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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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  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.

   

   

   

   

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  Italian Futurist 1950’s “Auntie Mame” Handwrought Pewter Pitcher c.1950

  1950’s ITALIAN DESIGN

  Futurist pitcher  c. 1950

  Handwrought and hand hammered pewter in an overall footed ovoid form with a traingle form spout body and an elongated arching contoured handle

  Marked:  PELTRO with lion, MADE ITALIA

  H: 15″ x W: 9″ x D: 4″

  Price: $6,000

  The 1958 classic film, Auntie Mame, starring Rosalind Russell, features this sculptural pitcher on the coffee table in the surrealist interior of Mame Dennis’ penthouse on Beekman Place #3, New York City.

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  S O G A T A New York, NY, “Costume for a String Quartette” Watercolor and pencil on paper 1930

  S O G A T A   New York, NY

  “Costume for a String Quartette”   1930

  Watercolor and pencil on paper

  Signed: COSTUME FOR A STRING QUARTETTE. SOGATA. LONDON: 1930. ESPECIALLY FOR CARL VAN V. with script signature (in pencil on lower left and beneath image)

  For contextual history and similar art see: Rhapsodies in Black : Art of the Harlem Renaissance,(Berkeley: University of California Press, 1997); Harlem Renaissance Artists. Jordan, Denise (Chicago: Heinemann Library, 2003).

  Paper H: 14 7/8″ x W: 10 7/8 ”

  Image H: 14″ x W: 10 1/2″

  Frame H: 20 1/2” x W: 17 1/4”

  *This SOGATA New York Watercolor and pencil on paper has been gifted to The Wolfsonian – FIU, Miami Beach, FL.

  Carl van Vechten (1880-1964), to whom this artwork is dedicated, was an influential novelist, critic, and photographer in New York during the 1920s, 30s, and 40s. His role in the Harlem Renaissance is well-documented. Van Vechten also introduced Miguel Covarrubias, a caricaturist and contemporary of Sogata, to prominent Manhattan artistic and society circles.