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  Bonnie Maclean, Eric Burdon & The Animals, Mother Earth, Hour Glass, Holy See at the Fillmore, October 19-21, 1967, 1st edition

  BONNIE MACLEAN USA

  Eric Burdon & The Animals, Mother Earth, Hour Glass, Holy See at the Fillmore   October 19-21, 1967

  Marked: B. MacLean © Bill Graham 1967 #89

  H: 21” x W: 14”

  *** An example of this poster is in the permanent collection of the Museum of Modern Art in New York.

  By 1967, Eric Burdon took the Animals into a harder, more psychedelic sound than the one listeners recognized from the band’s earlier incarnation. Burdon would later take this style even further when he teamed up with an obscure Los Angeles band known as War. The poster was printed only once before the concert

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  Jan de Swart, Handcarved “Peach” Sculpture, c.1970

  JAN DE SWART (1908-1987) Netherlands / USA

  Peach sculpture  c. 1970

  Hand carved and formed jelutong wood in a symbolic / erotic form of a peach

  For more information see: Jan de Swart: A Day That Becomes a Lifetime, exhibition catalogue (California: Fine Arts Gallery at the San Fernando Valley State College, February 1972); Jan de Swart, Mike McGee and William G. Otton (Laguna Beach, California: Laguna Art Museum, 1986).

  H: 7 ½” x D: 4”

  Price: $7,500

  Constantly seeking and inventing new materials Jan de Swart was a true modernist.  He was influenced by artists such as Isamu Noguchi, Harry Bertoia, Charles Eames, and later Sam Maloof and Wendell Castle.  Although he had been creating small sculptures since his arrival in California from Holland in 1929, he had not been widely recognized until being introduced to John Entenza, publisher of Arts & Architecture magazine in 1947.  Soon thereafter, he was able to create larger works and began collaborating with architects such as Whitney Smith and Victor Gruen on special commissions.  His work is in the permanent collection of Los Angeles County Museum of Art, The Smithsonian, and the Ford Foundation.  He was honored with the American Institute of Architects Gold Medal for Sculpture in 1965.

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  Joyce Francis “Banana Land Flowers” Bright Orange Box 2008

  JOYCE FRANCIS New York, NY

  “Banana Land Flowers” box 2008

  Cast and carved bright orange Lucite acrylic deeply incised and carved with three dimensional images of a monkey, a butterfly, a dragonfly and exotic flowers and foliage.

  The top cover dimension is 1 3/4″ thick and the four sides of the box are 1 1/4″ thick.

  Marks: Joyce Francis 08

  H: 6″ x W: 4 3/4″ x D: 4 3/4″

  Price: $3,750

  Joyce Francis is a native Manhattanite artist who specializes in sculptured acrylic jewelry, purses, sculpture, tables and coveted collection of exciting, passionately carved decorative boxes. All pieces have been painstakingly hand carved, hand dyed, illuminated and sometimes hand painted as well. There are no embedded objects. Her purses are part of the permanent collections of the New York Metropolitan Costume Institute (New York), The Victoria and Albert Museum (London), The Fashion Institute of Technology (New York) and the Rock and Roll Hall of Fame (Cleveland).

  Her work is in the collections of a number of stars and celebrities, including Hillary Swank, Phoebe Cates Kline, Emma Thompson, Cicely Tyson and Meryl Streep. Examples of her boxes and lamps are also owned by Paul Simon, Paul McCartney, Steve Martin and Tom Hanks.

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  Robert Breer “Untitled” Oil on canvas 1950

  ROBERT BREER (1926-2011) USA

  Untitled 1950

  Oil on canvas, white-gold leaf and lacquer frame

  Marks: Untitled, 1950, Robert Breer, 26×32, No. 29 in a circle (paper label)

  Provenance: Robert Breer, Private Collection, Chicago

  Canvas: H: 25 3/4” x W: 32”

  Framed: H: 32 1/4” x W: 39″

   

  “Breer acknowledges his respect for this purist, “cubist” cinema, which uses geometric shapes moving in time and space”

   

  Robert Breer’s career as an artist and animator spans 50 years and his creative explorations have made him an international figure. He began his artistic pursuits as a painter while living in Paris from 1949-59. Using an old Bolex 16mm camera, his first films, such as “Form Phases”, were simple stop-motion studies based on his abstract paintings.

  Breer has always been fascinated by the mechanics of film. Perhaps it was his father’s fascination with 3-D work that inspired Breer to tinker with early mechanical cinematic devices. His father was an engineer and designer of the legendary Chrysler Airflow automobile in 1934 and built a 3-D camera to film all the family vacations. After studying engineering at Stanford, Breer changed his focus toward handcrafted arts and began experimenting with flip books. These animations, done on ordinary 4″ by 6″ file cards have become the standard for all of Breer’s work in fim.

  Like many of his generation, Breer did early work influenced by the various European modern art movements of the early 20th century, ranging from the abstract forms of the Russian Constructivists and the structuralist formulas of the Bauhaus, to the nonsensical universe of the Dadaists. As a result of his association with the Denise René Gallery, which specialized in geometric art, he saw the abstract films of such pioneers as Hans Richter, Viking Eggeling, Walter Ruttmann and Fernand Léger. Breer acknowledges his respect for this purist, “cubist” cinema, which uses geometric shapes moving in time and space.

  In 1955, he helped organize and exhibited in a show in Paris entitled “Le Mouvement” (The Movement), which paved the way for new cinema aesthetics. During this period, Breer also met the poet Allen Ginsberg and introduced him to his film “Recreation” (1956), which made use of frame-by-frame experiments in a non-narrative structure. Although Breer resisted being labeled a beatnik, the film does capture some aspects of beat poetry and music.

  When Breer returned to the United States in the late 1950s, the American avant-garde was thriving and films by Kenneth Anger, Stan Brakhage, Peter Kubelka and Maria Menken were creating a new visionary movement. Breer found kindred spirits within the New York experimental scene. As Pop Art emerged as a phenomenon in the 1960s, Breer befriended Claes Oldenburg and others. He worked on the TV show, “David Brinkley’s Journal”, filming pieces on art shows in Europe; at the same time, he made his debut documentary on the sculptor Jean Tinguely in 1961.