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Lot 250
A SELECTION OF STONEWARE CERAMICS to include a stoneware sculpture of an old oven with pots and pans, signed Ian Godfrey, with impressed mark, together with an abstract stoneware pottery sculpture signed Terry Bell Hughes, a large green glaze ginger jar signed Clive Dans, a Roz Lowe studio pottery teapot decorated with mushrooms, crescent shaped stoneware vase, jug etc (6)
Lot 558
MIKHAIL TARKHANOV (RUSSIAN 1888-1962) A Set of Seven Abstract Landscapes, mixed media drawings various sizes: smallest 20.7 x 29.2 cm (8 1/8 x 11 1/2 in.), largest 30.8 x 46.4 cm (12 1/8 x 18 1/4 in.) each titled and dated along lower edge, 5/10 signed along lower edge PROVENANCECollection of Viktor Kholodkov LOT NOTESThis lot comes from the collection of Viktor Kholodkov (1948-2015), who fulfilled his passion for books, avant-garde design and paper memorabilia by devoting his life to collecting and dealing of prominent works of Russian graphic art of the first half of the 20th century. The dedicated collector acquired a multitude of books and artworks throughout decades, meticulously labeling and archiving every single item. Many came directly from the most preeminent artists of the time, as well as from their families and estates. He also possessed a vast number of drawings from the famous collection of another avant-garde enthusiast, Nikolai Khardzhiev. After leaving the USSR in 1989 and settling in California, Viktor continued his work as a Soviet art dealer and critic, actively publishing various articles and contributing to several major Russian avant-garde exhibitions across the U.S., such as the 1991 Russia Under Fire in the 40s on the West Coast and the 1992 Guggenheim exhibition The Great Utopia: The Russian and Soviet Avant-Garde. Kholodkov also contributed to the archives of the biggest American institutions. His sophisticated selection of over 2000 Russian sheet music covers was acquired by The Library of Congress, and an extensive amount of material related to VKhUTEMAS is now at the J. Paul Getty Museum.
Lot 134
HARRY JACKSON (AMERICAN 1924-2011) Grace Hartigan, 1949 oil on canvas 151.5 x 91.2 cm (59 5/8 x 35 7/8 in.) signed and dated upper right PROVENANCEEstate of the artistEXHIBITEDCody, Buffalo Bill Historical Center, "Harry Jackson: A Retrospective Exhibition", May 1-September 24, 1981 (label on verso stretcher)LITERATURELarry Pointer, Donald Goddard, Harry Jackson (New York: Harry N. Abrams, Inc., 1981), p. 51, no. 56 (illustrated) LOT NOTESIn his unparalleled creative trajectory from realism to abstraction to realism again, Harry Jackson - as perhaps no other American artist of the period - embodies the spirit of relentless inquiry that came to define the art of the 20th century. One of the most prolific and significant Western artists of his generation, Jackson also produced an immensely diverse body of work, represented in lots 133-135, including two important canvases from his Abstract Expressionist period.Prior to settling in Wyoming to make his best-known work, Chicago-born Jackson had served in World War II as a combat Marine artist, awarded a Purple Heart, and, in 1944, stationed in Los Angeles. Soon after, he saw Jackson Pollock's The Moon-Woman Cuts the Circle and The She-Wolf, which impressed him profoundly. Determined to meet Pollock, Jackson moved to New York, where he became a close friend of the artist and gained notoriety for his own Abstract Expressionist works, capturing the attention of Clement Greenberg and Meyer Shapiro (who featured him in their Talent 1950 show at the Kootz Gallery) and later exhibiting at Tibor de Nagy Gallery.Eventually, Jackson's childhood fascination with cowboys (he, aged 14, had run away from home to a Wyoming farm), his academic training at the Art Institute of Chicago, and a 1954 tour through Italy reinvigorated Jackson's interest in Realism. Perspective and modeling, infused with the ethos of abstraction, made their way into his works. During a second trip to Italy in 1956, Jackson began studying sculpture at the Vignali-Tommasi Foundry, producing the first of his Western bronzes in the tradition of Frederic Remington and Charles M. Russell. He made trips to both the American West and Europe throughout the 1950s and 60s, setting up his own foundry and finally relocating his studio to Wyoming in 1970.The present portrait of Grace Hartigan, a fellow second-generation Abstract Expressionist, to whom Jackson was married in 1949, is an exquisite example of Jackson's dynamic work, of the kind hailed by New York Times critic Stuart Preston for the buoyant, generous and intricate arabesque of shapes and... the freshness and pungency of... color. The connection between the artist and his wife-model, a short but explosive affair by many personal accounts, make this painting a perfect encapsulation of the predominant art movement of the time.
Lot 149
A GROUP OF 21 DRAWINGS AND LINOCUTS BY VINCENT HLOZNIK (SLOVAK 1919-1997) comprising:a) nine drawings of male portrait, each pencil on paper, 35 x 25.5 cm (13 3/4 x 10 in.)b) twelve abstract linocuts on paper, each 42 x 31 cm (16 1/2 12 1/4 in.)[sight], each signed in pencil lower right PROVENANCEGrosvenor Gallery, London
Lot 133
HARRY JACKSON (AMERICAN 1924-2011) Marie (Study for Sacagawea), 1980 bronze with light brown patina atop granite base overall height: 30 cm (11 3/4 in.) signed, dated, inscribed SUH 19 and impressed with WFS Italia foundry mark on verso PROVENANCEEstate of the artist LITERATURELarry Pointer, Donald Goddard, Harry Jackson (New York: Harry N. Abrams, Inc., 1981), p. 278, nos. 358-361 (illustrated)LOT NOTESIn his unparalleled creative trajectory from realism to abstraction to realism again, Harry Jackson - as perhaps no other American artist of the period - embodies the spirit of relentless inquiry that came to define the art of the 20th century. One of the most prolific and significant Western artists of his generation, Jackson also produced an immensely diverse body of work, represented in lots 133-135, including two important canvases from his Abstract Expressionist period. Prior to settling in Wyoming to make his best-known work, Chicago-born Jackson had served in World War II as a combat Marine artist, awarded a Purple Heart, and, in 1944, stationed in Los Angeles. Soon after, he saw Jackson Pollock's The Moon-Woman Cuts the Circle and The She-Wolf, which impressed him profoundly. Determined to meet Pollock, Jackson moved to New York, where he became a close friend of the artist and gained notoriety for his own Abstract Expressionist works, capturing the attention of Clement Greenberg and Meyer Shapiro (who featured him in their Talent 1950 show at the Kootz Gallery) and later exhibiting at Tibor de Nagy Gallery.Eventually, Jackson's childhood fascination with cowboys (he, aged 14, had run away from home to a Wyoming farm), his academic training at the Art Institute of Chicago, and a 1954 tour through Italy reinvigorated Jackson's interest in Realism. Perspective and modeling, infused with the ethos of abstraction, made their way into his works. During a second trip to Italy in 1956, Jackson began studying sculpture at the Vignali-Tommasi Foundry, producing the first of his Western bronzes in the tradition of Frederic Remington and Charles M. Russell. He made trips to both the American West and Europe throughout the 1950s and 60s, setting up his own foundry and finally relocating his studio to Wyoming in 1970.The following bronze, modeled after Marie Varilek, is one of several studies for a monumental sculpture of Sacagawea, on which Jackson began working on in the summer of 1976 and completed in 1980.
Lot 182
A GROUP OF 5 DRAWINGS BY MILAN LALUHA (SLOVAK 1930-2013) comprising:a) Woman in Fur Coat, pencil on Fabriano paper, 43 x 30 cm (16 7/8 x 11 3/4 in.)b) Man in Glasses, pencil on paper, 62.7 x 45.2 cm (24 3/4 x 17 3/4 in.)c) Peasant Woman with Bundle, double-sided, pencil on paper, 65 x 45.5 cm (25 5/8 x 17 7/8 in.).d) Abstract, double-sided, pencil on paper, 62 x 45 cm (24 3/8 x 17 3/4 in.)e) Nude with Wine Bottle and Glass, pencil on paper, 61.5 x 40.5 cm (24 1/4 x 16 in.)PROVENANCE(c, d) Dielo, enterprise of SFVU, Bratislava, circa 1960s (labels on verso)Grosvenor Gallery, London
Lot 65
A single strand of cultured Aakoya pearls measuring 6.00mm to 6.50mm approximately. Sixty six pearls strung knotted and finished with an abstract 9ct gold (stamped) clasp. Length: 490mm including clasp. 26.1 grams NB: Pearls untested and identification is provisional, yet probable, and subject to laboratory confirmation
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