vase. The flowers are depicted in a variety of colours, including different shades of red, pin...

A Large, Compelling Mid-Century Modern Figurative Painting by New York Artist, Gerrit Hondius, Titled "Equestrienne & Clown". Artwork size: 30 x 24 inches (Oil on Masonite); Frame...

Artist: William Harnden, American (1920 - 1983) Title: Conductor with Singer Medium: Oil on Masonite, signed Image Size: 11.5 x 23.5 inches Frame Size: 17.5 x 30 inches

Miniature farm landscape of a white barn with two trees and a flock of birds by an unknown Quebec, Canada artist, M. Lemieux (20th Century). Signed and dated "M. Lemieux 81 QUEBEC" i...

Snowy Creek in Hope Valley - Landscape in Oil on Masonite Detailed winter scene by American artist Dean Packer (b. 1933). Light shines down on the snowy b...

Fredric Karoly (1898-1987). Etude III, 1950. Oil on masonite panel measures 18 x 24 inches. Unframed. Signed, titled, dated on reverse. Good condition with minor paint loss at edges. Biography: An abstract painter, Karoly was born in Hungary and studied painting in Paris, architectural eingineering in Berlin, and emigrated to the U.S. in 1926. He began a successful career as a fashion and fabric designer. In 1948 he was working as a fashion director for Simplicity Patters, when he had a solo exhibition of of his oil paintings, wire montages, dry-pen drawings and abstract photography. Solo Exhibitions: Hugo Gallery (Alexandre Iolas) New York 1948; Gallery Mai. Paris 1949; New Gallery (Eugene Thaw) New York 1950; Museu de Arte, Sao Paulo, Brazil 1951; Miami Museum of Modern Art, Miami, Florida 1959; Loft Gallery, New York City, 1966.Group Exhibitions: Hugo Gallery, New York 1947; Salon des Realities Nouvelles, Paris 1949-1953; Whitney Museum of American Art, New York (Annual) 1951-1953, 1963; Biennale of Sao Paulo, Brazil, 1951; International Independent Exhibition, Tokyo, 1951; Martha Jackson Gallery, New York, 1959; The Butler Institute of Art, Youngstown, Ohio, 1960; Stuttman Gallery, New York, 1960; The Art Institute of Chicago (Annual), 1960; International Watercolor Exhibition, Brookyln Museum, 1961; Westchester Art Museum, White Plains, NY, 1963; Whitney Museum, Annual, NY 1963; Cleveland Art Festival, Park Synagogue, Cleveland, 1963; Whitney Museum, Sculpture Annual, NY, 1964.Works in Institutional Collections: Museu de Arte, San Paulo, Brazil; Museu de Bellas Artes, Buenos Aires, Argentina; New York University, New York; Washington University, St. Louis, Missouri; Finch College, NY; Barnard College, NY; Metropolitan Museum, Whitney Museum and Guggenheim Museum, New York; Museum of Fine Arts, St. Petersburg, FL. Awards: National Council Arts Awards, 1968. Frederic Karoly died on December 15, 1987 at the Inter-Continental Hotel in Manhattan, where he had made his home for many years. Fredric Karoly was born in Budapest in 1893. According to Karoly’s own vitae, his exhibition history began in New York in 1947, when at the age of 54 he took part in a four-person group show at Hugo Gallery. His involvement with visual art however was apparently life long. In a brief introduction to his solo show at Galerie Mai in Paris in June of 1949, Jen Luc de Rudder, reports that Karoly began painting at the age of 12 in Budapest. After several years of studying, then working in London, Paris and Berlin, Karoly emigrated to the United States in 1925 or 1926 (he probably first came to the US on a work visa in 1925). In New York, Karoly worked in women’s fashion as a designer. In 1948 Karoly worked in a manner than was clearly influenced by the work of such European surrealists as Max Ernst, creating spiked automatic bi-chromatic paintings. His style progressed into a progressively more biomorphic vein, similar to explorations by Theodore Stamos, Daphnis, Milton Avery and Mark Rothko around the same period. He was supported with patronage during this period by Mrs. Mimi Baliff, who apparently supported the “Industrial Design Workshop” that she helped open to feature Karoly’s designs in 1948. By the early 1950’s (1951) Karoly started experimenting with the drip and splatter process as well. Drip paintings dominated his process until the late 50’s-early 60’s, when linear compositional elements began to reemerge. By the late 50’s multi-layered drip grid motifs asserted a masque of spatial organization over looser washed fields and splatters of paint that Karoly worked off of. This development was consistent with concurrent explorations into the grid by artist Agnes Martin and others. By the mid-50’s Karoly’s style began another transition into a more surface concerned “Color Field” style of painting. There are elements still reminding one of Abstract Expressionist concerns as such painters as Clifford Still. But the works that began to emerge from Karoly’s studio in 1958 presaged the Morris Lewis fan motifs and Friedl Dzubas’s epic and romantic color spewing expanses of canvas. In 1959 Karoly began experiments using washes of turpentine diluted oil paint directly onto raw linen, and all of these subsequently suffered the consequences of oil oxidation and acidity upon the surfaces. However, many of Karoly’s washes in color field happily occurred on lightly prepared primed canvas surfaces as well. By 1960 Karoly began reintroducing imagistic references to his visual content. There were also various references to Japanese and Zen influences. He experimented with a variety of processes that included mixed media and marbleized surfaces achieved by the intermixture of oil and water mediums. A calligraphic element also enter Karoly’s work in the early 60’s. Then in 1961 glued and assembled objects begin to show up in Karoly’s work in earnest. The influence of early POP artists, particularly Jasper Johns, and Robert Rauschenberg, become apparent. From 1961-63, a series of the assemblage works transition from canvas to the sculptural to pieces obviously intended for full scale installation. Many of these pieces were among the most fragile of his works primarily due to their reliance upon the of gluing of objects such as plastic or paper cups on flexible surfaces of stretched linen or canvas. In the mid-60’s Karoly apparently produced a number of photo-silk screened series of Picasso, De Kooning and other significant artists of his generation. These were executed in a style somewhere between Rauschenberg’s and Roy Lichtenstein’s, primarily because of their reliance upon half tones and Ben-Day dot effects. Then Karoly began a series of paintings conflating his drip and grid styles with super imposed and painted over string. In the late 60’s Karoly embarked upon a series of multi-paneled stretched linen constructions often with slits and fiber optic back-lit elements that were prescient of the work of Dan Flavin and others. It was this body of work that was shown at Hofstra University’s Emily Lowe Gallery, and it was these works that suffered perhaps the most irreparable damage from a steam/water infiltration in a space where they were being stored. The late professional start that Karoly had into the art world was balanced by his long life span and early immersion into the design issues of modernism as it emerged in turn of the century Europe and later evolved in America. He was clearly an artist who subscribed to the ethos of the new in abstraction and was obviously impressionable and in some instances prescient with regard to various trends in abstraction. Several noteworthy and influential collectors and institutions during his 40 years of professional engagement acquired his work. The Whitney Museum of American Art had and may still own a large Karoly canvas from 1960, but this is doubtful as the artist failed to list it on the vitae he filed with MoMA in 1965. His work was recognized and honored by the Whitney with its inclusion in four of their annual survey shows (1951,1953, 1963 and 1964). The artist’s surrealist influenced paintings from 1948-1950 were the focus of a solo exhibition held of his work by the Museo de Art in Sao Paulo and eight years later a ten year survey of his work was the focus of a solo show at the Miami Museum of Modern art. The Sao Paulo Museum in Brazil, and the Museo de Bellas Artes in Buenos Aires, Argentina each acquired Karoly paintings for their collections in the 1950’s. One of Karoly’s surrealist pieces was apparently purchased by Christian Zervos, Picasso’s designated chronicler, who apparently also wrote a piece on Karoly in Cahiers D’Art in 1949. A 60’s piece of Karoly art that is in the New York University’s permanent collection is included in the MoMA Library’s catalog...

Mid Century Modernist Sailboat Geometric Abstract Oil Painting This dynamic mid-century piece features bold geometry and a strong sense of movement. White triangular shapes parade a...

This early work, "Ronde d'efant" by Haitian artist Wilson Bigaud, could easily be mistaken for a painting by a major European surrealist. The characteristic late-light, long shadows...

Oil on masonite realized by Giovanni Gromo in 1980s. Hand signed. Good condition.

White Sands New Mexico, Mid-Century Southwest Desert Landscape by Vannerson Gorgeous desert scene by award winning, self-taught artist Dr. Lucien C. Vannerson (American, 20th Centur...

Lush landscape of an autumn forest by Evelyn Campbell (Australian, 20th Century). A path runs from the lower right of the composition through an open gap in a wood fence, with a wago...

Expressive portrait of an artist working at a desk by an unknown artist (20th Century). An artist with brown hair and a moustache is working at a desk, with various supplies around h...

Self-Portrait, c. 1940, oil and tempera on Masonite, artist’s name inscribed verso, 30 x 25 inches William Ashby McCloy was an American artist, educator, and clinical psychologist. ...

Here for your consideration is a mid century modern oil painting on masonite by the well known Russian/American artist, Nahum Tschacbasov. The painting depicts an old man with a long wispy beard holding a group of birds. Signed lower right and dated 1954. Presently unframed. Condition is very good. Provenance: The estate of the artist Nahum Tschacbasov. Nahum Tschacbasov Biography : Russian-American artist Nahum Tschacbasov (1899-1984) is known for his cubo-surrealistic works which feature a strong psychological element. Some of his work bears a resemblance to work of another Russian-American artist--David Burliuk. He was somewhat of a late starter, moving to Paris in 1932 to study under Adolph Gottlieb, Marcel Gromaire and Fernand Leger. He had his first exhibition in Paris in 1934. He then returned to the US where he joined Rothko and Gottlieb at the Galery Seccession. He was one of the co-founders of The Ten, a group of social conscious abstract painters which included Rothko, Gottlieb, Joseph Solman and Ilya Bolotowsky, among others. In 1944, he began to work at Stanley Hayter's Atelier 17, a center for surrealistic ideas. Between 1936 and 1943, he had five one-man exhibitions at the ACA Galleries and participated in five group shows. He also exhibited at the Whitney, the Pennsylvania Academy of Fine Arts, the Knox Albright Museum, the Chicago Institute of Fine Art and Corcoran, among others. His work can be found in the permanent collections of the Met, the Whitney, the Brooklyn Museum and the Jewish Museum. Tschacbasov has been the subject of two recent retrospective at Fletcher Gallery, Woodstock, NY and Arthur...

This work is part of our exhibition - American Coast to Coast: Artists of the 1940s A Valley Streetscape at Night, 1948, oil on masonite, signed and dated lower right, 18 x 24 inches; literature: King, Chloe, The Paintings of Edgard O. Kiechle – Unearthed After 60 Years, Ventura Blvd, January/February, 2023, pp. 46 – 53 (illustrated) Edgar Kiechle...

This work is by Haiti's second-most-important artist, Philomé Obin. Hector Hyppolite stands at the top of the list and just sold a painting for almost $450,000. If art history is ...

Modern Mixed Media Textured Kimono in Neutral Blush, Collagraph Master Plate #2 This one-of-a-kind, highly textured, modern mixed media piece of a kimono in blush, warm neutrals is ...

Beautiful Impressionist landscape of a country scene by Paul Friederich Weindorf (German/American, 1887-1965). Signed "Paul Weindorf" lower right. Artist's bio on verso. Unframed. Im...

After the original by Henrika Langus (Slovenian, 1836-1876) and painted circa 1880. Unsigned. Framed dimensions: 17.25 x 1 x 15.5 inches. A charming and antique study of a young, f...

Portrait of a Man Smoking a Pipe in Oil on Masonite Detailed portrait of a man with a pipe by Heinz Robert Schubert (German, 1912-2001 approx.). A man wearing a short-brimmed hat is...

On offer is an idyllic, tropical waterside landscape featuring a traditional thatched-roof hut tucked beneath an expansive, dense banyan tree. The unknown artist utilized a rapid, co...

Mervin Jules Chess Players, 1945-46 Signed lower right Oil and encaustic on Masonite 12 x 16 inches Mervin Jules attended Baltimore City College in 1930 and received a degree from ...

Jean Krillé’s paintings are known for their expressive use of color and dynamic, abstract forms, blending realism with abstraction in his depictions of nature. His landscapes often f...

Ultra Realist Library Still-Life Books and Candles "Little Devil in the Details" Highly detailed library interior scene and still-life titled "Little Devil in the Detail" by Ken DeWaard (American, 20th-century). This intriguing artists performance in excellence piece, features realistically rendered books, paintings within paintings, candle light, and a devil or gargoyle sculpture. The artist creates a strong mood as well as interesting subject matter in this unique scene. Signed "Dewaard '99" upper right. Displayed in a wood frame. Image size, 13"H x 14"L. Frame: 20"H x 21"W x 2"D After receiving his Bachelor of Arts with honors, Ken began working in a commercial art studio in Chicago. He continued his studies at the American Academy of Art, where he studied with nationally recognized watercolorist, Irving Shapiro. Upon Irving's recommendation Ken joined the acclaimed Palette and Chisel Academy of Fine Art in Chicago, where he soon began studying with Scott Burdick as well as Dan Gerhartz...

Gorgeous mid-century still life of a vase of white lilies next to a green teapot and lemon by listed California artist Helen Enoch Gleiforst (American, 1903-1997). Signed "Gleifors...

A Fabulous 1950s Mid-Century Modern Portrait of a Seated Woman, "Southern Belle" by Noted Chicago Artist, Francis Chapin (Am. 1899-1965). A colorful Southern painting depicting a ...

Charming painting of colorful Gallic "Le Coq Gaulois" roosters by listed California artist Helen Enoch Gleiforst (American,1903-1997), circa 1950. Born in Crete, Nebraska, Helen Gle...

Signed, verso, 'Di Gesu' for Victor Di Gesu (American, 1914-1988) and stamped with the artist's estate seal. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los A...

A textural, earth tone abstract landscape evocative of rolling hillsides in brown and white neutrals by an unknown artist (American, 20th Century). Unsigned. Unframed. Image, 24"H x...

This painting from early October 1927 captures the shifting colours of sunset over Lake Vättern as seen from the historic town of Vadstena. The composition is remarkably direct and f...

Carl Robert Holty (American 1900-1973) Abstract Expressionism Oil on Masonite board. Abstract with greens blues and red, Dimensions 12 x 9-1/2 inches. Framed 17 X 14 inches Hand...

Frank Chabry (1916-1979) was a 20th-century artist whose career spanned several transformative decades in the art world. His work likely reflects the arti...

Signed lower right 'F. Sands Brunner' for Frederick Sands Brunner (American, 1886 - 1954) and painted circa 1930. A painting showing the artist's two daughters, Sibyl and Janet, fa...

Signed in red, u.l. Oil on canvas mounted to Masonite This work is offered by ClampArt in New York City.

'View of Notre Dame & the Île de la Cité' by Friderika Bendéné Kovacsev. Seine, Paris, Thieme Becker, Budapest ------ Signed lower left, 'Frid. J. Bende.' for Friderika Bendéné Kova...

Consigned to the gallery By Decent H&N Fine Art, Newport Beach, CA; From Katherine A. Norris Legacy Collection, Newport Beach, California; Rick Hill, San Diego, California by descent from his mother a former pupil of Alfred Mitchell...

Consigned to American Legacy Fine Arts by H&N Fine Art as part of the Katherine A. Norris Legacy Collection, Newport Beach, California; Bonham’s California, April 11, 2005, lot 205, sold for $7,000; Estate of Sam Harris Signed "Sam Hyde Harris...