We found 13492 price guide item(s) matching your search

▲ Mimmo Paladino (Italian, b.1948) Untitled, figures with arrow;Untitled, heada pair, both signed and indistinctly dated 199(?) l.r., mixed media and collage on paper76 x 56cm (2)Provenance: The collection of Robert and Jenny ​Borgerhoff Mulder​.Condition ReportFramed: 97.5 x 77.5cmCockling. Stuck down in the corners. Both works are well presented and ready to hang. Not viewed out of glazed frames.

▲ William Scott RA (1913-1989) 'Grey, Black and White', 1959 signed 'W. Scott' l.r., gouache, watercolour and collage 48 x 66cm, unframed Provenance: With Hanover Gallery, London, 1960; Mr and Mrs P Wakefield; Sotheby's, London, 1 October 1997, lot 265; the property of a private collector. William Scott’s 'Grey, Black and White', 1959, exemplifies his distinct approach to abstraction - balancing restraint with expressive energy. While often associated with simplicity, his late 1950s and 1960s works embraced texture, layering and gestural application. He experimented with contrasts - thick and thin paint, smooth and rough surfaces - allowing imperfections to become part of the composition. In this piece, Scott abandons defining outlines, letting forms emerge organically. Muted tones of black, grey, brown, and off-white create a quiet tension, while his raw, unfinished surface reflects his belief in 'the beauty of the thing done badly'. Paint is pushed, scraped and layered, revealing his process and rejecting a polished aesthetic in favour of something more tactile and immediate. Despite its abstraction, Scott’s work never fully detaches from reality. As he stated, 'I cannot be called non-figurative while I am still interested in the modern magic of space…the things of life'. In 'Grey, Black and White' he captures this ambiguity, hinting at stone walls, landscapes, or familiar objects, while remaining open to interpretation. The artist's paintings from this period focus as much on the act of painting as the final image. His careful yet spontaneous approach invites viewers to engage with space, texture and form in a way that feels both structured and free. Scott's 'Grey, Black and White' stands as a testament to his mastery of abstraction, where surface and tone create an atmosphere of quiet dynamism and subtle depth. Reference: Norbert Lynton, 'William Scott', Thames & Hudson Ltd., London, 2004. Condition ReportMount: 73 x 91cm Presents well overall. A little possible time staining and fading. A faint stain to the right of the black shape in the centre of the top edge.There are some remnants of paper on the front of the work in the centre of the square in the lower right, possibly the remains of previous collage (?). Small bumps/ undulations to the brown collage in the upper right quarter. There is some abrasion to the surface of the paper at the bottom of pale brown collaged rectangle in the upper right quarter. Hinge mounted with two pieces of tape applied to the reverse of the top corners. Please see additional condition images.

▲ Marzia Colonna (Italian-British, b.1951) 'Dorset Coast'signed 'Colonna' l.r., collage29.5 x 29.5cmProvenance: With Portland Gallery, London.Exhibited: Portland Gallery, London, October 2014, catalogue no. 59.Condition ReportFramed: 42 x 41cmAppears to be in good condition. Well presented and ready to hang. Not viewed out of glazed frame.

▲ The Connor Brothers (b.1968) 'Hell is Empty and All The Devils Are Here'mixed media collage, inscribed 'Lockdown Day 137', created by Mike Snelle at his home during the Covid-19 lockdown72 x 46.5cm, unframedCondition ReportThe work apppears to comprise of acrylic, white pen and marker pen over a printed base. The work has a glossy finish/ varnish applied in places. There is what appears to be coffee staining to the bottom right which is presumed to be original.

A striking aquatint cut paper-collage composition by Karen Caraccio, titled Solar Halo, showcasing a refined interplay of light and shadow in a fan-like arrangement. This work exemplifies Caraccio's expertise in printmaking and paper-based media, featuring a meticulously structured gradient of metallic and neutral tones that radiate outward, evoking the atmospheric phenomenon of a solar halo. The precise, segmented design reflects a balance between geometric abstraction and natural inspiration. Housed in a wood frame. Signed in pencil lower right, with the title inscribed lower left.Artist: Karen Caraccio (20th-21st Century)Dimensions: 34"L x 21.75"HCondition: Age related wear.

Justin KNOWLES (British 1935-2004) Black and Yellow (landscape rectangles) Collage on graph paper Signed and dated 2002/3 lower right, titled verso Framed and glazed Picture size 41 x 59cm Overall size 57 x 75cm

Justin KNOWLES (British 1935-2004) Black and Yellow (vertical lines) Collage on graph paper Signed and dated 2002/3 lower right, titled verso Framed and glazed Picture size 41 x 59cm Overall size 57 x 75cm

This framed memorabilia piece features a Florida Marlins triple-photo collage, highlighting action shots of Marlins players in key moments. The leftmost photo showcases a signed Hanley Ramirez photo with authentication sticker, capturing the star shortstop mid-swing in his Marlins uniform. The autograph is prominently placed in blue marker, enhancing its collectible value. The two additional images display Ramirez making dynamic defensive plays, including a leaping tag at second base. The piece is professionally framed in a sleek black frame with black matting, making it a fantastic collectible for Marlins fans and baseball memorabilia collectors.Issued: 2006-2012Dimensions: 25"L x 13.5"HCountry of Origin: United StatesCondition: Age related wear.

This framed print, titled Notre Dame: Reflections of Our Lady, is a stunning composition by artist J.R. Wainwright, celebrating the rich history and iconic architecture of the University of Notre Dame. The artwork presents a collage of significant landmarks, including the university's Golden Dome, Basilica of the Sacred Heart, and other revered campus monuments, depicted in a striking blue-toned palette. The print is professionally framed in an ornate gold frame with a double mat, enhancing its elegance. A meaningful collectible for Notre Dame alumni and enthusiasts. Artwork can be unframed and rolled for shipment.Artist: J.R. Wainwright (American, 20th century)Issued: c. 1980Dimensions: 36"L x 30"HCountry of Origin: United StatesCondition: Age related wear.

A paper collage, 'The Queen of Hearts', of recent manufacture, framed, 145 x 100 cm

ELISABETH AHNERT(1885 Chemnitz - 1966 Ehrenfriedersdorf)Stillleben mit Flasche und FrüchtenCollage (verschiedene Papiere), Federzeichnung und Deckfarben, 17 x 11,2 cm, im Passepartout freigestellt montiert, links unten monogrammiert.Schlagwörter: 20. Jahrhundert, Dresden, Nachkriegskunst, Zeitgenössische Kunst

THITZ (MATTHIAS SCHEMMEL)(geb. 1962 in Frankfurt am Main, tätig in Stuttgart und Berlin)New York, Urban Bag Art, 1999Mischtechnik, Acryl und Collage auf Leinwand, 80 x 110 cm, mittig unten signiert und datiert.Schlagwörter: 20. Jahrhundert, 21. Jahrhundert, collage, Comic, Frankfurt, Pop Art

Maja Behrmann(geb. 1994 in Frankfurt am Main, tätig ebenda)o.T., 2019Collage und Lack auf Leinwand, 42 x 53 cm.

Maja Behrmann(geb. 1994 in Frankfurt am Main, tätig ebenda)o.T.,2019Collage und Lack auf Leinwand, 59 x 36 cm.

Collage Jakob Anton Bucher Collage;Künstler der Postmoderne; ca. 65 x 80 cm; Collage auf Platte; ungerahmt hinter Passepartout; aus seinem Nachlass; Bucher-Werke kommen selten auf den Markt, da er zu Lebzeiten fast nichts verkauft hat. Sehr wenige Stücke sind bei Galerien verfügbar.Prof. Jakob Anton Bucher wurde 1927 in Hopfgarten im Brixental geboren. Nach dem Besuch der Volksschule absolvierte er bei Toni Kirchmayer in Innsbruck eine Lehre als Kirchen- und Dekorationsmaler. 1947 ging er mit seinem Freund Ludwig Neuhauser nach Wien. Beide studierten bei den Professoren Sergius Pauser und Herbert Böckl an der Akademie der bildenden Künste. Bucher schloss 1952 sein Studium mit Diplom und dem Meisterklassen-Preis ab. Die Studienzeit war sehr entbehrungsreich, da er diese mit allen möglichen Gelegenheitsarbeiten finanzieren musste. In den Ferienmonaten arbeitete er sogar als Malergehilfe in der Schweiz. Ab 1952 war Bucher freischaffender Künstler in Wien. Seinen Lebensunterhalt bestritt er teilweise durch das Kopieren von alten Meistern. Seit Anfang der 70 er Jahre ist er Mitglied des Wiener Künstlerhauses dessen Vizepräsident er für zwei Jahre war. Ein Schwerpunkt seines Schaffens ist die Auseinandersetzung mit dem Menschen. Im speziellen ist es der gefährdete und bedrohte Mensch. Sowohl die Auswahl der Motive als auch die Darstellung und collagenmäßige Verarbeitung betont und unterstreicht die dramatischen Bildaussagen. Zeit seines Lebens hat sich Bucher auch der Landschaftsmalerei verschrieben. Die von ihm auf seinen Reisen erlebten Landschaften werden von ihm als persönliche Aussage in Malerei umgesetzt. Dabei sind es weniger naturalistische Details als die Atmosphäre, das Klima und die Zeit, letztendlich also die Seele der Landschaft die er wiederzugeben versucht. Zahlreiche Studienreisen führten ihn in verschiedene europäische Länder so wie nach Asien, Afrika und die USA. In den vergangenen 60 Jahren wurden Buchers Bilder in vielen Galerien Europas gezeigt. Seine Werke befinden sich in bedeutenden öffentlichen Einrichtungen in Österreich und zahlreichen Privatsammlungen im In- und Ausland.

Mixed media picture, titled Virtuosity by Anthony Pendlebury, 55 cm squared and another by the same artist titled Broken Dreams an acrylic collage

Acrylic collage picture of a frog called Trevor by Anthony Pendlebury and a canvas picture "Between The Lines"

Russian Constructivist first half 20th Century, Collage with chalk colours on paper. 40 x 51 cm

Júlio Pomar (1926-2018)"Petite Tête Avec Fourrure"Acrylic and collage on canvasSigned and dated 8046x38 cm"Júlio Pomar - Catálogo "Raisonné" II - Pinturas e "Assemblages" 1968-1985", ed. La Différence, Paris/Arte Mágica, Lisboa, 2004, pp. 226-227, ill. 308.

Cruzeiro Seixas (1920-2020)"Homenagem à Tesoura ou a Expressão Comunicativa"Collage with pieces of clippings from paintings from António Areal on paperSigned Areal/C. Seixas and dated 1973 on the reverse30x17,5 cm

Muntean/Rosenblum (n. 1962/1962) Untitled (Maybe she, too…), 2017 Pencil and collage on paper 70x85 cm

Cruzeiro Seixas (1920-2020)UntitledMixed media with collage on paperSigned27x42 cm

CAMERON GRAY (AMERICAN B. 1974). BLUE MARILYN AFTER ANDY WARHOL. photo-collage, 2010. Signed titled, dated and numbered from the edition of 10 verso, 93cm x 88cm. Purchased from the Sims Reed Gallery.

Fatoumata DIARA (Née en 1996)Cultural Collage, 2023.Sérigraphie en couleurs sur papier d'art.Signé et numérotée. Edition de 10 exemplaires.50 x 50 cmAccompagné d’un certificat, COA.Colour silkscreen on art paper, edition of 10 exemplaries.

Jo DI BONA (Né en 1976).GoldorakTechnique mixte sur toile, acrylique et collage.Signé en bas à droite.140 x 120 cm

Peter Lacroix (Deutsch, 1924-2010), Personalis (23.11.94) Vita Eck Arnold Otto Guenther Brauen, Collage: Bedruckter Karton auf Papier, unten rechts signiert, unten links betitelt, Maße: 60 x 42,5 cm. Guter, altersbedingter Zustand.

Salvador Dalí (spanisch, 1904 - 1989), Flordali II, Farblithographie mit Reliefprägung, 1981, Verso gedruckt bei Matthieu, Zürich, nach einer Original-Collage, die Salvador Dalí speziell für diese Edition geschaffen hat, vom Künstler in der Platte signiert, Auflage: 2407 von 500. Lichtmaß: 88 x 63 cm. Papier: 103 x 72,6 cm. Guter zustand.

Wohlfarth, Wolfgang: Geometrische Komposition, 1989Mischtechnik/Collage auf Holzplatte, rechts unten signiert u. datiert (19)89, freistehend im Schattenfugenrahmen montiert, 45 x 44,5 cm, Z1.

Klinzing, Walter, 1942 in Neugersdorf/SachsenStudium an der WKS Düsseldorf; Meisterschüler bei Heinz Edelmann: Ohne Titel, 1999Mischtechnik/Collage auf Holzplatte, links unten signiert und datiert 1999, Spannrahmen u. Werkfläche übergangslos, min. Verluste im Motiv u. am linken Rand, 100 x 70 cm, Z2.

Hiltner, Gregor, 1950 Nürnberg: Abstrakte Komposition, o.J.Mischtechnik/Collage auf Papier, auf beigem Papier kaschiert, unter Glas in Galerieleiste gerahmt & freistehend auf Karton montiert. Verso Galerieetiketten zu anderen bekannten Künstlern der Galerie Steinrötter, 52 x 34 cm, Z1.

Klinzing, Walter, 1942 in Neugersdorf/SachsenStudium an der WKS Düsseldorf; Meisterschüler bei Heinz Edelmann: Peu a peu, 1997Mischtechnik ("Fresco")/Collage auf Holzplatte, links unten signiert u. datiert 1997, im Motiv geprägt betitelt "Peu A Peu", verso auf Galerieetikett bez. & betit., abgestimmter Naturholzrahmen mit Schattenfuge, 100 x 71 cm, Z1.

Epping, Martin: Collage "example"Vollfarbige Kartonstreifen auf Velin, hinter Glas gerahmt in Galerieleiste, verso auf drei Galerieetiketten bez. und betitelt, 50 - 70 cm, Z1.

A pair of Naval & Merchat Ship Collectors Album Book I and II of various published articles - Launching of The Queen Elizabeth Yesterday published 1938, various postcards of Anchor Line - T.S.S California, Twin Screw Motor Ship Circassia and T.S.S Cameronia etc and a magazine together with a framed collage of various black and white ship photos. (3)

A collage of various stamps such as ReichePost and Penny Lilac, 1/2d Vermilion QV Jubilee, mounted on card together with In Public In Private composed by Harry Dacre sheet music and a Hang up your Hat behind the door composed by John Stamford sheet music. (3)

Mick Moon (British, 1937-2024) Pots, Candles and Graffiti 1993 Mixed media collage on canvas Signed, titled and dated verso Dimensions: 50 in. (H) x 34.25 in. (W)

ALIGHIERO BOETTIContatore 1967Serigraphie mit Collage auf Karton. Verso signiert. Nicht nummeriert, Exemplar außerhalb der Auflage von 123 num. Ex. Edition ED912, Mailand (mit Prägestempel). 43,7 x 62,5 cm.(Erhaltungsmängel. Etwas fleckig und berieben sowie teils mit leichten Kratz- und Stauchspuren, stellenweise leicht gewellt, verso angeschmutzt und mit Montagespuren.)

DANIEL SPOERRITableau Piège 1973Multiple, Faltobjekt mit Collage aus mit Farboffset bedrucktem Karton und Zündholz, außen mit Leinen bezogen und in Permanentschreiber mit den Nummern 1-4 versehen. Signiert und datiert. Ex. 89/600. Edition Ars Viva, Mailand. 68,5 x 68,5 x 15 cm (aufgeklappt).

MAX ERNSTOhne Titel 1971Farbradierung mit Prägedruck, Collage und Aquarellierung in Gelb auf Lana. Signiert. Ex. 30/100. 41 x 30,7 cm (66 x 50,5 cm). Spies/Leppien 212 B.

MAX ERNSTvademekum mobile - ihr seid gewarnt 1971Farb-Photolithographie auf Velin, nach einer Collage von 1919/20. Signiert. Ex. 2/99. 43,7 x 48,8 cm (50,8 x 69,8 cm). Spies/Leppien A 36 A.(Alters- sowie Falt- und Stauchspuren; Mittelfalz, verso mit Papierhautverletzungen; in den Rändern etwas fleckig.)

AL HANSENOhne Titel 1989Collage aus verschiedenen Materialien auf Bierdeckel, auf Karton. Signiert und datiert. 12- 2,8 x 11 cm.

CURT STENVERTAngriff 1971Objektkasten mit Spielzeug-Flakgeschütz, montiert auf Offset-Collage. Unterseite mit Schablone beschriftet, datiert und betitelt sowie mit der Werknummer '545' versehen, zusätzlich handschriftlich signiert 'Curt Stenvert fecit'. Ca. 21,5 x 11,7 x 4,2 cm.(Leichte Altersspuren.)

AL HANSENVenus 1991Collage, gerissenes gelbes Papier, montiert auf grau-braunes Papier. Signiert und datiert. 48 x 32 cm.(Leichte Montage- und Atelierspuren; wohl werkbedingt etwas gewellt.)

ENDRE TÓTErst so, dann umgekehrt 1987Kollage aus bemaltem Karton, mit zwei ausgeschnittenen Figuren, mit Musterklammern befestigt und auf Unterlagekarton montiert. Signiert und datiert. Collage 32 x 24,5 cm, Unterlagekarton ca. 70 x 60 cm.(Kleiner Braunfleck oben links.)

Edouard Leon Theodore Mesens (1903-1971): 'Repertoire piano', mixed media and collage, dated (19)63Frame: 68,5 x 58,5 cmWork: 50 x 40 cm

Mid-20th century Chinese School, pair of large woodblock print/paper collage studies of deities, framed, overall frame dimensions 161cm x 61cmFoxing and light creasing

Marilyn Laugesen (Cumbrian / Canadian (?), contemporary)"Northern Night III", a small, prospect of layered fells in the North of England, collage, signed, label bearing the artist's statement verso, in card mount and silver paint-speckled frame under glass, 28 cm x 28 cm overall[Marylin began her art career whilst living in Canada with her husband for 28 years, after which they moved to England and settled in Cumbria. She currently works simultaneously out of Riverside Studio in Carlisle and another studio on the Galloway coast. Her work centers around landscapes and themes of weather in her surroundings.]

Anna Shanon (Polish b.1916)Untitledsigned 'SHANON' (lower left)collage, unframed31.5 x 25.5 cm, mounted 41 x 33.5 cmProvenance: Donated to the Bertrand Russell Peace Foundation by the artist in 1972.

Mr Anderson as Macbeth, a hand coloured print with collage, 21.5 x 15cm, along with a further three hand coloured prints with collage, and 'A Masonic Anecdote' after James Gillray a later hand coloured print 53 x 46cm, and four 19th Century hand coloured botanical prints, 22 x 14cm, (9).

Keidel, Barbara (Berlin 1939-2021) Abstrakte Komposition Sign. u. dat. (19)81. Öl auf Leinwand, Collage. Ca. 75×57 cm. (Unter Passepartout, ungeöffnet). Barbara Keidel war Meisterschülerin von Ludwig Gabriel Schrieber und verheiratet mit dem Bildhauer Michael Schoenholtz. R. (61313)

A hardcover edition of The Films of Olivia de Havilland by Tony Thomas, published by Citadel Press in 1983. This book provides a detailed exploration of the illustrious career of the Academy Award winning actress, Olivia de Havilland, including insights into her most iconic roles. Featuring a foreword by Bette Davis, this volume is illustrated with numerous black and white photographs from her films, offering a comprehensive retrospective of her legacy in Hollywood. The dust jacket showcases a striking portrait of de Havilland, with a collage of film stills on the back cover.Artist: Tony ThomasIssued: 1983Dimensions: 8.75"L x 1"W x 11.25"HCountry of Origin: United StatesCondition: Age related wear.

Robert Silvers (American, b. 1968). Large c-print photomosaic on aluminum with Fuij crystal archive titled "American Flag" depicting the flag of the United States of America created from a digital collage of many smaller pictures of iconic American landmarks, 2004. With a label from Scott Richards Contemporary Art Gallery, San Francisco, along the verso. Editioned 1/6 and signed along the label.Height: 48 in x width: 74 in x depth: 1 1/2 in.Condition: There are no major dents, scratches, breaks, or restorations. Light wear to the edges. Dust gathered along the verso.

Martin Mull (American, 1943-2024). Lithograph on paper print titled "Study for the Lure of the Side Show III," 1997. Pencil signed and dated along the lower right; numbered 1/10 along the lower left.Martin Mull rose to fame as an actor in "Mary Hartman, Mary Hartman," and its spin-off "Fernwood 2 Night" and "American 2 Night." However, his later roles cemented him as a staple of comedy movies and TV shows throughout the 1970s into the 2020s, spanning five decades of television and movie history. Some of his best known roles include Colonel Mustard in "Clue" (1985), Leon Carp in "Roseanne," Willard Kraft in "Sabrina the Teenage Witch, among many others.Mull began painting in the 1970s. His first notable exhibition was the June 15, 1971 "Flush with the Walls" exhibit in the men's room of the Boston Museum of Fine Arts to protest the lack of contemporary and local art shown there. In 1980 he had his first large solo exhibit at the Molly Barnes Gallery in Los Angeles. His work combines photorealist painting, pop art, and collage styles.Sight; height: 28 1/2 in x width: 23 1/4 in. Framed; height: 33 1/4 in x width: 27 1/2 in x depth: 1 1/4 in.Condition: The colors are bold and bright. There are no major tears, losses, or restorations. Very light wear along the deckled edges. Slight crease along the extreme lower right edge. The work is floated in frame. Framed under plexiglass; there is a scratch to the plexiglass in the lower left quadrant. Light wear to the frame. Not inspected out of frame.

George Morrison (Grand Portage Anishinaabe, 1919-2000). Acrylic on canvas-laid board painting titled "On the Beach (Red Rock Variation: Lake Superior Landscape)," part of the horizon series, 1985. Signed, titled, and dated along the verso. Housed in an original frame custom built by Morrison.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 6 1/2 in x width: 16 in. Framed; height: 8 in x width: 18 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface appears stable. There are no major visible losses or signs of restoration. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame.

George Morrison (Grand Portage Anishinaabe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape," 1990-1996. Printed and published by Akasha Studio, Minneapolis. Pencil signed and dated along the lower right; titled along the lower left; numbered 10/43 along the lower center.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 19 3/4 in x width: 16 in. Framed; height: 28 in x width: 24 in x depth: 1 in.Condition: The colors are bold and bright. The sheet is slightly toned. There are no major visible tears, losses, or signs of restoration. Extremely light soiling and areas of foxing along the margins. There is a slight undulation to the sheet. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.

Jaune Quick-to-See Smith (Salish & Kootenai Tribes of the Flathead Indian Nation, 1940-2025). Pastel drawing on paper titled "Kalispell 34M" depicting an abstract landscape in bold, sweeping colors, ca. 1970s. Pencil signed "Jaune Smith" along the lower left; titled along the verso.Lot Essay:Jaune Quick-to-See Smith was a renowned Native American artist and activist, best known for her bold, expressive works that combined abstract and figurative styles to address themes of Native identity, colonialism, and cultural preservation. Born in 1940 in St. Ignatius, Montana, Smith was a member of the Confederated Salish and Kootenai Tribes. She held a unique position in the art world as one of the leading Native American female artists, using her work to challenge stereotypes and explore the complex experiences of Native peoples.Smith’s art often incorporated mixed media, collage, and symbolism drawn from her indigenous heritage, blending traditional motifs with contemporary materials. She was recognized for her ability to fuse Native American culture with modern art movements, creating powerful visual statements that commented on the history of colonization and the ongoing struggles faced by Native communities.As a trailblazer for Native American women in the arts, Smith was instrumental in amplifying Native voices within the contemporary art scene. She worked to empower female Native artists, advocating for their inclusion and representation in both art institutions and broader cultural conversations. Smith’s contributions to the field extended beyond her artwork, as she also served as a mentor and educator, helping to inspire and nurture the next generation of Native American artists.Her work is featured in prominent museum collections, including the Smithsonian American Art Museum and the Whitney Museum of American Art, and she remains a significant influence in the movement to give Native women artists greater visibility and recognition.Sight; height: 30 in x width: 22 1/4 in. Framed; height: 32 1/4 in x width: 24 3/4 in x depth: 1 1/4 in.Condition: The colors are bold and bright. There are no tears, losses, or restorations. Two pinholes in the upper corners, likely original to the artistic practice. Floated in frame; hinged to a non-acidic backing board with two pieces of framer's tape. Framed under glass; light wear to the frame.

Walter Piehl Jr. (American, b. 1942). Watercolor, graphite, and collage on paper titled "Mr. Blue Toe: Sweetheart of the Rodeo" depicting an abstract cowboy atop a bucking bronco, 1982. Pencil signed, dated, and titled along the lower center.Sight; height: 28 in x width: 39 in. Framed; height: 37 3/4 in x width: 48 3/4 in x depth: 2 1/4 in.Condition: There are no visible tears, losses, or restorations. Some undulation to the sheet. The work is floated in frame. Framed under glass. Light wear to the frame. Not inspected out of frame.

After Pablo Picasso (Spanish, 1881-1973). Set of two polished bronze figural sculptures titled "L'Homme et la Femme" depicting a male and female figure cast after a 1965 terracotta mold by the artist. Both with etched signature along the front of the base; editioned 169/175 along the right side of the base.Lot Essay:Pablo Picasso stands as one of the most renowned and prolific artists of the 20th century, whose innovative and groundbreaking work revolutionized the course of Western art. Born in Malaga, Spain, Picasso demonstrated exceptional artistic talent from a young age and received formal training at various art academies. His early works, influenced by Symbolism and the Blue and Rose Periods, showcased his versatility and mastery of traditional techniques.Picasso's career underwent a seismic shift with the advent of Cubism, a movement he co-founded alongside Georges Braque. Cubism shattered conventional notions of perspective and representation, presenting multiple viewpoints simultaneously and breaking objects down into geometric forms. Picasso's seminal work "Les Demoiselles d'Avignon" (1907) marked a turning point in art history, foreshadowing the radical innovations that would follow.Throughout his prolific career, he continued to push artistic boundaries, experimenting with diverse styles and mediums, including sculpture, ceramics, and collage. His involvement with Surrealism and his exploration of African and Iberian art further enriched his artistic vocabulary.Picasso's influence transcended the confines of the art world, shaping the cultural landscape of the 20th century and beyond. His legacy as a visionary artist, innovator, and provocateur continues to resonate, inspiring generations of artists and sparking dialogue about the nature of creativity and artistic expression. Through his relentless pursuit of innovation and his fearless embrace of experimentation, he left an indelible mark on art history, cementing his status as a titan of modernism and one of the most enduring figures in the pantheon of great artists.Each, height: 11 3/4 in x width: 6 in x depth: 3 3/4 in.Condition: There are no dents, losses, or repairs. Light wear along the underside. Some dust throughout.

George Morrison (Grand Portage Anishinaabe, 1919-2000). Ink and color pencil on paper drawing titled "Enigma, Water's Edge, Surrealist Landscape," 1986-1993. The original drawing, executed in Batchawana Bay, Ontario, on March 4, 1986 did not include color. It is part of the artist's "Automatic" series. The color was added later on November 16, 1993. This information, along with the title, is provided on labels affixed to the verso.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 4 in x width: 7 in. Framed; height: 11 in x width: 14 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or signs of restoration. Housed under a mat. Framed under glass; light wear to the frame. Not inspected out of frame.

George Morrison (Grand Portage Anishinaabe, 1919-2000). Lithograph on paper depicting an intricately drawn landscape of undulating lines which meet at a horizon in the upper quarter of the sheet, 1976. Printed by Steven M. Andersen. Pencil signed and dated along the lower right; editioned Artists Proof 10/10 along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 24 in x width: 23 1/4 in. Framed; height: 30 in x width: 29 1/4 in x depth: 1 in.Condition: There are no visible tears, losses, or restorations. Light undulation to the sheet. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.

A collage of jewellery designs by Cartier, circa 1960, pencil and gouache on parchment, each cut-out depicting a gem-set brooch design, to include a citrine-set owl, various lovebirds, an opal kingfisher, a fish and three ‘Moretto’ brooches, some numbered, with embossed Cartier stamp clipping, mounted on A4 card with glue and tape, together with a painted photograph of an enamel and gem-set bracelet by Boucheron, 1952, with typed caption reading ‘GOLD DIAMOND RUBY AND SAPPHIRE BRACELET DESIGNED BY GORDON ALLAN FOR HRH DUKE OF EDINBURGH AS HIS PERSONAL GIFT FOR HER MAJESTY THE QUEEN UPON THEIR FIFTH WEDDING ANNIVERSARY IN 1952. MADE FOR BOUCHERON LTD.’, various sizes. (2) £800-£1,200 --- Provenance: Formerly the property of the jewellery designer Gordon Henderson Allan, thence by family descent. The jewellery designer Gordon Henderson Allan was born in 1926 to James and Constance Allan. His father James was a silversmith and his three brothers were all also jewellers. He received a scholarship to The Hornsey College of Art before being conscripted to work in the Yorkshire Main Colliery during the war. In 1948 Gordon entered the annual craft design competition at Goldsmiths’ Hall and was awarded third place in the senior jewellery design category, judged by representatives from Cartier, Hennell & Sons, Hardys and Jacques Hurwitz. Around this time Gordon was working for Godman & Rabey, a jewellery workshop on Bond Street and makers to firms such as Boucheron and Chaumet. It was through this work that he became involved in designing the bracelet for Boucheron, illustrated here, gifted by HRH The Duke of Edinburgh to HM Queen Elizabeth II upon their fifth wedding anniversary. Later, upon hearing of an opening at Cartier, Gordon successfully applied for a position and worked there as a designer for over 20 years.