fine Edward Emerson Simmons 6 1/2 x 9 3/4 sight s

MARY (with gorilla head), oil painting on board, sight 9 ½ x 6 ¾”, frame 18 ¼ x 15 ¼”. From the collection of Chevalier Tony Clark.

TWIGGY, 1967, color pigment print, signed and dated and numbered 6/25 in red pencil, sight 10 x 9 ¾”, frame 18 ½ x 18 ¼” with glass. Provenance: acquired directly from the p

EDWARD EMERSON SIMMONS (?) W/C & GOUACHE ON PAPER OF MAN ON BEACH WITH BOAT AND CART, BY THE WATER, SIGNED SIMMONS, LOWER LEFT AS PICTURED. PAINTING MEASURES 9" X 12". FROM PROMINENT ULSTER COUNTY EST

THE LAST SUPPER from The Passion (Hollstein 713), 1507, woodcut print, with printed text on verso, sheet 9 ¾ x 6 ½”.

BEAR, circa 1960, painted and glazed ceramic, initialed and hallmarked underneath, 7 ½ x 9 ¾ x 6 ½”. From the collection of Richard N. Freedman, Santa Monica.

PALAIS DE GLACE, CHAMPS ELYSEES from Les Maitres de L’Affiche, 1896, color lithograph, signature in design, sight 12 ¾ x 9 ½”, printed by Chaix at Atelier Cheret, blind stam

THE LAST LAUGH, 1916, cast bronze sculpture with dark patina, signed and dated, with B. Zoppo Foundry New York stamp, 4 1/8 x 7 3/8 x 4 5/8”, overall 5 ¾ x 9 ½ x 6 ½”

Cinderella , tying a ribbon in her hair, 1950, gouache on celluloid, sight 6 ½ x 6 ¾”, frame13 ¾ x 14” with Plexiglas. Provenance: Animation Art, Sotheby’s, Jun

UNTITLED, a very rare set of three Surrealist etchings, 1934-1947, each signed Alice Paalen in pencil and numbered 91/100 (2) & 96/100, plates 6 ½ x 4 ¾”, sheets 12 ½ x 9 ¾”. Born Alice Philli

ED WESTON AND MARGRETHE MATHER 1923, bromoil gelatin silver print mounted to card, card with artist embossed signature and Asian chop mark, printed later, photo 9 ¼ x 6 ¾”, sight 1

UNTITLED, ink drawing on paper, signed lower right, sight 6 ½ x 6 ¾”, sealed in mat; UNTITLED, ink drawing on a Gallery Chankaya announcement, signed in ink, sight 4 ¾ x 14”, sealed in mat; UNT

THE CONVERSATION, color pencil drawing on paper, signed or inscribed Rome or Rone 975 in pencil lower right, sight 12 ¼ x 9 ¾”, frame 20 x 17” with glass.

1930s’ PACKARDS, two, each a pastel and mixed media on paper or board, one signed lower right, one lower left, sights 8 ¾ x 7 ½” & 6 ¾ x 5 ¾”, frames 23

EDITH, thick octagon clear crystal vase, hallmarked underneath, 9 ¾ x 6 ¾ x 6 ½”, weight 12 lbs.

VARIOUS, 1975-76, a collection of eight gelatin silver prints, images 6 ¾ x 9 ½”, artist’s mounted to card, each signed and dated in pencil lower right on card, frames 13 x 17” with glass. Exh

FAMILY READING, ink drawing on card, initialed lower right, 9 ½ x 6 ¾", framed with glass.

THE BRIDE, gouache on paper, signed upper right, 3 ½ x 6 ¾”, frame 9 x 12” with glass. From the collection of a Beverly Hills art maven and museum donator.

Fine original framed condition, Oil on canvas attached to wood panel. Approx. sight size: 12" x 9". Edward Bennett "Morenal De San Juan"

Both Italian 19th century, 3 1/8 x 4 ¾” and 5 ¼ x 7”, both in period frames, 4 ¾ x 6 ½” & 7 x 9”. Condition Both Fine.

LA CHAINE SIMPSON from Les Maitre De L’Affiche, plate #238, 1900, color lithograph, signed in design, sight 9 x 12 ¾”, printed by Chaix, Paris, Les Maitre De L’Affiche blind stamp lower right,

PEARL (III), 1990, oil painting on linen over panel, signed and dated on verso, canvas 8 x 6 ½”, overall 9 ¼ x 7 ¾” framed. Provenance: Works Gallery, Long Beach.

Angelo Pinto STAGE SET, woodcut, signed and titled and inscribed 50 (edition size) in pencil, image 6 ¾ x 8 ½”, sheet 9 ¾ x 12”. Provenance: Bethesda Art Gallery, MD;

CAMELLIA, 1977, color screenprint, signed in pencil, from the edition of 10 artist’s proofs, image 9 x 6 ½”, sheet 12 ¾ x 9 ¼”, some stray printer’s ink in left margin, otherwise in good co

Battle Subjects, three etchings each on chain laid paper, sheets from 6 ½ x 7 ¾” to 5 ¾ x 9 ½”; Together with I. B. Martin SIEGE SIETE D’ ABELA PAR JOAB,