Children’s Theater , 1934, watercolor on paper, signed and dated lower right, 10 ¾ x 12 5/8 inches (image) $1250 Children’s Theater is a fine example of Berlandina’s modernist approach to American Scene painting. It displays the influence of Raoul Dufy’s simplified figuration and unusual palette choices, including burnt orange, a greenish ochre and touches of sky blue. Painted in the same year she completed her mural for Coit Tower, Berlandina resisted the temptation to fall

Eighth Avenue at 56 th Street , 1930, oil on canvas, signed and dated lower right, 31 ¾ x 24 inches, ex collection Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, Kansas, gift of the artist (labels verso) $18,000 Eighth Avenue at 56 th Street is a prime example of Blanch's work from the early 1930s. Bright and colorful, it depicts a snapshot of Midtown New York with a hint of the calamity that was beginning to grip the country. Among the New Yorkers going

Loaves, 1937, oil on canvas, signed and dated lower left, 16 x 26 ¼ inches, exhibited at the Seventeenth Exhibition of Artists Members , Chicago Galleries Association, Chicago, IL, December 9 – 31, 1937, (see 1) Jewett, Eleanor, Hails Exhibit as One of Best in Many Years , Chicago Tribune , December 9, 1937, and 2) Jewett, Eleanor, Two Splendid Art Exhibits Now on View , Chicago Tribune , December 19, 1937) $3250 Although often associated with provocative portraits and nude

Portrait of J. L. David (Portrait), c. 1930, oil on canvas adhered to board, apparently unsigned, 26 x 20 inches, exhibited: 1) Fourth Annual State-Wide Exhibition, Santa Cruz Art League, Santa Cruz, CA, February, 1931 (label verso), 2) California Palace of the Legion of Honor, unknown date (label verso), and 3) Oakland Art Gallery, unknown date (label verso), also bears labels verso from the 47 th Annual Exhibition of American Paintings and Sculpture , Art Institute of Chi

Untitled, 1971, mixed media collage with painted and printed elements on paper, signed and dated lower right, 9 x 10 5/8 inches, exhibited Phoenix Gallery, New York, NY, unknown date (label verso) $500 Fritzi Abadi was a New York-based artist, who was best known for her collages, such as the present example, which combined painted, drawn, and printed elements that were disassembled and reconstructed by the artist. She often borrowed from Middle Eastern and North African elem

Untitled Box , 1972, mixed media wood panels forming a box, signed and dated on one of the interior panels, 6 1/2 x 3 1/2 x 3 1/2 inches (closed), 6 1/2 x 12 3/8 inches (open) $3250 This unique box comes from one of Humbert Howard's most productive and important periods, just a few short years after his time at the International Academy of Arts and Letters in Rome. Despite its unusual format (a box), the paintings on each panel depict classic Howard figures, quickly composed

Gemini 41A, 1976, oil on canvas, signed lower right, 60 x 40 ¾ inches, inscribed verso “G. Caliman Coxe / Gemini 41A / oil – 76 / 40 ¾ x 60 / 40+”; label verso reads” “G. Caliman Coxe / Gemini 41A / Oil on Canvas / 40 ¾ x 60 / $4,000 / For Sales and Information Please call Roanne Victor 502-582-1265”; likely exhibited at the Art Gallery of The Actors Theater of Louisville, Kentucky SOLD During the last four decades of the 20 th century, Gloucester Caliman Coxe was known as D

Avernus , c. 1960s, oil on canvas, signed lower right, 20 x 16 inches, signed and titled verso $5250 Benjamin Brit was a Black American painter and printmaker who worked in an eclectic array of styles that included Realism, Cubism, Surrealism, Minimalism and, as in the case of the present work, Magic Realism. Britt confessed that his work was hard to classify, and he did not want “to be pinned down.” The likely point of departure for the present work was the ruins of the Temp

Untitled (Abstraction), 1991, mixed media consisting of paper, wood, gesso, pigment, straw, dirt and sand on panel, signed “J. Grant” and dated verso, 24 ½ x 20 x 2 ½ inches SOLD Joe Edward Grant’s art was based on his firm conviction that “No object or material regardless of its seeming uselessness or banality is exempt from being considered in the creation of an image. When found or discarded objects are used and put into a new context, their prior function dies, and a proc

Untitled, 1993, mixed media consisting of sheet metal, paper, ink and pigment on panel, signed “J. Grant” and dated verso, 30 x 12 x 1 ½ inches; labels verso read as follows: 1) “Joe Edward Grant / $700 / Untitled / 1993 / Mixed media / 30 x 12 x 1 ½ inches”; and 2) “Space / 6015 Santa Monica Boulevard / Los Angeles California 90038 / 213 461-8166 / Artist Joe Edward Grant / Date 1993 / Edition Unique / Title Untitled / Media Mixed Media / Dimensions (Height precedes width) 3

From her early expressionist works of the 1950s, to her “Talkie Pop” and Op-surrealist creations of the 1960s, and her Neo Immaculate paintings of the 1970s and beyond, Marina Stern has been preoccupied with capturing the interplay of light and shadow on the natural, built, and imagined environment. Stern’s contemplation of these concepts was the product of a precocious, multi-faceted, and clever mind. Rarely satisfied with a particular style or subject matter, Stern’s divers

1. Abstract Landscape , c. 1950s, oil on canvas, signed verso, 34 x 48 inches SOLD

2. Provincetown, c. 1950s, oil on canvas, signed and dated verso, 20 ¼ x 30 inches $8,000

3. Nocturne, 1966, oil on canvas, signed and dated verso, 35 x 40 inches, label verso with title and original price $22,000

Bull and Bear , 1967, pencil and acrylic on paper, 25 x 22 1/4 inches, signed and dated lower right SOLD

5. Night Doors II , 1968, pencil and acrylic on paper, signed lower right, 20 x 26 ½ inches, exhibited Marina Stern Paintings, Eleanor Rigelhaupt Gallery, Boston, MA, March 29 to May 1, 1968 (label verso) $7,000

6. T hree Moons, 1968, pencil and acrylic on paper, signed and dated lower right, 21 ½ x 26 ½ inches, exhibited Marina Stern Paintings, Eleanor Rigelhaupt Gallery, Boston, MA, March 29 to May 1, 1968 (label verso) $7,000

7. Moonscape 1 , 1968, oil on canvas, signed and dated verso, 38 x 50 inches $18,000

8. Renaissance, 1969, oil on canvas, signed and dated verso, 48 x 42 inches $22,000

9. Rooms Orange , 1969, oil on canvas, signed and dated verso, 50 x 50 inches $20,000

10. Snowy Barn #1 , 1971, oil on canvas, signed and dated verso, 19 x 23 inches $6,500

11. Silos/Iowa Yellow, 1974, oil on canvas, signed and dated verso, 50 x 50 inches, exhibited: 1) Forum Gallery, New York, NY (label verso), unknown date, 2) Marina Stern American Precisionist Painter, Santa Fe East Galleries, Santa Fe, NM, November 2 to 20, 1984 (label verso), and 3) Perception and the Cultural Environment – The Paintings of Marina Stern, Southern Alleghenies Museum of Art, Altoona, PA, January 19 to April 22, 2007, tape with alternate title Iowa Yellow v

12. Con Ed Smokestack, 1978, color lithograph on paper, signed lower right, edition “50/55” inscribed lower left, 31 x 20 inches (image), 35 x 23 inches (sheet), (another example) exhibited An Exhibition of Recent Paintings by Marina Stern, Forum Gallery, New York, NY, October 6 to 26, 1979 (used as key art for exhibition advertisement) $1,500

13. Interior with Cabbage , 1979, oil on canvas, signed and dated verso, 48 x 42 inches, exhibited: 1) An Exhibition of Recent Paintings by Marina Stern, Forum Gallery, New York, NY, February 13 to March 6, 1982, no. 2 (label verso) (see Marina Stern , New York Times , February 19, 1982 “one turns . . . to a couple of indoor paintings, such as I nterior with Cabbage, i n which Miss Stern skillfully plays off a 'real' purple cabbage on a white tablecloth with a black and whi