Brock & Co Art

This is an iteration of Paul Manship's medal that features the artist Barry Faulkner on the obverse, and the inscription of that version is marked "Barry Faulkner Painter MXMXV (1915...

Saint-Gaudens, who served as an advisor for the Chicago World’s Columbian Exposition sculptural program, accepted the commission for the official award medal. He had completed his de...

This De Lue design was chosen as the 111th issue of the prestigious Society of Medalists series. Both obverse and reverse bear a muscular nude constrained by the rectangular medal's ...

ZIGI BEN-HAIM (Israeli, born 1945) Untitled, 1991 Mixed media on aluminum 36 x 48 inches Signed and dated at lower right: Zigi Ben-Haim 1991

HENRY BOTKIN (1896-1983) Open Green, 1960 Oil on paperboard on board 34 x 44 inches Signed at lower right: Botkin Signed, titled and dated verso

HENRY BOTKIN (1896-1983) Untitled, c. 1954 Oil on board 40 x 30 inches Signed at lower right: Botkin Signed verso

HENRY BOTKIN (1896-1983) Jaina, 1976 Mixed media with collage on board 40 x 30 inches Signed at lower right: Botkin Titled and dated verso

ZIGI BEN-HAIM (Israeli, born 1945) Untitled, 2001 Mixed media on aluminum 16 x 21 inches Signed and dated at lower right: Zigi Ben-Haim 2001 Numbered at left edge: AL-411

ZIGI BEN-HAIM (Israeli, born 1945) Untitled, 2001 Mixed media on aluminum 16 x 21 inches Signed and dated at lower right: Zigi Ben-Haim 2001 Numbered at left edge: AL-413

ZIGI BEN-HAIM (Israeli, born 1945) Lois & Morty all the way to 1201, 1991 Mixed media on aluminum 9 x 12 inches Signed at lower right: Zigi Ben-Haim Dated along right side (at botto...

EDWARD DUFNER (1872-1957) Midsummer, c. 1920 Oil on canvas 20 x 24 inches Signed at lower right: Edward Dufner N.A. Titled on handwritten label Period Arts & Crafts frame With a long-time career as an art teacher and painter of both 'light' and 'dark', Edward Dufner was one of the first students of the Buffalo Fine Arts Academy to earn an Albright Scholarship to study painting in New York. In Buffalo, he had exchanged odd job work for drawing lessons from architect Charles Sumner. He also earned money as an illustrator of a German-language newspaper, and in 1890 took lessons from George Bridgman at the Buffalo Fine Arts Academy. In 1893, using his scholarship, Dufner moved to Manhattan and enrolled at the Art Students League where he studied with Henry Siddons Mowbray, figure painter and muralist. He also did illustration work for Life, Harper's and Scribner's magazines. Five years later, in 1898, Dufner went to Paris where he studied at the Academy Julian with Jean-Paul Laurens and privately with James McNeill Whistler. Verification of this relationship, which has been debated by art scholars, comes from researcher Nancy Turk who located at the Smithsonian Institution two 1927 interviews given by Dufner. Turk wrote that Dufner "talks in detail about Whistler, about how he prepared his canvasas and about numerous pieces he painted. . . A great read, the interview puts to bed" the ongoing confusion about whether or not he studied with Whistler. During his time in France, Dufner summered in the south at Le Pouleu with artists Richard Emil Miller...

ETHEL MYERS (1881-1960) The Gambler, Joe Johnson, n.d. bronze with brown patina 9 inches (22.9 cm.) high Stamped with foundry mark (on the base): ROMAN BR...

TATSUZO SHIMAOKA (1919-2007) Jomon-Zogan Square Flask with Rope Imprint and Geometric Inlay Motif Stoneware 5 x 4 x 2.625 inches With artist signed tomobako Tatsuzō Shimaoka (島岡 達三, Shimaoka Tatsuzō...

ONO HAKUKO (1915-1996) Green Globular Vessel Porcelain, gold leaf 9.5 x 9.75 inches With artist signed tomobako From Aichi prefecture, Ono Hakuko (1915-1996) as trained by her father initially in the ceramic arts. However she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics...

ONO HAKUKO (1915-1996) Yellow Globular Vessel Porcelain, gold leaf 11.5 x 11 inches With artist signed tomobako From Aichi prefecture, Ono Hakuko (1915-1996) as trained by her father initially in the ceramic arts. However she was most strongly influenced by the great experimentive artist Kato Hajime (1901-1968) and his work with gold. This affected her own style deeply, and it can be said that she carried on his research. She was awarded the JCS award in 1980, one of Japans most prestigious ceramics awards. In 1992 she was named an important cultural asset (Juyo mukei bunkazai) of Saga prefecture. Bucking the traditional image here is another of Japans great cultural assets who fought against a system of prejudice to rise to the top and it is an honor to be able to offer something by her. For more on this important modern artist see Touch Fire, contemporary Japanese Ceramics...

WAKAO TOSHISADA (b. 1933) Tea Bowl with nezumi-shino glaze, 1998 With signed tomobako Stoneware 3.625 x 5 x 5 inches With artist signed tomobako Born in ...

KONDO YUTAKA (1932-1983) Blue and White Bottle, c.1960 Stoneware, blue and white with gestural streak 11.875 x 4.25 inches With artist signed tomobako Ko...

KITAMURA JUNKO (b. 1956) Cone Vase, c. 1993 Stoneware, black slip, inlay, with signed tomobako 4.5 x 10 inches With artist signed tomobako Kitamura Ju...

MORINO HIROAKI TAIMEI (b.1934) Two-handled Double-lipped Flower Vase, Aubergine with Gold and Green, 2004 Stoneware 9.75 x 8.5 x 7.25 inches With artist signed tomobako PROVENANCE ...

MINEGESHI SEIKO (b.1952) Large Vessel, 2005 Celadon glaze with crackle layers 10.5 x 14 x 14 inches With artist signed tomobako PROVENACE Artist's Studio...

KAZUO TAKIGUCHI (b.1953) Amoeboid Brown, 2003 Stoneware 7 x 17 x 22 inches With artist signed tomobako Provenance Artist's studio Eric Zetterquist, NYC Private collection, MA His sculptural process is both complicated and highly creative. Using pulleys...

Miyashita Zenji Colored Clay Wind-wrought Patterns in the Sand Flower Vessel (Desai fumon kaki), C. 1995 Glazed stoneware with colored clay inlay 7.125 x ...

WILLIAM KEITH (1838-1911) Mount Tamalpais, Marin County, California, c. 1880 Oil on board mounted on Dibond board 23 x 27 inches Signed at lower le...

GREGORIO PRESTOPINO (1907-1984) The Factory, c. 1935 Oil on canvas 30 x 24 inches Signed at lower left: Prestopino Born in the Little Italy section of New York City, Prestopino was awarded a scholarship to the National Academy of Design at the age of fourteen. Early in his career he came under the influence of the French Impressionists, but was soon drawn to the American realists of the Ashcan School, whose work led him directly to the study of urban life. As a young man Prestopino set up his first studio in Harlem. During the 1930s his social realist paintings had an anecdotal quality in their description of everyday incidents of the working class, depicting the grit of city life – docks, laborers, vendors, Lower East Side streets. Prestopino lived in Brooklyn for many years, spending summers at a farm near Clinton, New Jersey. At the farm Prestopino painted in the barn, while his wife - illustrator Elizabeth Dauber - had a studio in the house. He moved to Roosevelt, New Jersey in 1949. Other artists who have lived in Roosevelt include Ben and Bernarda Shahn, their son Jonathan Shahn, Jacob Landau, David Stone Martin and his son, Stefan Martin...

GEORGE LUKS (1867-1933) Otis Skinner as Col. Philippe Bridau in "The Honor of the Family", c. 1919 Charcoal on paper 12 x 7 ¾ inches (sight) Signed at lo...

ARTHUR BEECHER CARLES (1882-1952) The Red Shawl, n.d. Oil on canvas 21 ¼ x 18 ¼ inches Unsigned Framed Arthur B. Carles was born in Pennsylvania, and stu...

EMILY NICHOLS HATCH (1871-1959) Coastal View, 1920 Oil on panel 8 3/8 x 5 5/8 inches Signed at lower right: Emily Nichols Hatch / 1920 Emily Nic...

ALFRED MAURER (1868-1932) Still Life (double-sided), n.d. Oil on board 22 x 13 ½ inches Signed verso: A. H. Maurer PROVENANCE Estate of Gaston Lachaise [Salander-O'Reilly...

MABEL E. DICKINSON POND (1869-1960) Frances and Ruth Jennings in a Field of Flowers, 1909 Oil on canvas on paperboard 7 x 5 inches Signed at lower right: M. E. Dickinson Inscribed v...

HENRY BOTKIN (1896-1983) Medley, 1958 Oil on paperboard on board 44 x 34 inches Signed at lower left: Botkin Signed, titled and dated verso

Louis Bancel (1926-1978) Seated Nude Woman, n.d. Bronze 4 1/4 x 2 1/2 x 2 1/2 inches Signed: Bancel Numbered: 9/50

SCOTT PRIOR (born 1949) Woman and Rock, 1975 Oil on masonite 11 x 13 3/8 inches Signed and dated verso: Prior 1975 Framed PROVENANCE The artist Ann and Graham Gund, Cambridge, Mas...

HANNES BECKMANN (1909-1977) Heavy-Light, 1961/1962 Oil on canvas on board 18 x 18 inches Initialed and dated at lower left: h.b. 61. PROVENANCE Kanegis Gallery, Boston, Massachuse...

KONRAD CRAMER (1888-1963) Prickly Pears and Pomegranates, 1929 Oil on board 19 ¾ x 23 ¾ inches Signed and dated at lower right: KONRAD CRAMER / 1929 ...

WALTER QUIRT Strong Man, c. 1939-40 Oil on masonite 2 1/16 x 2 1/8 inches Signed at lower right: QUIRT Titled verso Oxidized metal frame (possibly silver) ...

JOHN ADAMS PARKER Boats along a Rocky Shore, n.d. Oil on canvas 6 x 10 inches Monogrammed at lower right with conjoined initials: JAP Illegibly inscribed in pencil on the reverse Gif...

JOHN ADAMS PARKER Oil on canvas 6 x 10 inches Monogrammed at lower right with conjoined initials: JAP Gifford style frame PROVENANCE Harbor Gallery, Cold Spring Harbor, New York

RAY DONARSKI (1935-1996) Swing, 1966 Oil on canvas 17 ½ x 17 ½ inches Signed, dated and inscribed verso: ‘Swing’ / Ray Donarski / 2/66 / 17 ½ x 17 ½ / For Mr. & Mrs. Passerman / New York 1966 Original frame Ray Donarski was one of a group of artists in New York known as the Bowery Boys during the early sixties. The group included Eva Hesse, Robert Mangold, Jack Youngerman, and Robert Rauschenberg among others. He is mentioned in several of art critic Lucy Lippard's articles on New York conceptual artists and Bowery Boy artists of that period. Donarski was a close friend of artist James Rosenquist. They had studied together at the Art Students League in New York. In January of 1962 Donarski helped Rosenquist set up his first solo exhibition at the Green Gallery in New York. In his book, Painting Below Zero: Notes on a Life in Art, Rosenquist recalls sitting on the floor with Donarski before opening night wondering if anyone would show up. The show sold out before it opened. When Rosenquist was broke and homeless in 1955 his friend Donarski told him he knew of a great job as a chauffeur and bartender for some very wealthy people. They went up to see them and split the job. Rosenquist took it for a year, and after a year, he gave it to Donarski. In an interview with Rosenquist he said “I lived in the lap of luxury with very little money, and was a chauffeur bopping around in a ’56 Lincoln town car and a ’56 Lincoln convertible with big fins on the car (laughs), great big fins. I did that for a year and then transferred into the International Sign Painters.” Donarski married Mary Lou Storm and had two children. He became known as the “American in Luxembourg”, dividing his time between New York and summers in Luxembourg, where he was represented by Galerie Paul Bruck and Galerie Horn. He also exhibited at the Westport Gallery...

ARTHUR HOENER (born 1933) Interlocking Forms #3, 1973 Acrylic on board 24 x 24 inches Signed, titled, and dated on the reverse Original wood frame Arthur Hoener was born in Brooklyn, New York, in 1933. He studied graphic design at The Cooper Union, New York, and then received his bachelor and masters degrees at Yale University, where he studied with Josef Albers. He went on to teach at Boston University (where his students included the young Brice Marden, who has spoken in interviews about Hoener's influence); Massachusetts College of Art, where he ran the graphic design department; and also at Hampshire College, MA. Hoener was involved with Timothy Leary...

MERVIN JULES (1912-1994) The Jury, c.1940’s Oil on board 14 x 15 1/8 inches Signed at lower left: JULES PROVENANCE ACA Galleries, New York, NY EXHIBITED Cahoon Museum...

PHILIP EVERGOOD (1901-1973) Seeking a Future, 1952 Oil on canvas 24 x 18 inches Signed and dated at lower left: Philip Evergood / 52 Heydenryk frame PROVENANCE Alfredo Valent...

BUDD HOPKINS (1931-2011) Untitled Abstract, 1964 Oil on paper on canvas 14 x 11 inches Signed and dated at lower right: Hopkins ‘64 Budd Hopkins was born in Wheeling, West Vi...

ROBERT KULICKE (1924-2007) Pear Pendant, 1966 Cloisonné enamel pendant in silver setting 1 ½ x 1 1/8 inches (enamel) Chain length: 12 inches Signed and da...

GREGORY GILLESPIE (1936-2000) Goldie’s Dream, 1999 Oil on panel 20 1/8 x 19 5/8 inches Signed verso: Greg Gillespie Original frame PROVENANCE Forum Gallery, New York, New York (label verso) Nielson Gallery, Boston, Massachusetts (label verso) EXHIBITED Forum Gallery, New York, Gregory Gillespie: New Works, December 2 - 31, 1999 Gregory Gillespie, an artist whose probing, urgent, often bizarre paintings occupied a singular place in the history of late-20th-century representational art committed suicide in 2000 at the age of sixty-four. His art was known for an obsessive attention to realistic detail, but the term realist fit only a narrow swath of his sensibility. He once told an interviewer that he was seeking a reality ''beyond our sense,'' and he pursued it with a variety of artistic styles, techniques and references. He mixed his realism with Expressionist distortion and Surrealistic juxtaposition, just as he supplemented his meticulously applied oil paint with roiling brushwork, photomontage, collage, assemblage, thickly built-up surfaces and, recently, photocopied images. He also found inspiration in several centuries of European painters, including Balthus, Bacon, Beckmann, Bosch, Breugel, Van Eyck, Masaccio and Crivelli. He drew from, and frequently depicted motifs from, Indian sculpture, Tibetan mandalas...

CHARLES HENRY GIFFORD (1839-1904) Frenchman Bay, Mount Desert Island, Maine, 1874 Oil on canvas 12 x 20 inches Signed and dated at lower right:...

WILLIAM COTTON (1880-1958) Secretary Hull, 1934 Pastel on paperboard 12 x 9 inches (sight) Signed at upper right: W. COTTON PROVENANCE Private Dealer, Massachusetts BROCK & CO., Concord, Massachusetts, 2017 EXHIBITED The Art Institute of Chicago, 16th International Exhibition of Water Colors – 1937, no. 216, as Secretary Hull. Note: This pastel depicts Secretary of State Cordell Hull, who was FDR's Secretary of State from 1933-1944 (the longest serving Secretary of State in U.S. history) and winner of the Nobel Peace Prize for his role in creating the United Nations. The portrait was reproduced on a March 1934 Vanity Fair cover...

ROBERT KULICKE (1924-2007) Flower Pin (Tie Tack), 1962 Cloisonné enamel pin in silver setting 7/8 inches (diameter) Signed, dedicated and dated verso: TO HM /...

BENJAMIN HARTLEY (1838-1912) On the Marmaton River, Kansas, 1880 Oil on board on canvas 6 x 9 ¾ inches Signed and dated at lower right: B. Hartley / 1880 Titled and dated in artist’s...

HARRY LESLIE HOFFMAN (1871-1964) Bermuda, c. 1929 Watercolor on heavy paper 11 ½ x 14 ½ inches Estate stamp verso PROVENANCE The artist’s estate Harry Hoffman, born in Cressona, ...

HENRIETTE AMIARD OBERTEUFFER (1878-1962) Still Life with Fruit and Flowers, n.d. Oil on canvas 29 x 24 inches Signed at lower right: H. Amiard. Oberteuffer Period frame Henriette Amiard was born in Le Havre, France, in 1878. She studied at the Academie Julian in Paris under Benjamin Jean-Joseph Constant and Jules-Joseph Lefebvre. While attending the Academie she met her future husband, American artist George Oberteuffer...

NAOMI SAVAGE (1927-2005) Mask, 1999 Multiple-toned photographic print on heavy paper 6 ½ x 4 ¾ inches (image) 11 ¼ x 8 ½ inches (sheet) Titled, signed, and dated in pencil at margin: Mask / N. Savage 1999 RELATED WORK Mask, 1960, photograph (multiple-toned), 9 5/8 x 6 7/8 inches; Museum of Modern Art, New York Naomi Savage was born in Jersey City, New Jersey in 1927. From a very early age, Naomi was interested in the arts. Her mother encouraged her to pursue music, and as the niece of famous Dada and Surrealist painter, sculptor, and photographer, Man Ray, she was able to pursue her interests with much support from her family. During high school, Naomi attended a class taught by Bernice Abbott, Man Ray's assistant in the 1920’s, at the New School for Social Research. She later attended Bennington College, where she studied music and the arts. Shortly after college, she traveled to California to study and apprentice with her uncle, Man Ray. Ray was a great inspiration to the young Naomi; he encouraged her to let her imagination create her art. Savage said later in her life that her strongest inheritance enriching her artistic career came from her uncle, Man Ray. "I never forgot his insightfulness," she said. "With him you could try anything - there was nothing you were told not to do, except spill the chemicals. With Man Ray, you were free to do what your imagination conjured and that kind of encouragement was wonderful". In 1950, Naomi married painter, sculptor, and architect, David Savage. Shortly after, the couple moved to Lambertville, New Jersey, residing there for three years before moving to Princeton, New Jersey. She had her first exhibition in 1952 at the Museum of Modern Art in New York City, and exhibited there again in 1960, 1966, and 1968. Her work can now be seen in the permanent collections of the Museum of Modern Art in New York, the Museum of Fine Arts in Boston, the International Center of Photography in New York, the Art Institute of Chicago, the Fogg Museum at Harvard University, and the Noyes Museum in Oceanville, New Jersey. Savage pioneered the use of photographic engravings for which she is best known. With a photographic engraving, the actual metal photographic plate itself is the art. It is described as a kind of topographic photograph with forms in three dimensions and with a variety of metallic surfaces and tones. Some of her most famous photographic engravings involve a series of portraits of her sister, which she manipulated in countless ways over many years. But her most famous photographic engraving (perhaps her most famous work of all) is a fifty-foot long mural she did on the side of the Lyndon B. Johnson Library and Museum in Austin, Texas. Her approach to photography represents an involvement with process as medium, and an interest in art as image manipulation, a pursuit shared by contemporaries like Robert Heinecken, Betty Hahn, and Bea Nettles...

PHILIP PERKINS (1907-1970) Space Travel, 1945 Oil on canvas 10 x 8 ¼ inches Dated on canvas verso: 1945 Titled on stretcher bar: Space Travel Unsigned Philip Perkins was bor...

NAOMI SAVAGE (1927-2005) Dandelion, c.1960 Photo-engraving with painted additions on copper 4 3/8 x 3 ½ inches (plate) Inscribed on the reverse: Naomi Savage / (BK) / 1960? Naomi Savage was born in Jersey City, New Jersey in 1927. From a very early age, Naomi was interested in the arts. Her mother encouraged her to pursue music, and as the niece of famous Dada and Surrealist painter, sculptor, and photographer, Man Ray, she was able to pursue her interests with much support from her family. During high school, Naomi attended a class taught by Bernice Abbott, Man Ray's assistant in the 1920’s, at the New School for Social Research. She later attended Bennington College, where she studied music and the arts. Shortly after college, she traveled to California to study and apprentice with her uncle, Man Ray. Ray was a great inspiration to the young Naomi; he encouraged her to let her imagination create her art. Savage said later in her life that her strongest inheritance enriching her artistic career came from her uncle, Man Ray. "I never forgot his insightfulness," she said. "With him you could try anything - there was nothing you were told not to do, except spill the chemicals. With Man Ray, you were free to do what your imagination conjured and that kind of encouragement was wonderful". In 1950, Naomi married painter, sculptor, and architect, David Savage. Shortly after, the couple moved to Lambertville, New Jersey, residing there for three years before moving to Princeton, New Jersey. She had her first exhibition in 1952 at the Museum of Modern Art in New York City, and exhibited there again in 1960, 1966, and 1968. Her work can now be seen in the permanent collections of the Museum of Modern Art in New York, the Museum of Fine Arts in Boston, the International Center of Photography in New York, the Art Institute of Chicago, the Fogg Museum at Harvard University, and the Noyes Museum in Oceanville, New Jersey. Savage pioneered the use of photographic engravings for which she is best known. With a photographic engraving, the actual metal photographic plate itself is the art. It is described as a kind of topographic photograph with forms in three dimensions and with a variety of metallic surfaces and tones. Some of her most famous photographic engravings involve a series of portraits of her sister, which she manipulated in countless ways over many years. But her most famous photographic engraving (perhaps her most famous work of all) is a fifty-foot long mural she did on the side of the Lyndon B. Johnson Library and Museum in Austin, Texas. Her approach to photography represents an involvement with process as medium, and an interest in art as image manipulation, a pursuit shared by contemporaries like Robert Heinecken, Betty Hahn, and Bea Nettles...

NAOMI SAVAGE (1927-2005) Classic Form, c. 1970’s Line-cut photo-engraving on zinc-plated copper 9 ½ x 7 ½ inches (plate) Titled and inscribed on artists label verso: “Classic Form” / Collection- Eve Kraft / N.F.S. / Insurance value / $500.00 Artists label on the reverse reads: NAOMI SAVAGE / DRAKES CORNER ROAD / PRINCETON, NEW JERSEYT / PHOTOGRAPH BY / NAOMI SAVAGE Original Kulicke Lucite frame PROVENANCE Ex. Collection Eve Kraft N.F.S. Private collection, Princeton, New Jersey Naomi Savage was born in Jersey City, New Jersey in 1927. From a very early age, Naomi was interested in the arts. Her mother encouraged her to pursue music, and as the niece of famous Dada and Surrealist painter, sculptor, and photographer, Man Ray, she was able to pursue her interests with much support from her family. During high school, Naomi attended a class taught by Bernice Abbott, Man Ray's assistant in the 1920’s, at the New School for Social Research. She later attended Bennington College, where she studied music and the arts. Shortly after college, she traveled to California to study and apprentice with her uncle, Man Ray. Ray was a great inspiration to the young Naomi; he encouraged her to let her imagination create her art. Savage said later in her life that her strongest inheritance enriching her artistic career came from her uncle, Man Ray. "I never forgot his insightfulness," she said. "With him you could try anything - there was nothing you were told not to do, except spill the chemicals. With Man Ray, you were free to do what your imagination conjured and that kind of encouragement was wonderful". In 1950, Naomi married painter, sculptor, and architect, David Savage. Shortly after, the couple moved to Lambertville, New Jersey, residing there for three years before moving to Princeton, New Jersey. She had her first exhibition in 1952 at the Museum of Modern Art in New York City, and exhibited there again in 1960, 1966, and 1968. Her work can now be seen in the permanent collections of the Museum of Modern Art in New York, the Museum of Fine Arts in Boston, the International Center of Photography in New York, the Art Institute of Chicago, the Fogg Museum at Harvard University, and the Noyes Museum in Oceanville, New Jersey. Savage pioneered the use of photographic engravings for which she is best known. With a photographic engraving, the actual metal photographic plate itself is the art. It is described as a kind of topographic photograph with forms in three dimensions and with a variety of metallic surfaces and tones. Some of her most famous photographic engravings involve a series of portraits of her sister, which she manipulated in countless ways over many years. But her most famous photographic engraving (perhaps her most famous work of all) is a fifty-foot long mural she did on the side of the Lyndon B. Johnson Library and Museum in Austin, Texas. Her approach to photography represents an involvement with process as medium, and an interest in art as image manipulation, a pursuit shared by contemporaries like Robert Heinecken, Betty Hahn, and Bea Nettles...

ALTON PICKENS (1917-1991) Untitled, 1955 Oil on canvas 44 ¼ x 33 ½ inches Signed and dated at lower left: PICKENS / 55 Partial label on the verso: ACA Galleries, New York, New Y...

NAOMI SAVAGE (1927-2005) Larry as Liberty, 1986 Photographic print on heavy paper 11 ¼ x 8 ½ inches (sheet) Titled, signed, and dated in pencil on original matt: Larry as Liberty / N. Savage 1986 Dated, signed and titled in pencil on the reverse: 1986 / Naomi Savage / Liberty Larry Naomi Savage was born in Jersey City, New Jersey in 1927. From a very early age, Naomi was interested in the arts. Her mother encouraged her to pursue music, and as the niece of famous Dada and Surrealist painter, sculptor, and photographer, Man Ray, she was able to pursue her interests with much support from her family. During high school, Naomi attended a class taught by Bernice Abbott, Man Ray's assistant in the 1920’s, at the New School for Social Research. She later attended Bennington College, where she studied music and the arts. Shortly after college, she traveled to California to study and apprentice with her uncle, Man Ray. Ray was a great inspiration to the young Naomi; he encouraged her to let her imagination create her art. Savage said later in her life that her strongest inheritance enriching her artistic career came from her uncle, Man Ray. "I never forgot his insightfulness," she said. "With him you could try anything - there was nothing you were told not to do, except spill the chemicals. With Man Ray, you were free to do what your imagination conjured and that kind of encouragement was wonderful". In 1950, Naomi married painter, sculptor, and architect, David Savage. Shortly after, the couple moved to Lambertville, New Jersey, residing there for three years before moving to Princeton, New Jersey. She had her first exhibition in 1952 at the Museum of Modern Art in New York City, and exhibited there again in 1960, 1966, and 1968. Her work can now be seen in the permanent collections of the Museum of Modern Art in New York, the Museum of Fine Arts in Boston, the International Center of Photography in New York, the Art Institute of Chicago, the Fogg Museum at Harvard University, and the Noyes Museum in Oceanville, New Jersey. Savage pioneered the use of photographic engravings for which she is best known. With a photographic engraving, the actual metal photographic plate itself is the art. It is described as a kind of topographic photograph with forms in three dimensions and with a variety of metallic surfaces and tones. Some of her most famous photographic engravings involve a series of portraits of her sister, which she manipulated in countless ways over many years. But her most famous photographic engraving (perhaps her most famous work of all) is a fifty-foot long mural she did on the side of the Lyndon B. Johnson Library and Museum in Austin, Texas. Her approach to photography represents an involvement with process as medium, and an interest in art as image manipulation, a pursuit shared by contemporaries like Robert Heinecken, Betty Hahn, and Bea Nettles...

GRACE HILL TURNBULL (1880-1976) Waterfall (Woodstock, New York), c. 1925 Oil on canvas 14 x 20 inches Unsigned PROVENANCE The Maryland Historical Society The work of pai...

Guardian of the Forest, n.d. Carved stone figural grouping 12 ½ x 14 x 10 inches Signed at back of standing figure: Dave Marshall