Contemporary + Modern: Art & Design
Sale Starts
Jun 14
8amSale Ends
Jun 25
6pmTerms & Conditions
Thank you for bidding with Circle Auction. We appreciate your business. The following terms & conditions contain important information that bidders need to review and understand prior to bidding. For your convenience, we have bulleted a few of the most important terms & conditions for your quick review. Please understand that the terms & conditions is a legal agreement and you need to read them in their entirety.
-To Bid: You will need to register for an auction. We will get contact and payment information from you.
-Buyer’s Premium: A buyer’s premium is an additional charge to the winning bidder It is a percentage of their bid and is added to the winning bid amount. The buyer’s premium ranges between 19% to 24% (depending on buying platform) of the final hammer price.
-Condition: For the convenience of our buyers we take detailed photos of the auction items, as well as note any condition issues that we see. We highly encourage you to come to the pre-auction preview and look at the items in person. We will not give refunds for condition issues.
-Payment: If you are a winning bidder you will need to pay for your item within 5 business days. You won’t be able to pick up or ship your item(s) until it has been paid in full.
-Pick-up: After your item(s) has been paid for you can pick up your item in person at our offices by appointment. Please email Info@Circle-Auction.Com to schedule your pick-up
-Shipping: Circle Auction does not have in-house shipping. We can recommend 3rd party shippers. You are responsible for arranging for shipment and paying all costs involved. We are unable to give refunds due to shipping issues.
If you have any questions regarding these terms please contact Circle Auction by email at : Info@Circle-Auction.com
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All lots listed in the auction are offered by Circle Auction LLC (“Circle”) as seller’s agent or owner, are subject to the following terms and conditions. These terms may be supplemented or amended by us at any time prior to the start of an auction. Registering for an auction by Circle or bidding on any lot by any means, including, but not limited to, in-person, by telephone, or online bidding platforms and applications, establishes the bidder’s agreement and acceptance to be bound by these auction terms and conditions.
Before you place a bid at Circle Auction
General Lot Condition: Circle strongly recommends, if at all possible, prospective bidders to examine lots in person prior to placing a bid. Circle representatives make every attempt to note any issue(s) with condition or item damages in the lot description as a courtesy to bidders, but it is the responsibility of the bidder to determine lot condition prior to bidding. The lack of any note by Circle as to the condition of the lot does not imply that the lot is free of wear and tear and/or in mint condition.
Circle representatives are not professional restorators or conservators, and we suggest interested parties consult with conservation professionals for a more detailed opinion. Unless otherwise stated, all lots are sold “AS IS, WHERE IS,” and all sales are final.
Artist Attribution Convention:
“Artist Name”: Our opinion is that this is a work by the named artist.
Attributed to “Artist Name”: Our opinion is that this is probably a work by the named artist, though with less certainty.
Studio of “Artist Name”: Our opinion is that this a work by an unknown hand in the studio of the named artist, which may or may not have been executed under the artist's direction.
Circle of “Artist Name”: Our opinion is that this a work by an unidentified yet distinct hand closely associated with the named artist, but not necessarily his pupil.
Style of…..; follower of “Artist Name”: Our opinion is that this is a work by an artist working in the named artist's style, contemporary or nearly contemporary, but not necessarily his pupil.
Manner of “Artist Name”: Our opinion is that this is a work in the style of the named artist and of a later date.
After “Artist Name”: Our opinion is that this is a copy of a known work of the named artist.
The term signed and/or dated and/or inscribed means that our opinion is that the signature, date, and/or inscription are from the hand of the artist.
The term bears a signature and/or date and/or inscription means our opinion is that the signature and/or date and/or inscription have been added by another hand.
With signature..., With date..., With inscription...: Our opinion is that the signature/date/inscription is by a hand other than that of the named artist.
Jewelry Lot Condition: All jewelry has been inspected by our in house IIJA Registered Gemologist Appraiser. Unless otherwise stated all grading is done without removing the gemstones from the settings and all weights, measurements and grades are approximate as far as the setting permits. Gemstones are often subjected to various treatments to enhance their appearance. Most often these treatments are normal and acceptable within industry standards. When a treatment is detected that is not normal it will be noted in the description. Identification of some treatments require sophisticated equipment not found in the standard gemological lab and no binding representation can be made for the existence of such a treatment.
All metals and construction methods are identified only to the extent the item permits. Any metal marking stamps are listed in the item description and an acid test is conducted as deemed necessary, and when no metal markings are present on the item.
Any descriptions from outside jewelry appraisals or certifications are not guaranteed by Circle Auction to be accurate, but may be provided for the benefit of the bidder. Different laboratories can differ on their terms and grade assessments. Any paperwork noted to accompany a piece is for the bidders reference and may not be usable to obtain insurance. Most companies and appraisers will update paperwork to a new owner for an additional fee. Circle Auction is not responsible for any transfer of an appraisal to the bidder’s name. It is the bidder's responsibility to obtain a usable insurance report.
Diamond Grading Convention:
We utilize the GIA Color scale when identifying lots that include diamonds. You can refer to this guide here: https://www.gia.edu/gia-about-4Cs-Color. Clarity refers to the impurities in a diamond. All diamonds are graded under 10x magnification. The lower number in a category will have less and/or smaller inclusions than the higher number in the same category.
FL-Flawless-No impurities or blemishes on the surface
IF-Internally Flawless-No impurities and only insignificant blemishes on the surface
VVS1 & VVS2-Very Very Slightly Included-Extremely difficult inclusions to see to the trained eye and only visible under magnification.
VS1 & VS2-Very Slightly Included-Difficult to see to the untrained eye and only visible under magnification.
SI1 & SI2-Slightly Included-Easy to see inclusions when viewed under magnification but not visible without magnification.
I1, I2, I3-Included-Inclusions are visible without magnification. I3 inclusions may affect the stones durability.
Warranty: Neither Circle nor its seller(s) make any representation or warranty, either express or implied, as to the description, quality, authenticity, period, source, or significance of any lot sold, except as to warranty of title. No statements by Circle, its agents, representatives or employees, whether in writing or spoken orally, shall create any representation, warranty or assumption of liability, nor that the winning bidder will receive any reproduction rights or copyrights to lots they purchased. Circle retains and reserves the rights to reproduce photography of lots sold.
Estimates: Estimates for each lot include a low and a high figure. They are provided for the convenience of bidders but do not constitute a guarantee or warranty that the item or lot will close at or between the estimates.
Lots Withdrawn: Circle reserves the right to withdraw any lot prior to the start of the auction and shall not incur liability for withdrawal of said lot(s).
Registering to Bid: To Bid with us, you are required to Register to Bid in advance of the start of the sale. In addition to our general registration requirements, we reserve the right to require the following items: photo identification, bank references, credit card pre-authorization for the low estimate, a deposit (we will refund the deposit if you are not high bidder and winner of the lot. Any deposit will be applied to any item for which you are the high bidder).
Bidding with Circle Auction
Circle Discretion: Circle has full discretion to decide the flow of each auction, including pre-bids, rejection of a Bid, lot passed or withdrawn, dispute resolution, and to re-offer or resell any lot. In any case, the decision of Circle is final, and is binding to any and all participants in the auction.
Risks & Assumed Costs: By placing a Bid, you understand that a submitted Bid can and may be the High and/or Winning Bid for a particular lot. Additionally, your Bid on any lot is considered a legally binding agreement to purchase the lot at your Bid price, if accepted by the auctioneer, or in a timed auction. By placing a Bid you agree that to assume personal responsibility to pay for the item at your high Bid price, plus any Buyer’s Premium and additional charges or costs that may become payable in connection with your purchase, such as shipping, insurance, sales tax, or other costs. If the lot is closed by the auctioneer and your Bid is the highest Bid, you agree to purchase the lot, and you assume risk of loss and damage to the purchased lot. All Sales are as is / where is and final.
Internet During Live & Online Auctions: Circle cannot be held liable for any Internet failure or outage either of the bidder’s service or Circle’s. Items sold before a failure/outage remain sold to the respective winning bidder previously recorded by Circle and/or the online platform(s) being utilized. In the event of a failure of Circle’s Internet service, items unsold at the time of the failure or outage will be opened for bidding as soon as service is restored and subject to the original auction process and conditions. Similarly, the item currently opened by the auctioneer at the time of failure/outage will be reopened when service resumes.
Auctioneer Control: During an auction, the Auctioneer is the final arbiter of sales. Bids are called for and recognized incrementally. Placing a bid online or in the auction room does not guarantee the bid will be recognized by the auctioneer owing to the current intensity of bidding or bids already received in increments or amounts already above this bid. Items or lots receiving little or no attention may be “passed” by the Auctioneer and are not subject to a later re-opening of the bidding process or post-auction sale.
Reserves: Some consignors establish reserves on their lots when they send their lots to auction. Reserves are confidential and establish a minimum price under which the lot will not be sold. Reserves must be established no greater than the low end estimate of the lot as published in the catalogue. Circle may open the bidding on reserved lots below the reserve amount by placing a bid on the consignor’s behalf. Circle may continue bidding on the consignor’s behalf up to the amount of the reserve by placing bids in answer to other bidders. Circle will not bid on the consignors behalf above the amount of the established reserve. Consignors are contractually prohibited from bidding on their own lots.
Confidentiality: Circle will not reveal to the public personal names, platform user names, or any contact information of winning bidders.
Absentee & Telephone Bids: Circle accepts absentee bids before and during the auction preview in person, by phone, fax, email and on CircleAuction.co. Online absentee bids may be placed on your preferred online auction platform as a pre-bid beginning when the catalog is posted and opened.
For absentee bids registered with us by email, fax, or telephone, an experienced auction house employee will act as the bidding agent during the auction and make all reasonable efforts to place bids competitively, purchasing each lot with the lowest competitive bid possible for the absent bidder up to their stated maximum amount. Please note: We will not exceed this amount. Between identical high bids, preference shall be given to the bid received first. A $100.00 minimum bid is required on all lots. Absentee bids will be executed according to our standard bidding increments. Circle executes all absentee bids at its discretion and makes no guarantee nor accepts any liability for any human or electronic failures, oversights or omissions in our absentee or telephone bidding processes.
Bidders who wish to competitively place their bids by telephone during the auction must register with us by completing telephone bidder form no later than one day before the auction is scheduled to begin. During the auction a bidding agent will call you two or three lots before your lot opens in order to establish contact and prepare you for the opening of bidding. Telephone bids will only be accepted for lots with low estimates of at least $300.
After the Auction
Buyer’s Premium: Unless otherwise stated by Circle, the winning bidder is responsible for, and agrees to pay the final hammer pricer, a buyer’s premium, and any applicable sales tax within five (5) business days of auction close. A buyer’s premium of 19% will be paid on all winning bids through Circle’s website and app, and 24% on all winning bids on third party auction platforms, such as Live Auctioneers & Invaluable.
Payment: Payment in full is due within five (5) business days of the close of the auction. Circle accepts cash, credit, debit, wire transfers, personal and certified checks. No lot may be picked up until payment is made in full, including any applicable fees and costs as outlined in these Terms & Conditions. Circle reserves the right to hold lots until a check has cleared the bank. Payments are accepted in US Dollars only and any fees for currency conversion are the responsibility of the winning bidder. All returned checks will be assessed a fee of $45 which must be paid along with the winning bid amount and any other applicable fees before the lot may be picked up.
If payment in full is not made within thirty (30) days of the close of the sale Circle has the discretion to pursue one or more of the following options: a) process the full amount due on the winning bidder’s credit card on file, b) charge a late fee equal to one and a half percent (1.5%) of the total amount due per thirty (30 days) with a minimum finance charge of $10 per lot per month. c.) cancel the sale in its entirety d.) resell the lot by public or private sale with no reserve, with the original winning bidder responsible for costs and commissions under Circle’s Agreement, as well as any deficiency remaining after the second sale e.) defalt bidder’s name and information may be shared with bidding platforms as a bidder in default.
f.) begin legal proceedings to collect the past due amount along with legal fees, costs, and interest.
Sales Tax: The winning bidder is responsible to pay state and local sales tax as required by law. Exempt bidders should file a tax exemption form with Circle to have sales tax removed.
Pick Up, Packing, & Shipping: Winning bidders may pick up their lots, once paid in full, at Circle’s auction office during regular business hours. If packing and shipping is required, we can provide you with a list of recommended shippers by request. You will be responsible to contact, arrange shipment, and pay 3rd party shippers. Circle will not be responsible for loss or damage of purchased lots handled or shipped, nor for acts and omissions, by 3rd party shippers, whether recommended by us or not. Circle will not release the lot for shipment until payment has been made in full and a buyer’s written shipping authorization form has been received. Winning bids may not be retracted, canceled or rescinded due to issues with shipping including, but not limited to, costs or prohibitions. It is the responsibility of the bidder to account for shipping prior to bidding.
Failure to Pick Up & Storage: Winning bidders must pick up or have lots shipped within 15 calendar days of the close of the auction. On the 16th day from the close of the auction Circle has the right to charge the winning bidder a storage fee of $5 per lot per day. Lots that have been paid for, but remain on our premises sixty (60) days from the close of the auction may be sold by Circle, with no notice to the buyer. Any funds in excess of the purchase price, commissions, applicable costs, and storage fees remitted to the original winning bidder. Lots left with Circle after the 16th day from the close of the auction are stored at the buyer’s risk.
Liability for Purchased Lots: If a lot that that been purchased and paid in full cannot be presented to the winning bidder in the same condition as it was at the time of the auction, or should a lot be lost, stolen or mis-delivered, Circle's liability shall be limited to the the full amount paid by the winning bidder and shall in no event include any compensatory, incidental or consequential damages. 3rd party shippers remain fully responsible for loss or damage to lots they have handled.
Choice of Law: These Terms and Conditions will be governed by and construed in accordance with the laws of the State of Kansas, without giving effect to its conflict of laws provisions or bidder’s actual state or country of residence. Any claims, legal proceeding or litigation arising in connection with the service will be brought solely in Johnson County, Kansas, and all bidders consents to the jurisdiction of such court. The invalidity or unenforceability of any provisions herein shall not affect the validity or enforceability of any other provision, which shall remain in full force and effect. Circle has the full discretion to waive or modify any and all of the terms and conditions contained herein.
Circle Auction
Description & Details
The Circle Auction team is excited to present our yearly Contemporary + Modern: Art & Design auction.
Design highlights include the iconic Eames Lounge Chair for Herman Miller, Frank Gehry for Knoll Power Play chair, several Edward Wormley for Dunbar pieces, Paul Evans end tables, Eames for Herman Miller sofas, Eames DCM chairs, Poul Cadovius wall unit, Eames La Fonda tables, and an assortment of work and end tables by Herman Miller and Knoll.
Art selections are highlighted by Josef Albers “Structural Constellation” sculpture – a rare example of his three dimensional work in glass and aluminum, M.C. Escher signed lithograph, several significant oil and watercolor paintings by Kansas City local Wilbur Niewald, a large scale Warren Rosser oil on canvas, and paintings by Donna Kay Beattie, Barry Moser, Caroline Records, John Alexander, Robert Horvitz, Ron Porter, Marilyn Richter, John English, Suzanne Richards, Raymond Olivero, Doug Osa, and Gordon Sherman.
The catalog is live from June 10th - June 25th. Live online bidding begins June 25th at 12pm CDT.
All lots will be available for viewing on Thursday, June 23rd from 10am-4pm and Friday, June 24th from 1pm-7pm at our offices in the West Bottoms.
| 1. | OMAR RAYO "Matches" (Embossed Paper, circa 1970)
| Omar Rayo (Colombian, 1928-2010) Matches, circa 1970 Intaglio embossed paper 10 3/4" x 7 1/2" Pencil-signed, titled, and numbered (#13/20) to the bottom edge. Presented in a standing acrylic frame that measures 15" x 11" x 3". Provenance: From the collection of a Fortune 500 company. |
| 2. | VICTOR VASARELY "Athmos" (Serigraph circa 1980s) | Victor Vasarely (French/ Hungarian, 1906-1997) Athmos, circa 1980s Serigraph on paper 23 3/4" x 23 3/4" Pencil-signed and numbered (#232/300) to the bottom margin. Presented in a white lacquer frame that measures 37" x 34".
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| 3. | EAMES Herman Miller 670 Lounge Chair & 671 Ottoman (1956/2000)
| Charles & Ray Eames for Herman Miller 670 lounge chair & 671 ottoman Design 1956, production 2000 Walnut plywood, black leather, cast aluminum 32" x 33" x 34" (chair) & 17" x 26" x 22" (ottoman) Each is tagged with Herman Miller's later black strip (1985-2000). |
| 4. | PAUL EVANS Directional "Cityscape" Two-Drawer Tables (1975)
| Paul Evans for Directional Pair of Cityscape two-drawer tables, circa 1975 Walnut burl, brass 16" x 24" x 21" (each) A pair of nightstands or end tables from the PE 400 series. Signature plate on the side of one of the tables, the other is unmarked. |
| 5. | DONNA KAY BEATTIE "Eighth Street Image" (1978 Oil) | Donna Kay Beattie (American, 20th/21st c.) Eighth Street Image, 1978 Oil on canvas 46" x 50" A Contemporary Realist composition incorporating two icons of Downtown Kansas City architecture: 909 Walnut seen reflected off of the Flash Cube building. Presented in a slim metal frame that measures 46 1/2" x 50 1/2". Unsigned. Exhibition History: Mid-Four Regional Juried Exhibition, Nelson-Atkins Museum of Art. Provenance: From the collection of a Fortune 500 company, acquired from the Nelson Sales & Rental Gallery.
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| 6. | RON PORTER "Self-Contained" (1989 Oil) | Ron Porter (Tennessee/Ohio, 20th c.) Self-Contained, 1989 Oil on canvas 24 1/2" x 39 1/2" A trompe l'oeil composition, turning the concept of a painting inside-out: Porter's signature imagery of a tractor trailer at an intersection is arranged behind a hyper-realistically painted framework of stapled canvas and stretcher bars. Signed and dated to the bottom right, signed and titled to the reverse. Provenance: From the collection of a Fortune 500 company, acquired from the Cumberland Gallery.
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| 7. | PERRIAND, JEANNERET, LE CORBUSIER "Basculant" Chairs (1958-76) | Le Corbusier, Charlotte Perriand, and Pierre Jeanneret Produced by Wohnbedarf (Zurich), imported by Stendig Pair of Basculant chairs (LC1) Produced 1958-1976 Leather, chrome-plated steel Each 25" x 25" x 25" Marked to the undersides with Stendig stickers. Of note are the spring tensioners on the arm slings, an original design element present only early productions of the Basculant chair (including those by Thonet), which would be eliminated in favor of simple leather straps for the later productions by Heidi Weber and Cassina.
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| 8. | JOSEF ALBERS "Structural Constellation" (Sculpture ca. 1970) | Josef Albers (German/ American, 1888-1976) Structural Constellation, circa 1970 Etched glass, aluminum encasement, light 14 3/4" x 15 1/4" x 4" A rare and exceptional light sculpture by the prominent Bauhaus artist and educator, created as part of his ongoing Structural Constellation series begun in 1950. Albers' Structural Constellations are linear compositions engraved with mathematical precision, studies of the perception of space. Though the vast majority of works in the series were two-dimensional in nature (drawings on paper or engraved forms on opaque Vinylite boards), Albers' use of glass for this sculpture literally adds a dimension of interest-- observable from opposite sides-- to say nothing of the added layer of fascination offered by the light element. Glass as a medium also represents a scarce late-career return for Albers to the artistic discipline that launched his career: not only was a glass piece his first commission, it was his also his glass expertise that initially earned him an instructor role at the Bauhaus. This sculpture was featured on the Antiques Roadshow, original air date 3/31/2014, filmed in Kansas City, MO, appraised by Betty Krulik, Betty Krulik Fine Arts, Ltd. (New York). Artist-signed with an "A" monogram to the bottom corner. Includes a vintage custom-made case. Provenance: A private Kansas City area collection, thence by descent, acquired as a gift from the Carborundum Company circa 1976, thence from the artist.
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| 9. | ROBERT HORVITZ "Untitled" (1969 Oil/ Mixed Media) | Robert Horvitz (American/ Czech, b. 1947) Untitled, 1968/1969 Oil and cotton twine on canvas 36" x 36" Presented in its original slim wooden slat frame. Inscribed in marker to the reverse of the canvas with an attribution, provenance, and date (1968-1969). "Robert Horvitz studied art at Yale University (BA, 1969). He has had solo exhibitions of drawings at the Institute of Contemporary Art (Boston, Massachusetts, 1972), the Akron Art Institute (Akron, Ohio, 1972 and 1979), the Nexus Gallery (Atlanta, Georgia, 1985) and a large retrospective at Exhibition Hall Manes (Prague, 1999). Horvitz has taught art at Yale, the Massachusetts Institute of Technology (School of Architecture), Massachusetts College of Art, and the Rhode Island School of Design. He currently teaches at the University of New York/Prague." [From the artist's website] Provenance: From the collection of Marty Cohen, gifted directly from the artist.
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| 10. | EDWARD WORMLEY Dunbar Credenza Model 671 A (1953) | Edward Wormley for Dunbar Model 671 A credenza, 1953 Walnut, cane, maple, patinated bronze ring pulls 36" x 70 3/4" x 18 1/2" Two drawers over four woven cane doors, fitted inside with with two sliding maple plywood shelves and adjustable maple shelves. Marked inside one drawer with a metal Dunbar manufacturer's plate. Fitted with a protective custom glass top. One key present. Literature: Hockaday, The Dunbar Book of Contemporary Furniture (1956), pg. 80/ 195 (illustrated)
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| 11. | FRANK GEHRY Knoll "Power Play" Chair & Ottoman (1990s) | Frank Gehry for Knoll Power Play lounge chair and ottoman Designed 1990, produced 1995/1997 Bent and laminated maple plywood 32 1/2" x 32 1/4" x 32" (chair), 14" x 23 1/2" x 22 1/2" (ottoman) Each is branded manufacturer's marks to its underside: the chair is marked "9/95" and the ottoman is marked "01/97." Literature: Hanks, David. New Bentwood Furniture Designs (1992), pub. Montreal Museum of Decorative Arts, pg. 60.
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| 12. | FRANCES & MICHAEL HIGGINS Glass Mobile | Michael Higgins (1908-1999) & Frances Higgins (1912-2004) Mobile Glass 26" x 11" Incised signature to the back edge of one piece.
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| 13. | WARREN ROSSER "Mainframe Tracks" (1999 Acrylic) | Warren Rosser (Missouri, b. 1942) Mainframe Tracks, 1999 Acrylic on canvas 72" x 84" A major work of exceptional size by the longtime Chair of the Kansas City Art Institute's painting department. The painting was created during a pivotal time in the artist's career, a period of transition from primarily sculptural work to two-dimensional acrylic paintings. Using non-traditional applicators such as squeegees, stencils, and wide pallette knives, Rosser sought to utilize a novel artistic language as a means of exploring uniquely dimensional imagery not beholden to the outmoded tradition of an apparent artist's brushstrokes. The work is marker-signed, dated, and titled to the reverse of the canvas, with a Jan Weiner gallery label affixed to the center stretcher bar. Exhibition History: Alternate Tracking: Recent Paintings, Bemis Center for Contemporary Arts, Omaha, March 11-May 28, 2000. Illustration 3 in the exhibition catalog, which contains an essay by Dr. David Moos of the Birmingham Museum of Art that mentions this painting by name twice. Provenance: A private Kansas City collection, acquired in 2019 from the estate collection of Scott Tucker, previously from the Jan Weiner Gallery (Kansas City, MO).
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| 14. | KEN FERGUSON Shoji Hamada-Style 15" Stoneware Platter | Kenneth Ferguson (Missouri, 1928-2004) Platter, circa 1970s Glazed stoneware 15" diameter A large wheel-thrown platter with abstract brushed wax resist and kaki (persimmon) glaze, inspired by the work of Shoji Hamada. Artist's monogram stamped to the underside.
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| 15. | KEN FERGUSON 16" Bowl with Repeating Decoration | Kenneth Ferguson (Missouri, 1928-2004) Bowl Glazed stoneware 9" high, 16 1/2" wide A large wheel-thrown bowl, glazed and decorated to the interior with an expressive repeating pattern. Artist's monogram stamped to the underside.
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| 16. | KEN FERGUSON 11" Glazed Stoneware Vase | Kenneth Ferguson (Missouri, 1928-2004) Vase Glazed stoneware 11" high, 8" wide A large wheel-thrown bowl, its form dimpled on opposite sides of the body, with brushed glaze and combed texture near the base in a swag-like design. Artist's monogram stamped to the underside.
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| 17. | TOM WESSELMANN "Still Life with Radio" (1965 Mixed Media) | Tom Wesselmann (American, 1931-2004) Still Life [with Radio], 1965 Embossed paper with pencil detail 17" x 22" The work is Wesselmann's contribution to the Robert Rosenblum-curated "New York Ten" portfolio published by Tanglewood Press (New York), also comprised of single works by artists Helen Frankenthaler, Richard Anuszkiewicz, Roy Lichtenstein, Jim Dine, Claes Oldenburg, Nicholas Krushenick, Mon Levinson, George Segal, and Robert Kulicke. Pencil-signed, dated, and numbered (#106/200) to the bottom margin. Presented in a period acrylic frame that measures 17 1/4" x 22 1/4". E.G. Gallery (Kansas City, MO) tag affixed to the reverse.
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| 18. | MC ESCHER "Flatworms" (1959 Lithograph, Pencil-Signed) | M.C. Escher (Maurits Cornelis) (Netherlands, 1898-1972) Flat Worms, 1959 Lithograph on cream paper 13 1/4" x 16 1/4" Pencil-signed and numbered (#17/45) to the bottom left corner. Presented behind glass in a walnut frame that measures 20 1/2" x 23 1/2". With Flatworms, Escher created a mathematically precise labyrinth of geometric building blocks inhabited by swimming planaria. "Escher discovered that tetrahedrons and octahedrons can be stacked in certain combinations in such a way that they totally fill up a space. In the lithograph Flatworms he plays with these building blocks. The resulting structure has mainly angles of 60 degrees, which produces an extremely odd architecture." (F.H. Bool, M.C. Escher: His Life and Complete Graphic Work) This use of complex polyhedrons as a basis for creating fantasy environments can be seen in other renowned Escher works, including Double Planetoid (1949) and Tetrahedral Planetoid (1954). Of his Flatworms, the artist commented: "Bricks are usually rectangular, because in that way they are most suitable for building the vertical walls of our houses. But anyone who has anything to do with the stacking of stones of a non-cubic type will be well aware of other possibilities. For instance, one can make use of tetrahedrons alternating with octahedrons. Such are the basic shapes which are used to raise the building illustrated here. They are not practicable for human beings to build with, because they make neither vertical walls nor horizontal floors. However, when this building is filled with water, flat worms can swim in it." (M.C. Escher, The Graphic Work) Literature: Bool, F.H. M.C. Escher: His Life and Complete Graphic Works (1982), pub. Abrams (New York), 431. M.C. Escher: The Graphic Work (1989/ 2001), Taschen (Koln, Germany), 62. Provenance: A private Kansas City area collection, thence from the collection of noted biologist James V. McConnell, thence directly from the artist. McConnell selected this work during a visit to Escher's studio because of his own biological research with planaria; so associated was McConnell with flatworms as a model organism that he founded and published the Worm Runner's Digest, a long-running scientific journal with a distinctly satirical bent. McConnell willed the work to the present owner upon his death in 1990.
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| 19. | Laurel Space Age Chrome Torchiere Floor Lamp
| A chrome eyeball torchiere floor lamp by Laurel Lamp Company (New Jersey), circa 1960s. Single light, switch at the base of the globe shade, original wiring. Measures 62 1/2" in height.
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| 20. | FRANCO ALBINI & FRANCA HELG Sirrah AM/AS Lamp (1969) | Franco Albini (Italian, 1905-1977) Franca Helg (Italian, 1920-1989) AM/AS series table lamp for Sirrah, circa 1969 Chromed metal and white glass 17 1/4" x 16" A torchiere-type table lamp with flared trumpet-form shade. Sirrah mark to the interior hardware.
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| 21. | JOHN ALEXANDER "Parrots" (1989 Woodcut) | John Alexander (Texas, b. 1945) Parrots, 1989 Reduction woodcut in colors on paper 27" x 21 1/2" A pencil-signed trial proof for an edition of 60 impressions published by Pace Editions. Presented behind glass in a maple frame that measures 38 1/2" x 31 3/4". Provenance: From the collection of a Fortune 500 company.
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| 22. | JIMMY LEE SUDDUTH "Brown Cow" (Painting on Board) | Jimmy Lee Sudduth (Alabama, 1910-2007) Brown Cow Paint and mud on wooden panel 24" x 24" Sudduth was a noted folk artist and blues musician known for his inventive artistic methods, creating wonderfully naive compositions using mixed media that he would create with found natural materials, often including a mixture of mud and sugar. His work can be found in many permanent collections, including the Smithsonian Museum of Art, the High Museum of Art, and the Corcoran Gallery. Signed to the bottom, and presented in a frame that measures 27 1/2" x 27 1/2". Alternative spellings: Jim Sudduth, Jimmie Lee Sudduth
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| 23. | EAMES Herman Miller Teak and Leather Sofa (1989) | Charles & Ray Eames for Herman Miller Two-Seat Sofa Design 1967/1984, production circa 1989 Black leather, teak, cast aluminum, fabric strap support 33" x 56" x 30" Literature: Neuhart, Neuhart and Eames, Eames Design: The Work of the Office of Charles and Ray Eames (1989), Abrams Inc. (New York) Provenance: From the collection of a Fortune 500 company, acquired from the John A. Marshall Company.
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| 24. | EAMES Herman Miller Teak and Leather Sofa (1989) | Charles & Ray Eames for Herman Miller Two-Seat Sofa Design 1967/1984, production circa 1989 Black leather, teak, cast aluminum, fabric strap support 33" x 56" x 30" Literature: Neuhart, Neuhart and Eames, Eames Design: The Work of the Office of Charles and Ray Eames (1989), Abrams Inc. (New York) Provenance: From the collection of a Fortune 500 company, acquired from the John A. Marshall Company.
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| 25. | EAMES Herman Miller "La Fonda" Table (1989) | Charles & Ray Eames for Herman Miller 3679 La Fonda occasional table Design 1961, production circa 1989 Perlato marble and cast aluminum 17 1/2" x 30" Tagged to the underside with Herman Miller's later black strip (1984-1999). Provenance: From the collection of a Fortune 500 company.
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| 26. | EAMES Herman Miller "La Fonda" Table (1989) | Charles & Ray Eames for Herman Miller 3679 La Fonda occasional table Design 1961, production circa 1989 Perlato marble and cast aluminum 17 1/2" x 30" Tagged to the underside with Herman Miller's later black strip (1984-1999). Provenance: From the collection of a Fortune 500 company.
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| 27. | EAMES Herman Miller Teak and Leather Sofa (1989) | Charles & Ray Eames for Herman Miller Two-Seat Sofa Design 1967/1984, production circa 1989 Black leather, teak, cast aluminum, fabric strap support 33" x 56" x 30" Bears a John A. Marshall Co. (certified Herman Miller dealer) sticker to the underside. Literature: Neuhart, Neuhart and Eames, Eames Design: The Work of the Office of Charles and Ray Eames (1989), Abrams Inc. (New York) Provenance: From the collection of a Fortune 500 company, acquired from the John A. Marshall Company.
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| 28. | EAMES Herman Miller Teak and Leather Sofa (1989) | Charles & Ray Eames for Herman Miller Two-Seat Sofa Design 1967/1984, production circa 1989 Black leather, teak, cast aluminum, fabric strap support 33" x 56" x 30" Literature: Neuhart, Neuhart and Eames, Eames Design: The Work of the Office of Charles and Ray Eames (1989), Abrams Inc. (New York) Provenance: From the collection of a Fortune 500 company, acquired from the John A. Marshall Company.
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| 29. | BARBARA FRETS "Melbourne No. 2" (1978 Oil) | Barbara Frets (Missouri, b. 1929) Melbourne No. 2, 1978 Oil on canvas 38 1/2" x 62" Signed, titled, and dated to the reverse, and identified with a Nelson Sales & Rental Gallery label. Presented in a maple frame that measures 39 1/2" x 63". Provenance: From the collection of a Fortune 500 company, acquired from the Nelson Sales & Rental Gallery.
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| 30. | BARBARA FRETS "Street Series #7" (1974 Oil) | Barbara Frets (Missouri, b. 1929) Street Series #7, 1974 Oil on canvas 44" x 44" Signed, titled, and dated to the reverse. Presented in a slim gray-painted wooden frame that measures 44 1/2" x 44 1/2". Provenance: From the collection of a Fortune 500 company, aquired from the artist.
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| 31. | SIDNEY HURWITZ "Forge Building" (1986 Etching) | Sidney Hurwitz (Massachusetts, b. 1932) Forge Building, 1986 Hand-colored etching on paper 17 1/2" x 23 1/2" Pencil-signed, titled, and numbered (#14/20) to the bottom margin. Presented behind plexiglass in a maple frame that measures 27 1/2" x 32 1/2". Provenance: From the collection of a Fortune 500 company, acquired from the Mary Ryan Gallery.
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| 32. | JOHN BAEDER "Morgan's" (1983 Etching) | John Baeder (American, b. 1938) Morgan's, 1983 Etching and aquatint on paper 12 1/2" x 19 1/4" (image) Pencil-signed, dated, and numbered (#18/50) to the bottom margin. Float-mounted behind plexiglass in a maple frame that measures 25 1/2" x 33". Provenance: From the collection of a Fortune 500 company.
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| 33. | MIKE LYNCH "Truck" (1989 Lithograph) | Mike Lynch (Minnesota, b. 1938) Truck, 1989 Lithograph on paper 6" x 13 1/4" (image) The profile of a 1954 Chevy 3600 pickup truck, pencil-signed and numbered (#43/50) to the bottom margin. Float-mounted behind glass in a maple frame that measures 12" x 17". Provenance: From the collection of a Fortune 500 company.
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| 34. | DAVID MELBY Pair of Oil Paintings on Paper (1991) | David Melby (American, 1942-2014) Untitled, 1991 Oil on paper (two sheets framed together) 12 1/2" x 16 1/4" and 10" x 14" Unsigned. Float-mounted behind plexiglass in a maple frame that measures 18" x 36". Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 35. | EDWARD WORMLEY Dunbar Square Occasional Table | Edward Wormley for Dunbar Square occasional table, circa 1950s Walnut 22 1/2" x 30" x 30" Metal Dunbar tag affixed to the underside. Custom-fitted with a protective glass top.
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| 36. | EDWARD WORMLEY Pair of Dunbar Nightstands (1960s) | Edward Wormley for Dunbar Pair of nightstands, circa 1960s Oak, ash, brass ring pulls Each 25 3/4" x 25" x 17 3/4" Each of the pair is marked with a metal D-shape manufacturer's plate to the inside of the drawer.
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| 37. | WILBUR NIEWALD "Kansas City, 20th & Charlotte" (1979 Oil) | Wilbur Niewald (Missouri, 1925-2022) Kansas City, View from 20th and Charlotte, 1979 Oil on canvas 26" x 32" A view of downtown Kansas City from Crossroads East by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters. Signed and titled to the reverse. Presented in a slim wooden frame with metal sight edge, measuring 27" x 33". Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 38. | WILBUR NIEWALD "Florence" (Watercolor ca. Late 1960s) | Wilbur Niewald (Missouri, 1925-2022) Florence, circa late 1960s Watercolor on paper 13 1/2" x 19" (sight) An expressive abstract landscape by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters. Pencil-signed to the bottom right, and titled to the reverse. Presented behind glass in a wooden frame that measures 22" x 28". Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 39. | WILBUR NIEWALD "Studio View East" (1973 Watercolor) | Wilbur Niewald (Missouri, 1925-2022) Studio View East, 1973 Watercolor on paper 22" x 30" A neighborhood view from the artist's studio by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters. Pencil-signed to the bottom right. Float-mounted behind glass in a walnut frame that measures 30" x 38". Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 40. | WILBUR NIEWALD "Across the Kaw" (1970s Oil) | Wilbur Niewald (Missouri, 1925-2022) Across the Kaw, circa early 1970s Oil on canvas 39" x 48" A vivid and abstracted landscape by the revered painter that Nelson-Atkins Director Julian Zugazagoitia dubbed "the Patriarch of the Kansas City Art World." Not only was Niewald's fruitful body of work both exciting and influential, but his career as a member of the Kansas City Art Institute faculty, begun in 1949, saw him help to prepare several generations of contemporary painters. Signed and titled to the reverse. Presented in a walnut frame with metal sight edge, measuring 40" x 49". Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 41. | WILBUR NIEWALD "KC from Quality Hill" (1989 Etching) | Wilbur Niewald (Missouri, 1925-2022) Kansas City, View from Quality Hill, 1989 Etching on paper 8 3/4" x 12" Pencil-signed and numbered (#24/40) to the bottom margin. Presented behind glass in a maple frame that measures 18 1/2" x 20 1/2". Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 42. | FREDERIC JAMES "Bridge into Kansas City" (Watercolor) | Frederic James (Missouri, 1915-1985) Bridge into Kansas City, circa 1960 Watercolor on paper 18" x 27" Signed to the bottom left corner. Presented behind glass in a wooden frame that measures 31 1/4" x 40". Provenance: From the collection of a Fortune 500 company.
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| 43. | DOUG OSA "West Bottoms Viaduct" (1991 Etching) | Doug Osa (Kansas, b. 1952) West Bottoms Viaduct, 1991 Etching on paper 11 1/2" x 8 3/4" Pencil-signed, dated, titled, and numbered (#2/50) to the bottom margin. Presented behind glass in a black frame that measures 20 1/2" x 16 3/4". Provenance: From the collection of a Fortune 500 company.
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| 44. | RON PORTER "Big Drawing" (1989 Graphite) | Ron Porter (Tennessee/Ohio, 20th c.) Big Drawing, 1989 Graphite, charcoal, and chalk on paper 21" x 13 3/4" (sight) A playfully illusory composition of a large self-portrait on its side inside an open tractor trailer, themes typical of Porter's work. Signed and titled in the bottom margin. Presented behind glass in a maple frame that measures 28" x 20 3/4". Provenance: From the collection of a Fortune 500 company, acquired from the Cumberland Gallery.
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| 45. | RON PORTER "And Vice Versa" (1988 Oil) | Ron Porter (Tennessee/Ohio, 20th c.) And Vice Versa, 1988 Oil on canvas 35 1/4" x 44 3/4" Signed to the bottom right. Float-mounted in a maple frame that measures 36 3/4" x 46 1/4". Provenance: From the collection of a Fortune 500 company, acquired from the Cumberland Gallery.
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| 46. | RON PORTER "Abstract Painting" (1989 Charcoal & Graphite) | Ron Porter (Tennessee/Ohio, 20th c.) Abstract Painting, 1989 Graphite and charcoal on paper 21 1/2" x 17 1/2" (sight) Pencil-signed, dated and titled to the bottom margin. Presented behind glass in a maple frame that measures 32" x 26". Provenance: From the collection of a Fortune 500 company, acquired from the Cumberland Gallery.
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| 47. | DANNY ALESSANDRO Fireplace Andirons (1980s) | A pair of modernist andirons, polished chrome and brass, by Danny Alessandro, Ltd. (American, 20th c.), circa 1980s. Each measures 19 3/4" x 5 3/4" x 19 1/4".
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| 48. | Manner of CHARLES HOLLIS JONES Lucite Backgammon Table | A vintage Lucite backgammon table in the manner of Charles Hollis Jones (American, b. 1945), a modern marriage of casual gameplay and stylish design. A fitted glass top may be inset when the game is not in play. Complete with a Bakelite backgammon doubling cube and marbled game pieces. Measures 30" x 42" x 32".
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| 49. | DESIGN INSTITUTE AMERICA Corner Display Cabinet (1985) | Design Institute America, Inc. (DIA) Corner cabinet, 1985 Brass, glass, acrylic 72" high, 36" wide (front), 26" wide (each back side), 20 1/2 deep (front to back) A striking Milo Baughman-style triangular corner cabinet with mirrored back walls, glass doors and shelves, and a lighted interior concealed by a translucent white acrylic diffuser at the top. DIA tag to the top.
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| 50. | Baughman-Style Tufted Barrel Chair | A mid-century barrel chair upholstered in vintage taupe Ikat stripe, with modern open arms and tufted seat and back cushion. In the style of Milo Baughman. Measures 31" x 32" x 35".
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| 51. | JEANNE DUEBER Untitled (1969 Mixed Media) | Sister Jean Dueber S.L. (Missouri/ Kentucky, b. 1937) Untitled, 1969 Inkwash, charcoal, conte, oil, and watercolor on laid paper 23" x 17 1/2" Signed and dated along the bottom edge. Presented behind glass in a frame that measures 30 1/2" x 25 1/2". Jeanne Dueber, a Sisters of Loretto nun, has been an artist in residence of the Loretto Motherhouse (Kentucky) since 1978. Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 52. | HARVEY GORDON "Still Life" (1970 Acrylic) | Harvey Gordon (Michigan, b. 1941) Still Life with Flowers and Bridge, 1970 Acrylic on Masonite 48" x 32" Signed, dated, and titled to the reverse, with a Tibor de Nagy Gallery (New York) stamp to the frame. Float-mounted in a frame that measures 49 1/4" x 33 1/4". Provenance: From the collection of a Fortune 500 company, acquired from the Tibor de Nagy Gallery.
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| 53. | SUZANNE RICHARDS "Lemons" (1978 Oil) | Suzanne Richards (Kansas, 20th/21st c.) Lemons (City Market Produce), 1978 Oil on canvas 30" x 30" Signed to the bottom right corner. Nelson Sales & Rental Gallery tag affixed to the reverse, alternately titled on the stretcher. Presented in a slim wooden frame. Provenance: From the collection of a Fortune 500 company, acquired from the Nelson Sales & Rental Gallery.
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| 54. | CAROLINE RECORDS "Three Paint Cans" (1978 Oil) | Caroline Records (Missouri, 1925-2010) Three Paint Cans, 1978 Oil on canvas 72" x 30" Signed to the bottom right and identified on two tags affixed to the reverse. Presented in a wooden frame that measures 73" x 31". Caroline Records earned a master's degree from the Kansas City Art Institute, maintained a studio in the Kansas City area, and helped to found the Plaza Art Fair. Provenance: From the collection of a Fortune 500 company, acquired from the Nelson Sales & Rental Gallery.
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| 55. | CAROLINE RECORDS "Seven Paint Cans" (1978 Acrylic) | Caroline Stark Records (Missouri, 1925-2010) Seven Paint Cans, 1978 Acrylic on canvas 48" x 42" Signed to the bottom right and identified on two tags affixed to the reverse. Presented in a slim wooden frame. Caroline Records earned a master's degree from the Kansas City Art Institute, maintained a studio in the Kansas City area, and helped found the Plaza Art Fair. Provenance: From the collection of a Fortune 500 company.
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| 56. | RAYMOND OLIVERO "Crimson Frond" (1984 Oil) | Raymond Olivero (Florida, b. 1947) Crimson Frond, 1984 Oil on canvas 31 1/2" x 26 1/2" Signed, titled, and dated to the reverse. Presented in a slim ebonized frame with silver-leaf sight edge. Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 57. | ARNE JACOBSEN Pair of Fritz Hansen 3107 Chairs (1974) | Arne Jacobsen for Fritz Hansen Pair of Series 7 "Butterfly" chairs, model 3107 Designed 1955, produced circa 1974 Teak plywood, chromed steel, rubber Each 30 1/2" x 19 1/2" x 19 1/2" A pair of "Sevener" chairs, one marked to the underside.
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| 58. | POUL CADOVIUS Cado Rosewood 2-Bay Wall System (1960s) | Poul Cadovius for Cado (Denmark) System Cado two-bay modular wall unit Circa 1960s Rosewood 95 1/2" x 63" x 18" (overall) The set comprising: - Two drop-front cabinets (divided interiors, 16 3/4" x 31 1/2" x 14 3/4") - One sliding-door cabinet (divided interior with shelves, 20 1/4" x 31 1/2" x 18") - One two-door cabinet (20 1/4" x 31 1/2" x 18") - Two shelves (31 1/2" x 11 3/4") - Two wall panels (see photos and notes on condition, 96" x 31 1/2") Complete with two keys, supports for each shelf and cabinet, and extra trim and hardware as photographed. Marked "Made in Denmark" to the back of the shelves.
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| 59. | POUL CADOVIUS Cado Rosewood 2-Bay Wall System (1960s) | Poul Cadovius for Cado (Denmark) System Cado two-bay modular wall unit Circa 1960s Rosewood 95 1/2" x 63" x 18" (overall) The set comprising: - Two drop-front cabinets (divided interiors, 16 3/4" x 31 1/2" x 14 3/4") - One sliding-door cabinet (divided interior with shelves, 20 1/4" x 31 1/2" x 18") - One two-door cabinet (20 1/4" x 31 1/2" x 18") - Two shelves (31 1/2" x 11 3/4") - Two wall panels (see photos and notes on condition, 96" x 31 1/2") Complete with two keys, supports for each shelf and cabinet, and extra trim and hardware as photographed. Marked "Made in Denmark" to the back of the shelves.
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| 60. | POUL CADOVIUS Cado Rosewood 1-Bay Wall System (1960s) | Poul Cadovius for Cado (Denmark) System Cado two-bay modular wall unit Circa 1960s Rosewood 95 1/2" x 31 1/2" x 18" (overall) The set comprising: - One drop-front desk cabinet (divided interior, 16 3/4" x 31 1/2" x 14 3/4") - One sliding-door cabinet (divided interior with shelves, 20 1/4" x 31 1/2" x 18") - Two slanted magazine shelves (7 1/2" x 31 1/2" x 11 3/4") - One shelf (31 1/2" x 11 3/4") - One wall panel (see photos and notes on condition, 96" x 31 1/2") Complete with a key and supports for each shelf and cabinet. Marked "Made in Denmark" to the back of the shelves.
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| 61. | GORDON SHERMAN "Site I" (1989 Watercolor) | Gordon Sherman (Kansas, 1951-2021) Site I, 1989 Watercolor on paper 22 1/4" x 30" Presented behind plexiglass in a wooden frame that measures 24 1/4" x 32". Two gallery tags affixed to the reverse (Dolphin Gallery and Morgan Gallery) Sherman was a longtime professor of art at Fort Hays State University, and a notable figure in the central Kansas arts community. Provenance: From the collection of a Fortune 500 company, acquired from the Morgan Gallery.
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| 62. | GORDON SHERMAN "Arcade" (1989 Watercolor) | Gordon Sherman (Kansas, 1951-2021) Arcade, 1989 Watercolor on paper 22 1/4" x 30" Presented behind plexiglass in a wooden frame that measures 24 1/4" x 32". Two gallery tags affixed to the reverse (Dolphin Gallery and Morgan Gallery) Sherman was a longtime professor of art at Fort Hays State University, and a notable figure in the central Kansas arts community. Provenance: From the collection of a Fortune 500 company, acquired from the Morgan Gallery.
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| 63. | GORDON SHERMAN "Ascension I" (1989 Monoprint) | Gordon Sherman (Kansas, 1951-2021) Ascension I, 1989 Monoprint on paper 8 1/2" x 16 3/4" (image) Pencil-signed, dated, and titled to the bottom margin. Presented behind plexiglass in a wooden frame that measures 16" x 24". Dolphin Gallery tag to the frame's reverse. Sherman was a longtime professor of art at Fort Hays State University, and a notable figure in the central Kansas arts community. Provenance: From the collection of a Fortune 500 company, acquired from the Morgan Gallery.
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| 64. | GORDON SHERMAN Two Monoprints (1989) | Gordon Sherman (Kansas, 1951-2021) Left and Right (1989) and This Time (1989) Two monoprints on paper (framed individually) 11 3/4" x 8 3/4" (each image) Each work is pencil-signed, dated, and titled to its bottom margin. Each is presented behind plexiglass in a wooden frame that measures 19 1/2" x 16". Dolphin Gallery tags to each frame's reverse. Sherman was a longtime professor of art at Fort Hays State University, and a notable figure in the central Kansas arts community. Provenance: From the collection of a Fortune 500 company, acquired from the Morgan Gallery.
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| 65. | ARNE WAHL IVERSEN Vinde Mobelfabrik Model 122 Dresser (1970s) | Arne Wahl Iversen for Vinde Mobelfabrik Model 122 eight-drawer dresser Design circa 1960s, produced mid-1970s Rosewood 30" x 71 1/2" x 18" The back is stamped with the VM logo and "Made in Denmark."
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| 66. | ARNE WAHL IVERSEN Vinde Mobelfabrik Pair of Model 120 Tables (1970s) | Arne Wahl Iversen for Vinde Mobelfabrik Pair of Model 120 two-drawer nightstands Design circa 1960s, produced mid-1970s Rosewood 22 1/2" x 18 1/2" x 15" (each) The back is stamped with the VM logo and "Made in Denmark."
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| 67. | DALE ELDRED "South Pole" (Imaginary Graphics, 1991) | Dale Eldred (American, 1934-1993) South Pole, 1991 Laser print on Arches paper 30" x 22 1/2" (sheet) From the artist's "Imaginary Graphics" series. Pencil-signed, dated, and titled along the bottom edge. Float-mounted behind glass in a metal frame that measures 32" x 24". Provenance: From the collection of a Fortune 500 company.
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| 68. | WILLIAM WEEGE "Oshkosh" (1979 Handmade Paper) | William Weege (Wisconsin, b. 1935) Oshkosh, 1979 Hand-painted lamination print on handmade paper 21 1/4" (diameter) Pencil-signed, dated, titled, and numbered (#4/50) to the bottom. Presented behind plexiglass in a maple frame that measures 29 1/4" x 29 1/4". Provenance: From the collection of a Fortune 500 company, acquired from Joe Wilfer.
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| 69. | WILLIAM WEEGE "Cowomonoco" (1979 Handmade Paper) | William Weege (Wisconsin, b. 1935) Cowomonoco, 1979 Hand-painted lamination print on handmade paper 21 1/4" x 20 3/4" Pencil-signed, dated, titled, and numbered (#4/50) to the bottom edge. Presented behind glass in a maple frame that measures 28 3/4" x 27 3/4". Provenance: From the collection of a Fortune 500 company, acquired from Joe Wilfer.
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| 70. | WILLIAM WEEGE "Grubtsoo" (1979 Handmade Paper) | William Weege (Wisconsin, b. 1935) Grubtsoo, 1979 Hand-painted lamination print on handmade paper 18 1/4" x 19 1/2" Pencil-signed, dated, titled, and numbered (#2/50) to the bottom edge. Presented behind glass in a maple frame that measures 26" x 27". Provenance: From the collection of a Fortune 500 company, acquired from Joe Wilfer.
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| 71. | TONY EVANS Three Raku Pottery Bears (1970s) | Tony Evans (American, 1942-2009) Group of three bear figures, circa 1970s Raku-fired pottery All three bears are signed to the underside. The largest bear, numbered "793" to the underside, measures approximately 13" x 13" x 13". The seated bear holding a sheet copper fish, numbered "1609" to the underside, measures approximately 8 1/2" x 7 3/4" x 7 1/2". The final bear, numbered "168" to the underside, measures approximately 6 3/4" x 9 1/2" x 6 3/4".
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| 72. | MARIELLA OWENS Ceramic Vessel with Driftwood Handle | Mariella Owens (Georgia, contemporary) Handled vase Glazed ceramic, driftwood, leather strips, beads 26 3/4" x 21 1/2" x 8" A large slab-formed horizontally ribbed vessel with a hand-built rim and lugs, topped with a driftwood handle. Signed to the underside.
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| 73. | Unidentified Modernist Zoomorphic Pottery Vessel | An unusual vintage modernist brown-glazed ceramic pitcher in the expressively abstract form of a rodent. Apparently unsigned, the artist is unidentified. Measures 8 3/4" x 5" x 8 1/2".
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| 74. | EICHENGREEN & GENSBURG Sculptural Cocktail Table | Arlene Eichengreen & Nancy Gensburg Cocktail table, circa 1980s Cast aluminum, glass Approx. 27 1/2" x 54" x 36" A two-piece sculptural table by the collaborative duo of American artists, with one of the abstracted figure's legs hinged to the rest of the body. Signed to one foot.
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| 75. | GEORGES BRAQUE "La Lierre" (1952 Embellished Litho) | Georges Braque (French, 1882-1963) La Lierre (Ivy), 1952 Color lithograph on paper, hand-embellished in oils and graphite 16" x 10 3/4" (sight) Hand-painted oil and hand-drawn graphite embellishments to the image. Signed only in the plate. "Edition of 120" noted in pencil to the bottom of the sheet beside an Esther Gentle 1952 copyright stamp (matted outside of the sight). Esther Gentle published an American edition of La Lierre (edition size of 120), separate from Maeght Editeurs' French edition of the image (edition size of 400). Presented behind plexiglass in a maple frame that measures 24 1/2" x 18 1/2". Provenance: From the collection of a Fortune 500 company, acquired from the Lawrence Gallery (Kansas City).
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| 76. | Estate of PABLO PICASSO "Still Life with Lemon" (Litho) | Estate of Pablo Picasso (Spanish, 1881-1973) Still Life with Lemon and Red Pitcher, circa 1975-1980 Color lithograph on paper 21 1/2" x 28 1/2" (sheet) Pencil-numbered (#174/500) and notated "Collection Marina Picasso" to the bottom margin, with publisher blind stamps. An edition authorized by Pablo Picasso's granddaughter. Float-mounted behind glass in a black frame that measures 24 3/4" x 31 3/4".
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| 77. | DON BEAULIEU "Birthday Suit" (1985 Ink & Pastel) | Don Beaulieu (Missouri, 1950-2019) Birthday Suit, 1985 Pastel and pen & ink on paper 10 1/2" x 9" Signed and dated to the lower left. Presented behind glass in a vintage pink frame that measures 24" x 22 1/2".
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| 78. | DON BEAULIEU Untitled (1987 Pastel & Chalk) | Don Beaulieu (Missouri, 1950-2019) Untitled (Landscape), 1987 Pastel and chalk on Arches paper 21 3/4" x 29 1/2" A good Fauvist-informed abstract landscape, signed and dated to the lower right corner. Presented behind glass in a vintage white frame that measures 33" x 40 1/2".
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| 79. | JEFF MILLIKAN "Unfathomably... Further... Still" (1985 C-Print) | Jeff Millikan (Minnesota, b. 1952) Unfathomably... Further... Still..., 1985 Cibachrome print 10 3/4" x 22 3/4" A C-print from Millikan's otherworldly "Underwater Murals" series, signed and dated on the back of the sheet. Presented behind plexiglass in a black frame that measures 25" x 31". Provenance: From the collection of a Fortune 500 company.
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| 80. | RICHARD BOSMAN "White Caps" (1987 Woodcut) | Richard Bosman (American, b. 1944) White Caps, 1987 Color woodcut on paper 19 1/2" x 28 1/2" Pencil-signed and numbered (PP 2/2) to the bottom margin. Presented behind glass in a maple frame that measures 31 1/4" x 39". Provenance: From the collection of a Fortune 500 company.
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| 81. | PHILLIP ROBERTS "Landscape" (1979 Oil) | Phillip Roberts (Oregon, 20th/21st c.) Untitled Landscape, 1979 Oil on canvas 20" x 25" Signed to the bottom right. Presented in a gilt frame that measures 21" x 26". Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 82. | JOHN COSTIN "Great Blue Heron" (1990 Etching) | John Costin (Michigan, b. 1955) Great Blue Heron, 1990 Color etching on paper 33" x 24" (image) From the artist's "Large Florida Birds" folio. Pencil-signed, titled, and numbered (#203/250) to the bottom margin. Presented behind plexiglass in a maple frame that measures 42" x 32". Provenance: From the collection of a Fortune 500 company.
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| 83. | Artist-Made Steel Light Sculpture (Unidentified) | A columnar brushed stainless steel sculpture, signed to the base by an unidentified artist. Lights are strung through the center, giving ambient light from the bottom of the column and from behind the geometric plates affixed to the main column. Measures 76" x 20" x 15".
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| 84. | FRANCES & MICHAEL HIGGINS Five Rondelays | Michael Higgins (1908-1999) & Frances Higgins (1912-2004) Five Rondelays Glass Each 11 1/2" diameter (60" high as arranged)
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| 85. | FRANCES & MICHAEL HIGGINS Assorted Glass Pieces | Michael Higgins (1908-1999) & Frances Higgins (1912-2004) Assorted pieces for mobiles Glass Various sizes, ranging from 2" to 10" widths Incised signature to the back edge of one piece.
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| 86. | FRANCES & MICHAEL HIGGINS Art Glass Charger | Michael Higgins (1908-1999) & Frances Higgins (1912-2004) Untitled charger Glass 13 1/4" diameter Incised signature to the back edge.
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| 87. | STEPHAN COX Group of Memphis-Style Glass (2004-05) | Stephan Cox (American, b. 1956) Five postmodern glass articles 2004-05 A group of five postmodern art glass pieces with relating hand-blown forms. The set is comprised on a pair of tripod candle holders, a tripod bowl with freeform basin, and a reversible pair usable as candle holders or flipped over as footed bowls. Each is incised with a signature and date to the underside. The tripod candle holders measure 4 1/4" x 5" each, the tripod footed bowl measures 5 1/2" x 7", and the reversible pair measure 5 1/2" x 8 1/2" each.
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| 88. | ULRICA HYDMAN-VALLIEN Kosta Boda "Caramba" Vase | Ulrica Hydman-Vallien (Swedish, 1938-2018) for Kosta Boda "Caramba" vase Etched glass 13 1/4" x 10" Kosta Boda sticker affixed near the rim.
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| 89. | PETER MAX "Break Through" (Lithograph ca. 1970s) | Peter Max (American, b. 1937) Break Through, circa mid-1970s Color lithograph on paper 3 1/4" x 9 1/4" (image) Pencil-signed and numbered (#68/250) to the bottom margin, with Circle Gallery Ltd. publisher's blind stamp to the bottom left. Presented behind glass in a frame that measures 13" x 19".
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| 90. | JOHNNY FRIEDLAENDER "Oiseaux Sur Fond Brun" (1955) | Johnny Friedlaender (German/French, 1912-1992) Oiseaux sur Fond Brun, 1955 Color etching and aquatint on paper 11 3/4" x 21 1/2" (image) Pencil-signed and numbered (#41/60) to the bottom margin. Presented behind glass in a period frame that measures 20" x 29 1/2". Provenance: From the collection of a Fortune 500 company.
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| 91. | NONA HERSHEY "Wires III: Man with a Hoop" (1986) | Nona Hershey (American, b. 1946) Wires III: Man with a Hoop, 1986 Etching and aquatint on paper 18" x 12 1/2" (image) Pencil-signed, dated, titled, and numbered (#18/25) to the bottom margin. Presented behind plexiglass in a maple frame that measures 31 1/2" x 23 1/2". Provenance: From the collection of a Fortune 500 company.
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| 92. | YANNICK BALLIF "Pole" (1969 Etching) | Yannick Ballif (French, 1927-2009) Pole, 1969 Color etching and sugar lift aquatint on paper 30" x 22" Pencil-signed, dated, and numbered (#29/60) to the bottom edge, with a publisher's blind stamp in the lower left corner. Float-mounted behind glass in a frame that measures 40" x 31".
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| 93. | JANE PRONKO "The Off Ramp" (1970s Oil) | Jane Pronko (Kansas/Missouri, b. 1935) The Off Ramp, circa late 1970s Oil on canvas 42" x 66" Signed to the bottom right and titled to the reverse. Presented in a silver-leaf frame that measures 43" x 67". Provenance: From the collection of a Fortune 500 company.
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| 94. | RON PORTER "A.M. to P.M." (1989 Mixed Media) | Ron Porter (Tennessee/Ohio, 20th c.) A.M. to P.M. Series, 1989 Graphite and conte on paper 19 3/4" x 25 3/4" (sheet) Signed, dated, and titled to the bottom margin. Float-mounted behind glass in a maple frame that measures 21 1/2" x 27 1/2". Provenance: From the collection of a Fortune 500 company, acquired from the Cumberland Gallery.
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| 95. | RON PORTER "A.M. to P.M. #2" (1989 Oil) | Ron Porter (Tennessee/Ohio, 20th c.) A.M. to P.M. #2, 1989 Oil on canvas 44" x 60" Signed to the bottom right corner. Presented in a maple frame that measures 45 1/2" x 61 1/2". Provenance: From the collection of a Fortune 500 company, acquired from the Cumberland Gallery.
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| 96. | RON PORTER "A.M. to P.M. #3" (1989 Graphite) | Ron Porter (Tennessee/Ohio, 20th c.) A.M. to P.M. #3, 1989 Graphite on paper 19 3/4" x 25 3/4" (sheet) Signed, dated, and titled to the bottom margin. Float-mounted behind glass in a maple frame that measures 21 1/2" x 27 1/2". Provenance: From the collection of a Fortune 500 company, acquired from the Cumberland Gallery.
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| 97. | EAMES Herman Miller Aluminum Group Rolling Tables, Pair | Charles & Ray Eames for Herman Miller Pair of Aluminum Group rolling end tables Design circa 1958, production circa 1989 Aluminum, oak veneers Each 29 1/2" x 30" x 24" Tagged to the underside with Herman Miller's later black strip (1984-1999). Provenance: From the collection of a Fortune 500 company.
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| 98. | EAMES Herman Miller Aluminum Group Rolling Tables, Pair | Charles & Ray Eames for Herman Miller Pair of Aluminum Group rolling end tables Design circa 1958, production circa 1989 Aluminum, oak veneers Each 29 1/2" x 30" x 24" Tagged to the underside with Herman Miller's later black strip (1984-1999). Provenance: From the collection of a Fortune 500 company.
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| 99. | EAMES Herman Miller Aluminum Group Rolling Tables, Pair | Charles & Ray Eames for Herman Miller Pair of Aluminum Group rolling end tables Design circa 1958, production circa 1989 Aluminum, oak veneer (one), white laminate (one) Each 25 1/2" x 20" x 20" Tagged to the underside with Herman Miller's later black strip (1984-1999). Provenance: From the collection of a Fortune 500 company.
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| 100. | 1960s Drop-Leaf Dining Table with Four Stored Chairs | A mid-century modern dining set, Eastern Europe circa 1960s. The set is neatly compact when stored, with four slatted folding chairs stowed below a drop-leaf table.
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| 101. | RHONDAL McKINNEY "Potomac River Backwater" (1989 Gelatin Silver) | Rhondal McKinney (Illinois, b. 1948) Potomac River Backwater (Maryland), 1989 Gelatin silver print 9" x 22 3/4" (image) Pencil-signed, dated, and numbered (#1/10) to the reverse of the sheet: "#1836 Maryland 1989 1/10 Rhondal McKinney." Presented behind plexiglass in a black frame that measures 16" x 29 1/2". Rhondal McKinney is a contemporary artist with an MFA in Photography from the University of Illinois who focuses his lens on the landscapes and communities of rural America. His work is held in institutions including the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Art Institute of Chicago. Provenance: From the collection of a Fortune 500 company, acquired from the artist.
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| 102. | GARY SUTTON "Bedrock" (1991 Gelatin Silver Print) | Gary Sutton (American, b. 1944) Bedrock, 1991 Silver gelatin print 18" x 33" (sight) Pencil-signed, dated, and titled to the mat. Presented behind plexiglass in a metal frame that measures 26 1/4" x 40 1/4". Provenance: From the collection of a Fortune 500 company.
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| 103. | GARY SUTTON "Oslo" (1992 Gelatin Silver Print) | Gary Sutton (American, b. 1944) Oslo, 1992 Silver gelatin print 17 3/4" x 33" (sight) Pencil-signed, dated, and titled to the mat. Presented behind plexiglass in a metal frame that measures 26 1/4" x 40 1/4". Provenance: From the collection of a Fortune 500 company.
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| 104. | GARY SUTTON "Seed Bomber" (1991 Gelatin Silver Print) | Gary Sutton (American, b. 1944) Seed Bomber, 1991 Silver gelatin print 18" x 33 1/4" (sight) Pencil-signed, dated, and titled to the bottom edge of the sheet behind the mat. Presented behind plexiglass in a metal frame that measures 26 1/4" x 40 1/4". Provenance: From the collection of a Fortune 500 company.
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| 105. | EAMES Four Herman Miller DCM Chairs (1960s) | Charles & Ray Eames for Herman Miller Four DCM chairs Designed 1946, produced late 1960s Walnut plywood, chromed steel, rubber Each 30 1/2" x 19 1/2" x 21" Herman Miller tags and patent label stickers to the undersides.
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| 106. | EAMES Four Herman Miller DCM Chairs (1960s) | Charles & Ray Eames for Herman Miller Four DCM chairs Designed 1946, produced late 1960s Walnut plywood, chromed steel, rubber Each 30 1/2" x 19 1/2" x 21" Herman Miller tags and patent label stickers to the undersides.
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| 107. | MICHAEL STACK Untitled Figural Painting (1997)
| Michael Stack (Missouri, 1941-2018) Untitled, 1997 Mixed media painting on foam core-mounted paper 59" x 36" Signed and dated to the reverse. Presented in a frame that measures 60 1/2" x 37 1/2".
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| 108. | MICHAEL STACK "Saturn Devouring His Son" (1966 Oil) | Michael Stack (Missouri, 1941-2018) Saturn Devouring His Son, 1966 Oil on canvas 46 1/4" x 45 1/4" An expressive modern variation on Francisco Goya's grisly classic, signed and dated to the bottom right corner. An unrelated composition is painted to the reverse of the canvas, depicting a woman holding a man's dead body, itself perhaps a variation on Michelangelo's Pieta. The canvas is not framed.
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| 109. | ELLEN LANYON "Black Egret" (1985 Lithograph) | Ellen Lanyon (American, 1926-2013) Black Egret, 1985 Lithograph on light gray Rives paper 44 1/2" x 30 1/4" Pencil-signed, dated, titled, and numbered (#24/25) to the bottom edge, Landfall Press blind stamp. Float-mounted behind plexiglass in a maple frame that measures 47 1/2" x 33 1/4". Provenance: From the collection of a Fortune 500 company, acquired from Landfall Press.
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| 110. | ELLEN LANYON "Eagle Beak" (1985 Lithograph) | Ellen Lanyon (American, 1926-2013) Eagle Beak, 1985 Lithograph on light gray Rives paper 44 1/2" x 30 1/4" Pencil-signed, dated, titled, and numbered (#15/25) to the bottom edge, Landfall Press blind stamp. Float-mounted behind plexiglass in a maple frame that measures 47 1/2" x 33 1/4". Provenance: From the collection of a Fortune 500 company, acquired from Landfall Press.
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| 111. | EAMES Four Herman Miller DCM Chairs (1960s/70s) | Charles & Ray Eames for Herman Miller Four DCM chairs Designed 1946, produced late 1960s and early 1970s Walnut plywood, chromed steel, rubber Each 30 1/2" x 19 1/2" x 21" Herman Miller tags and patent label stickers to the undersides.
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| 112. | EAMES Four Herman Miller DCM Chairs (1960s/70s) | Charles & Ray Eames for Herman Miller Four DCM chairs Designed 1946, produced late 1960s and early 1970s Walnut plywood, chromed steel, rubber Each 30 1/2" x 19 1/2" x 21" Herman Miller tags and patent label stickers to the undersides.
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| 113. | RITA BLITT Untitled (1985 Pastel) | Rita Blitt (Missouri/Kansas, b. 1931) Untitled, 1985 Pastel on paper 13 1/2" x 11" Signed and dated in the bottom right corner. Presented behind glass in a black frame with artist-embellished mat, measuring 22" x 19" in total.
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| 114. | NORMAN WAGNER "Frenzy: Encroachment Upon the Earth" (1989 Color Litho) | Norman J. Wagner (Illinois/ Georgia, b. 1938) Frenzy: Encroachment upon the Earth, 1989 Color lithograph on BFK Rives paper 30" x 41 1/2" Two Rolling Stone Press blind stamps at the bottom of the sheet. Float-mounted behind plexiglass in a maple frame that measures 32 1/2" x 44". Provenance: From the collection of a Fortune 500 company.
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| 115. | JOHN ENGLISH "Fog" (1989 Colored Pencil) | M. John English (New York, b. 1960) Fog, 1989 Colored pencil on artist's board 10 1/2" x 13 3/4" Signed to the bottom right. Float-mounted behind glass in a maple frame that measures 21" x 24". Provenance: From the collection of a Fortune 500 company.
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| 116. | JOHN ENGLISH "The Road Was Lit" (1989 Colored Pencil) | M. John English (New York, b. 1960) The Road Was Lit, 1989 Colored pencil on artist's board 10 1/2" x 13 3/4" Signed to the bottom right. Float-mounted behind glass in a maple frame that measures 21" x 24". Provenance: From the collection of a Fortune 500 company.
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| 117. | FLORENCE KNOLL or Style, Pair of Chrome End Tables | A matching vintage pair of Florence Knoll or style chromed steel end tables with glass tops. Each measures 18 1/2" x 18" x 18". Provenance: From the collection of a Fortune 500 company, said to be purchased from a Knoll dealer.
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| 118. | FLORENCE KNOLL or Style, Pair of Chrome End Tables | A matching vintage pair of Florence Knoll or style chromed steel end tables with glass tops. Each measures 18" x 18" x 18". Provenance: From the collection of a Fortune 500 company, said to be purchased from a Knoll dealer.
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| 119. | MARKO SPALATIN "Nautica" (1982 Serigraphs) | Marko Spalatin (Croatian-American, b. 1945) Nautica VI & VIII, 1982 Serigraphs on paper 12 1/4" x 15" (each image) Each is pencil-signed, titled, and numbered (#4/80) to the bottom margin. Presented behind glass in individual maple frames that measure 35" x 30" and 32" x 26 1/2", respectively. Provenance: From the collection of a Fortune 500 company.
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| 120. | MARKO SPALATIN "Nautica" (1982 Serigraphs) | Marko Spalatin (Croatian-American, b. 1945) Nautica VII & V, 1982 Serigraphs on paper 12 1/4" x 15" (each image) Each is pencil-signed, titled, and numbered (#4/80) to the bottom margin. Presented behind glass in individual maple frames that measure 35" x 30" and 33" x 28", respectively. Provenance: From the collection of a Fortune 500 company.
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| 121. | VICTOR VASARELY "Juggler" (Serigraph circa 1970s) | Victor Vasarely (French/ Hungarian, 1906-1997) Juggler, circa 1970s Serigraph on paper 26" x 16" Pencil-signed and numbered (#241/250) to the bottom margin. Presented in a black lacquer frame that measures 38" x 27".
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| 122. | JOHN ASQUITH "Faye I: As Spacebaby" (1968) | John Asquith (American, 20th/21th) Faye I: As Spacebaby, 1968 Acrylic paint on formed thermoplastic relief 45" x 21" x 7" Signed to the bottom right. Exhibition tag to the reverse: "1968 Southern Shores Art Exhibit." Original white plastic frame with metal sight edge.
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| 123. | FLORENCE KNOLL or Style, Pair of Chrome End Tables | A matching vintage pair of Florence Knoll or style chromed steel end tables with glass tops. Each measures 18 1/2" x 18" x 18". Provenance: From the collection of a Fortune 500 company, said to be purchased from a Knoll dealer.
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| 124. | FLORENCE KNOLL or Style, Pair of Chrome End Tables | A matching vintage pair of Florence Knoll or style chromed steel end tables with glass tops. Each measures 18" x 18" x 18". Provenance: From the collection of a Fortune 500 company, said to be purchased from a Knoll dealer.
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| 125. | ROD MASSEY "Freeway with Red Truck" (1987 Oil on Paper) | Rod Massey (American, b. 1949) Freeway with Red Truck, 1987 Oil on paper 21 3/4" x 29 1/2" (sight) Signed to the right. Presented behind glass in a maple frame that measures 29 1/4" x 36 3/4". Provenance: From the collection of a Fortune 500 company.
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| 126. | BILL WHORRAL "American Landscape #11" (1975 Oil) | Bill Whorral (Indiana, b. 1943) American Landscape #11, 1975 Oil on canvas 22" x 28" Signed, dated, and titled to the reverse. Presented in a slim white-painted wooden frame. Provenance: From the collection of a Fortune 500 company.
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| 127. | ROBERT BAILEY "San Gimignano" (Mixed Media) | Robert Bailey (American, 1922-2003) San Gimignano Graphite, oil, and colored pencil on Arches paper 22" x 30" (sheet) Initialed in pencil to the bottom right, with attribution and title to the reverse. Float-mounted behind glass in a red metal frame that measures 25 1/2" x 31 1/2".
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| 128. | GARY DAY "Spin" (1991 Color Woodcut) | Gary Day (Nebraska, b. 1950) Spin, 1991 Woodcut on paper 29 1/2" x 42" Pencil-signed, dated, and titled along the bottom edge. Float-mounted behind plexiglass in an ash wood frame that measures 37" x 49". Provenance: From the collection of a Fortune 500 company.
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| 129. | FLORENCE KNOLL or Style, Pair of Chrome End Tables | A matching vintage pair of Florence Knoll or style chromed steel end tables with glass tops. Each measures 18 1/4" x 18" x 18". Provenance: From the collection of a Fortune 500 company, said to be purchased from a Knoll dealer.
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| 130. | FLORENCE KNOLL or Style, Pair of Chrome End Tables | A matching vintage pair of Florence Knoll or style chromed steel end tables with glass tops. Each measures 18 3/4" x 18" x 18". Provenance: From the collection of a Fortune 500 company, said to be purchased from a Knoll dealer.
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| 131. | Ficks Reed Three-Piece Rattan Seating | Ficks Reed Two-seat sofa, lounge chair, and ottoman Rattan, upholstery 31" x 64" x 40" (sofa), 34" x 31" x 33" (chair), 17" x 27" x 21" (ottoman) Manufacturer sticker inside cushions, down blend fill.
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| 132. | 1960s "Redi-Bed" Sofa | A mid-century sleeper sofa with tufted back and exposed walnut arms, American circa 1960s. Measures 32" x 82" x 34".
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| 133. | MICHAEL STACK "This Plantation Has a Picket Fence" (1990 Mixed Media)
| Michael Stack (Missouri, 1941-2018) This Plantation Has a Picket Fence, 1989 Watercolor and graphite on paper 30" x 27 1/4" Signed and dated to the bottom right corner. Float-mounted in a wooden frame that measures 32 1/4" x 29 1/2". Provenance: From the collection of a Fortune 500 company.
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| 134. | MYRNA MINNIS "Beethoven" (1986 Ceramic Bust) | Myrna Minnis (Kansas, b. 1942) Beethoven, 1986 Glazed ceramic 19" x 21" x 11" (including plinth) Signed and dated to the back shoulder. Inscription on a metal plate affixed to the wooden plinth. |
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