B

MARTA MARIA PEREZ BRAVO
(Cuban, b. 1959)

C

AGUSTIN CARDENAS
(Cuban, 1927 – 2001)

HERMAN CHERRY
(American, 1909 – 1992)

JOSEPH CORNELL
(American, 1903 – 1972)

E

MAX ERNST
(German, 1891 – 1976)

F

LYONEL FEININGER
(German-American, 1871 – 1956)

SAM FRANCIS
(American, 1923 – 1994)

I

CALLUM INNES
(Scottish, b. 1962)

J

ROBERT JACK
(American, b. 1971)

MARCEL JEAN
(French, 1900 – 1994)

JASPER JOHNS
(American, b. 1930)

K

IRVINE KAMENS
(American, 1912 – 1955)

L

JUDITH LARSEN
(American, b. 1946)

ROY LICHTENSTEIN
(American, 1923 – 1997)

M

ROBERTO MATTA
(Chilean, 1911 – 2002)

CARLOS MERIDA
(Guatemalan, 1891 – 1984)

JOAN MIRÓ
(Spanish, 1893 – 1983)

O

CLAES OLDENBURG
(Swedish / American, b. 1929)

JOSE CLEMENTE OROZCO
(Mexican, 1883-1949)

Q

SOHAM QADRI
(Indian, 1932 – 2011)

R

MAN RAY
(American, 1890 – 1976)

S

KURT SCHWITTERS and THEO VAN DOESBURG
(German, 1887 – 1948 and Dutch, 1883 – 1931

CINDY SHERMAN
(American, b 1954) 

ALFRED STIEGLITZ
(American, 1864 – 1946) 

T

DOROTHEA TANNING
(American, 1910 – 2012)

JOAQUIN TORRES-GARCIA
(Uruguayan-Spanish, 1874 – 1949)

V

JAMES VAN DER ZEE
(American, 1886 – 1983)

JACQUES VILLON
(French, 1875 — 1963)

W

ANDY WARHOL
(American, 1928 – 1987) 

TOM WESSELMANN
(American, 1931 – 2004)

Y

PETER YOUNG
(American, b. 1940)

PLEASE NOTE IT IS THE POLICY OF CKFA
THAT ALL OFFERS ARE SUBJECT
TO PRIOR SALE

Marta Maria Perez Bravo

MARTA MARIA PEREZ BRAVO

(Cuban, b. 1959)
Solo se ve en Suenos II, 2003
Gelatin silver print
Image size: 20 by 16 in. (50.8 by 40.64 cm)
Framed: 28 by 24 in. (71.12 by 60.96 cm)
Edition: 2 of 15
Signed, titled, dated verso

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Marta Maria Perez Bravo is best known for her black and white photography and her recurrent theme of Afro-Cuban Santeria.  She depicts symbolic scenarios referring to these myths and rituals of Cuban witchcraft.  She includes votive offerings and other elements of popular lore.  In her work, Pérez Bravo depicts her body as an altar, a vessel, a gate, a temple or a bird-house, that is, as a metaphor of her dreams and visions.

Her work was represented in the acclaimed exhibition at the Brooklyn Museum in 2017, “Radical Women: Latin American Art, 1960–1985” which explored the work of Latin American, Chicana, and Latina female artists.

Agustín Cárdenas

AGUSTIN CARDENAS

(Cuban, 1927 – 2001)
Mujer de perfil, 1976
Bronze with brown patina on granite base
Inscribed with the monogram CA and numbered E/A on the base.
Height: 17 1/2 In. (44.45 cm)

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Agustín Cárdenas was a sculptor who, in 1955, went to study in Paris, and in 1957, at the invitation of André Breton, joined the Surrealist group. He spent the majority of his career there where he met and was inspired by his contemporaries such as Constantin Brâncuși and Jean Arp. Cárdenas incorporated elements from his Western and Central African heritage into his sculpture. His work interweaves Surrealism with both African influences and those of his native Cuba.

Joseph Cornell

JOSEPH CORNELL

(American, 1903 – 1972)
Homage to the Romantic Ballet, circa 1950’s
Paper collage laid on masonite
Image size: 16 1/4 by 13 11/4 in. (41.28 by 33.66 cm)
In artist’s frame
Inscribed in typeface “Hommage [sic] to the Romantic Ballet. Follower of Pesellino for Fanny Cerrito. Collage by Joseph Cornell” on a label affixed to the reverse;
Signed “Joseph Cornell" on a piece of paper glued to the reverse (mirror image);
Indistinctly titled and inscribed “...the Romantic Ballet / Beckett on Proust last ¶...” on the reverse

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Sam Francis

SAM FRANCIS

(American, 1923 – 1994)
LA 1972
Gouache on card
Image size: 13 by 16 in. ( 33.02 by 40.64 cm)
Signed and titled Sam Francis LA 1972;
also inscribed Santa Monica SF72-026 13" x 16" on the verso

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Callum Innes

CALLUM INNES

(Scottish, b. 1962)
Untitled (From the Centro Series), 1989
Oil and turpentine on oil paper
Framed: 55 by 44 in. (139.7 by 111.76 cm) (including the original artist’s iron frame)

Provenance:
Frith Street Gallery, London, 1990

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Callum Innes began exhibiting in the mid-to-late 1980’s and is considered by many to be a major abstract painter of his generation. One might refer to him as a minimalist painter as his color palette is monochromatic. His process is one of addition and subtraction – applying layers of paint mixed with turpentine, scraping away pigment before it completely dries, revealing surfaces below.

He works in different series sometimes revisiting them years later. This work is an example from the original Centro Series done in the 1980’s.

Robert Jack

Marcel Jean

Judith Larsen

JUDITH LARSEN

(American, b. 1946)
Xeno, 2005
Iris print on Paper
Image size: 16 by 20 in. (40.64 by 50.8 cm)
Framed: 24 by 28 in. (60.96 by 71.12 cm)
Edition: 2 of 15
Signed, titled, dated verso

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In her work Judith Larsen overlays the figure with images taken from art history, in this case possibly Native American motifs. They reference cultural markers, including language, diagrams and pattern-making. 

The artist has exhibited widely in the Boston area, as well as nationally and internationally, and is represented in numerous collections, including the deCordova Museum, the Museum of Fine Arts and the Graham Gund and Stephen D. Paine Collection. Larsen is the Art Editor for the Harvard Review and a member of the Board of Governors for the Boston Museum School.

Roy Lichtenstein

ROY LICHTENSTEIN

(American, 1923 – 1997)
Turkey Shopping Bag, 1964
Screenprint in yellow and black,
On wove paper bag with handles
Signed lower right under image
Published by Bianchini Gallery, New York
From an addition of approximately 200
Image size: 7 1/2 by 8 5/8 in. (19 by 22 cm)

Literature:
Corlett App. 4

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Roberto Matta

ROBERTO MATTA

(Chilean, 1911 – 2002)
Untitled, Late 1940’s
Graphite, crayon and colored pencil on paper
Image size: 19 3/4 by 25 5/8 in. (50.17 by 65.09 cm)
Miscellaneous: Indistinctly inscribed (near the lower edge) “Inner and outer lionized of knowful”

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Roberto Matta moved to Paris in 1933 from his native Chile when he was 22. His work attracted the attention and admiration of André Breton, the head of the Surrealist Group, who welcomed Matta as a member in 1937.

In 1938, at the age of 27, he was featured alongside the other major members of the group in the ''International Exhibition of Surrealism'' in Paris, the final important exhibition that occurred in Europe until after WWII. In 1939, alongside many other Avant Garde artists residing in Paris, he left Europe and resettled in New York City where he was to remain until 1948.

During the period from the 1930’s through the 1940’s he produced most of his greatest works referred to as “morphological landscapes” or landscapes of the mind. He remained an important participant in almost all of the Surrealist activities until soon after the war, when he was expelled from the group by André Breton because of his involvement with the wife of an ailing Arshile Gorky, who later committed suicide.

Since 1937 he was in hundreds of solo exhibitions and a major traveling retrospective that began at The Museum of Modern Art in New York in 1957. His work lost some of its magic in the 1950’s which it never regained, but because of his love of painting he continued to work until his death.

Carlos Mérida

CARLOS MERIDA

(Guatemalan, 1891 – 1984)
La Rosa de los Vientos, 1965
Oil and sand on canvas
Image size: 31 1/2 by 25 5/8 in. (80.01 by 65.08 cm)
Signed and dated ‘Carlos Mérida 1965’ (lower center)
Inscribed along the back stretcher bar:
‘La Rosa de Los Vientos-Carlos Mérida - 1965’

Provenance:
Acquired from the artist;
Hence by descent to Estella and Joaquin Shapiro;
Christie's Sale # 2747, Latin American Art, Nov. 20,2013, lot 134.

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Carlos Mérida was one of the first artists to apply Latin American themes to a modernist European painting style. Mérida is associated with the Mexican muralist movement, but the abstract style of his best-known studio paintings and murals set him apart from his peers. While in Paris, he was exposed to the European modernists, including Pablo Picasso, Piet Mondrian, Juan Miró, and Paul Klee, as well as Diego Rivera, another Latin American painter studying in Europe at the time. Upon moving to Mexico, Mérida became fascinated with the region’s traditional crafts, combining elements of Mayan arts and culture with his modernist and Cubist style.

Joan Miró

JOAN MIRÓ

(Spanish, 1893 – 1983)
Les trois soeurs, 1938
Etching and dry point
Plate size: 10 1/2 by 7 3/4 in. (26.67 by 19.69 cm)
Sheet size: 7 5/8 by 12 7/8 in. (19.37 by 32.70 cm)
With full margins
One of 30 signed and numbered examples.
Co-published by Pierre Loeb, Paris and Pierre Matisse, Paris/New York.
Printer: Lacourière, Paris
Ref: Dupin 25

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In the latter 1930’s Joan Miró arranged with a fellow artist and master etcher/engraver, Marcoussis, to teach him the fine points of the art of etching. The result of this apprenticeship was Miró mastering that art on a very high level. In 1938, at the prestigious Atelier Lacourière, he produced a series of black and white etchings (and one series rendered in black and red as well), which constitute one of the most famous groups of etchings ever produced by any Surrealist artist.

Because of the quality and importance of this series of etchings by Miró, two illustrious dealers of the period, Pierre Loeb in Paris, and Pierre Matisse in New York, formed a partnership to publish the group. Accordingly, these works met with great success on both sides of the Atlantic and figure prominently in almost every important print collection in the world today. Examples are always sought after, having been published in editions of only thirty each.

Claes Oldenburg

CLAES OLDENBURG

(Swedish / American, b. 1929)
Profiterole, 1989 (published 1990)
Hand-painted cast aluminum
Overall: 6 by 8 1/8 by 8 5/8 in. (15.2 by 20.6 by 21.9 cm)
From an edition of 75 with 25 artist’s proofs. Incised on a brass label on the underside with initials, title, date, and edition number, with a blind stamp of the publisher, Gemini G.E.L., Los Angeles

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A pioneer of American Pop Art, Claes Oldenburg is known for his creations of everyday objects, sometimes small, cast, hand-painted pieces, some made of soft materials, and some done as large-scale public installations.

The small objects were often food-related — such as the eclairs and assorted pastries and banana splits and, as we see in this sculpture, profiteroles. They adorned his famous "Store", opened in 1961, as a storefront on the Lower East Side of NYC, and more recently in subsequent venues.

José Clemente Orozco

JOSE CLEMENTE OROZCO

(Mexican, 1883-1949)
La Vigilia, 1929
Oil on canvas
Image size: 12 by 15 1/8 in. (30.48 by 38.13 cm)

Provenance:
Collection of Fairfield Porter, New York, NY (prior to 1943);
Estate of Fairfield Porter, Southampton, NY, 1975;
Sotheby's Parke Bernet, 19th & 20th Century Mexican Painting, Drawings, Sculpture, Prints, Friday, May 11, 1979, Lot 264 (as Paisaje Mitologico);
Private Collection, Los Angeles, Acquired from the above sale;
Estate of the above, 2018

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José Clemente Orozco was one of the founders of the Mexican Muralist movement. Early on, he worked as an illustrator and cartoonist, and studied architecture. Architectural elements are present in his work throughout his career. In both his murals and studio paintings, Orozco combined Symbolism and surrealism, exploring themes of social injustice and human suffering.

Soham Qadri

SOHAM QADRI

(Indian, 1932 — 2011)
Prana IV, 2005
Ink and dye on paper
Image size: 55 by 39 in. (139.7 by 99.06 cm)
Signed and dated Qadri 05 (lower left)

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Soham Qadri was a painter, poet, and Tantric guru who spent his career traveling around the world, until settling in Copenhagen. His practice was rooted in deep meditation and his paintings, generally executed on paper, are characterized by a synthesis of expressionist painting practices and Eastern philosophy.

Man Ray

MAN RAY

(American, 1890 – 1976)
Lampshade, 1964
Spiral hanging object fashioned of spray-painted aluminum (after the original version from 1919, later lost)
Height: 28 in. (71.12 cm)  extended (hanging)

Artist Proof: separate from an edition of 100

© Man Ray Trust, © Artists Rights Society (ARS), NY and © ADAGP, Paris

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Man Ray was born in Philadelphia and spent the first 30 years of his life in New York. He spent most of the succeeding years in Paris, except for the 1940’s when he lived in Los Angeles.

Man Ray divided his creative time between painting, photography and the rendering of very unique objects, of which an early example was “Lampshade”, first devised in New York in 1919.

He was an original member of the Dada Group and continued as a Surrealist from its inception in 1924. His greatest allegiance, however, was always to his greatest love, Dada, and whenever he was interviewed concerning his biographical details, he always described himself as a Dadaist before any other identifications.

Kurt Schwitters and
Theo van Doesburg

KURT SCHWITTERS AND
THEO VAN DOESBURG

Poster for the “Kleine Dada Soirée”, 1922/1923
Lithographic poster
Image size: 11 3/4 by 11 3/4 in. (29.85 by 29.85 cm)
Edition size unknown

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This lithographic poster, “Kleine Dada Soirée”, was made for a “traveling tour” around various Dutch cities, co-hosted by Schwitters and Van Doesburg. Van Doesburg was a constructivist artist who was enjoying a separate affiliation with the Dadaists. At each venue of the tour the event was titled “Kleine Dada Soirée”.  

The poster has fold marks as originally it was sent out in a mailing announcement. The work is considered rare as it only appears on the market occasionally.

Kurt Schwitters (1887 – 1948) was the most important artist in the German Dada group. He worked in various media (including poetry as well as art), but gained his fame from being one of the pioneer and most famous collage (and assemblage) artists of the 20th century. For his own amusement, he invented a word personal only to him and his work: "Merz". Most of his work (both his artwork, as well as a periodical bearing that title that he published during the 1920s, (during the Dada years and afterwards) were titled, and later catalogued under that banner.

In the winter of 1922-23 Schwitters and his cohort, Theo Van Doesburg, arranged a "Dada Tour" in Holland, the poster for which was the now-famous "Kleine Dada Soirée", designed collaboratively, which we are now presently offering. Because of being one of the "forbidden artists" on the list created by the Third Reich, Schwitters fled Germany for Norway. After passing some years there, settled in the countryside in England where he remained until his death.

Theo van Doesburg (Dutch, 1883 – 1931) is best known, along with Piet Mondrian, as the founder and leader of the international art movement De Stijl (The Style). De Stijl began in 1917 in the Netherlands and, renouncing naturalism, promoted a simplified aesthetic in the visual arts based on strict ideals of vertical and horizontal geometry.

Van Doesburg visited Berlin and Weimar in 1921 and the following year taught at the Weimar Bauhaus. He was interested in Dada at this time and in 1922 worked with Kurt Schwitters (with whom he made the “Dada Tour”) as well as Jean Arp, Tristan Tzara, and others.

Cindy Sherman

CINDY SHERMAN

(American b. 1954)
Untitled (Under the WTC), 1980
Gelatin silver print, printed 2001, signed, titled,
dated, and numbered in pencil (verso).
This work is one from an addition of 100.
Image size: 7 3/8 by 5 1/2 in. ( 18.7 by 13.8 cm)
Sheet: 9 7/8 by 8 in. (25 by 20.2 cm)

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Cindy Sherman came to prominence in 1977 when she published a series of black and white self portraits titled Untitled Film Stills. Using different disguises, scenery, wigs, and poses in her work, Cindy transforms herself into a variety of female personalities and archetypes. Today she is considered to be one of the most important contemporary artists.

Alfred Stieglitz

ALFRED STIEGLITZ

(American, 1864 – 1946)
The Steerage, 1907 (printed in 1915)
Large format photogravure on vellum
Image size: 13 1/8 by 10 3/8 in. ( 33.4 × 26.4 cm)
Sheet: 18 1/4 by 12 11/16 in. (46.4 by 32.2 cm)
Miscellaneous: 500 published and presented in the deluxe copies of Stieglitz’ publication, “291,” Issue # 7-8, printed on vellum

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Over the years this image has become the symbol with the poor coming to America in search of a new and beneficial life. In fact, Alfred Stieglitz took this photo of the steerage class on a boat in which he was traveling while returning to Europe, and not heading for the hope of a fresh start in America.

“The Steerage” is considered Stieglitz’s signature work, and considered by him as his first “modernist” photograph. He published “The Steerage” in 1911 in his publication of “Camera Work”. In 1915, he lavishly reprinted the image in large scale photogravure on both vellum and Japanese paper for inclusion in his last magazine, “291”.

Dorothea Tanning

DOROTHEA TANNING

(American, 1910 – 2012)
Nue couchée (Reclining Nude). 1965
One of an edition of 60, on wove paper
Etching and aquatint printed in colors
Signed and numbered in pencil on the front
Image size: 12 3/4 by 16 5/8 in. (32.39 by 42.23 cm)

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Dorothea Tanning was an American Surrealist artist known for using her own dreams for inspiration. She came to New York from Chicago in 1935 where she first encountered the works of the Surrealists. She moved to Sedona, Arizona with her husband, Max Ernst, and then moved to France in 1949 where she remained until 1980.

James Van der Zee

JAMES VAN DER ZEE

(American, 1886–1983)
A Fun-Loving Group, 1927
Sepia-toned vintage print, Signed, annotated and dated in the negative. Additionally, stamped twice with the photographer's studio stamp of the period on verso.
1 of a small number of prints
image size: 8 by 10 in. (20.32 by 25.4 cm)

Provenance:
Private Collection, NY (acquired directly from the photographer)

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James Van der Zee began his photographic career in a portrait studio in Newark, N.J., starting as a darkroom assistant and then as a portraitist. In 1916 he opened his own studio in Harlem, which quickly grew in popularity, and he soon was artfully documenting the life and times of what became known as the Harlem Renaissance of the 1920’s and 1930’s .

He continued his activities as a studio photographer until quite late in his life, Van Der Zee was considered the premier studio photographer of Harlem, servicing all aspects of the evolving black middle class as well as the elite: weddings and other significant social occasions, community get-togethers, formal and informal portraits, He would sometimes add props and backdrops to create more dramatic tableaux. He was highly respected for his ability to elucidate the spirit and inner personalities of his sitters, and will always be remembered accordingly.

Jacques Villon

JACQUES VILLON

(French, 1875 — 1963)
Femme a la Cruche (After Fernand Leger), 1928
Aquatint in colors, on wove paper
Inscribed lower left
Unnumbered proof
Image size: 20 1/2 by 13 in. (52.07 by 33.02 cm)

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Jacques Villon was painter and a printmaker, known as one of the greatest masters of aquatint etchings. Villon was a member of the Puteaux group along with his brothers Marcel Duchamp and Raymond Duchamp-Villon and the cubist artists Francis Picabia and Albert Gleizes. Villon merged a Fauvist sense of color into his geometric and Cubist compositions.

Peter Young

PETER YOUNG

(American, b. 1940)
Weave, 1965
Acrylic on canvas
Image size: 44 by 48 in. (111.76 by 121.92 cm)

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Peter Young is primarily known for his abstract paintings that have been widely exhibited in the United States and in Europe since the 1960’s. His work is associated with Minimal Art, Post-minimalism, and Lyrical Abstraction. Young has participated in more than a hundred group exhibitions and he has had more than forty solo exhibitions in important contemporary art galleries throughout his career.