MARK YOUR CALENDARS! Friday December 5th! The Gallery Presents a Major Exhibition and Sale!

After closing our Park City location, this will be our first major exhibition and sale — just in time for the holidays. Join us for an exceptional selection of works, special offers, and seasonal celebrations. More details and RSVP information to follow.

Immerse yourself in the warmth of autumn with our Three Stunning October Silent Auction Paintings.

These exquisite works celebrate fall’s vibrant landscapes and abundant harvests and honor the transformative power of art and nature.



First and foremost, we extend our congratulations to M. Campbell for securing the winning bid of $2,000 for Yuri Kugach's "The Cows at the Riverside." Equally commendable is R. Dubberly, who placed the high bid of $2,500 for Yuri Belov's "Flowers for 20th Birthday." Bravo to both of you!

For our October Silent Auction, we proudly present three exquisite autumn landscapes that capture the season’s spirit and celebrate its traditions including the fall harvest.

Ancient Slavic and Russian folklore is replete with symbolic traditions surrounding the fall harvest, known as Obzhynki or Oseniny. These rituals masterfully intertwine pagan agrarian beliefs with later Orthodox Christian customs, emphasizing themes of fertility, gratitude, death, and rebirth.

One of the most powerful symbols of the Russian fall harvest is the "last sheaf" of grain, often referred to as Veles' beard. This last sheaf embodies the spirit of the field, fertility, and new life. As the final crops were harvested, reapers would leave a small clump of uncut grain in the field, a practice believed to preserve the soil's fertility and the field's life-giving spirit for the following year.

Among these offered masterpieces is an enchanting autumn landscape by one of Russia's esteemed landscape painters, Georgy Vladimirovich Kibardin and two works by one of Russia's most talented up and coming artists Victor Nikolaevich Butko. Victor is a long time friend of the gallery and scion of a great family of Russian artists. Butko paints in the tradition of his ancestors, with exquisite artistry and sensitivity, portraying the special beauty of his country's landscape and its people.

We hope you find these captivating pieces and the rich cultural heritage they represent to be both inspiring and enriching. Happy bidding, and may the spirit of the harvest be with you!

Kibardin, Georgiy Vladimirovich

"Evening is Coming"

15¾'' x 30¾'', (40 x 78 cm),1956, Oil on Cardboard

Estimate $4,000 to $5,000- framed, Current Bid $500 by R. McCall, Next Bid is $750

Like most Russian artists, Kibardin was strongly influenced by the world around him. He was a master of the lyrical landscape and considered Nature as a his main teacher. He was drawn to the simple beauty of the Northern Russian forests and especially his beloved White Sea. Kibardin painted with a unique eye towards nature's mystery, his works rivet the eye by their romantic mood and masterful technique. He had a special gift for capturing the special light that filters the Russian wilderness, each season bringing its own distinct glow and drawing the viewer into the landscape.

Butko, Victor Nikolaevich

"The Small Haystack at the River. The Last Sunrays"

14½'' x 22¾'', (37 x 58 cm), 2007, Oil on Canvas, Framed

Estimated $3,000 to $4,000. Current Bid $500 by Irving McDonnel, Next Bid is $750

Butko, Victor Nikolaevich

"The Evening Shadows"

14½'' x 22¾'', (37 x 58 cm), 2007, Oil on Canvas, Framed

Estimated $3,000 to $4,000. Current Bid $500 by Irving McDonnel, Next Bid is $750

Victor is a long time friend of the gallery and scion of a great family of Russian artists. He is the heir to a legacy of greatness in Russian Impressionistic art studying at the Academic Dacha under some of the great masters Alexei and Sergei Tkachev and Grigory Chainikov. Butko paints in the tradition of his ancestors, with exquisite artistry and sensitivity, portraying the special beauty of his country's landscape and its people.

Victor is the next generation of Russian Impressionistic artists and his paintings are ripe for the seasoned collector.

Dear Esteemed Collectors,

We are thrilled to extend an invitation to you for this month's exclusive auction. We deeply appreciate everyone who participated and placed bids last month, making it a resounding success. Your enthusiasm and support help us bring together some of the most exquisite and coveted pieces of art for you.

This month, we are offering a rare opportunity to add three beautiful works by highly acclaimed artists to your collection. These pieces are truly exceptional, and will make a stunning addition to any collection. Don't miss this chance to acquire something truly unique and extraordinary. A special note, the two works by V. Butko look amazing together!

The current high bids for each painting are all just $500! The next bids are $750, followed by minimum bidding increments of $250. Remember, there is no reserve, at the end of the auction the high bid wins!

Remember, there is no reserve, at the end of the auction the high bid wins!

Bids will be taken via telephone, or e-mail until 7:00 pm MST, Friday, October 24th. Follow all the bidding updates on the Gallery's website.

Georgiy Kibardin, "Evening is Coming", Framed

Estimate $4,000 to $5,000- framed, Current Bid $500 by R. McCall, Next Bid is $750

Victor Butko, "The Evening Shadows", Framed,

Estimated $3,000 to $4,000. Current Bid $500 by Irving McDonnel, Next Bid is $750

Victor Butko, "The Small Haystack at the River. The Last Sunrays", Framed

Estimated $3,000 to $4,000. Current Bid $500 by Irving McDonnel, Next Bid is $750

Note that you may place a maximum bid and the Gallery will bid on your behalf up to your maximum. By placing a maximum bid, you will be assured you are not out bid at the last minute. 

Please, e-mail bids only to info@McCartheyGallery.net and make sure your receive confirmation of your bid. Note that you may place a maximum bid and the Gallery will bid on your behalf up to your maximum. By placing a maximum bid you will be assured you are not out bid at the last minute. 

Tel: 801-755-7072

email:  info@McCartheyGallery.net

website:   www.McCartheyGallery.net

We look forward to your participation and wish you the best of luck in your bidding endeavors.

Warm regards,

Stephen Justesen

Top 10 Greatest Paintings by Russian Artists- Must-See Russian Masterpieces

Presented by Brushstrokes Through Time

Dive into the world of iconic Russian art! From rebellious boyarynyas to mysterious black squares and dreamy forests, we're ranking the top masterpieces and spilling the stories behind them. Whether you’re an art newbie or a seasoned fan, you will see these classics in a whole new light!

10- Vasily Surikov’s, "Boyarynya Morozova" and Old Believers

9- Ivan Shiskin, "Morning in a PIne Forest"

8- Ivan Aivazosky, "The Ninth Wave"

7- Kuzma Petrov-Vodkin, "Bathing of a Red Horse"

6- Ivan Kramskoi, "Portrait of an Unknown Woman"

5- Arkip Kuindzhi, "Moonlit Night on the Dnieper"

4- Mikhail Vrubel, "The Swan Princess"

3- Alexi Savasov, The Rooks Have Come Back"

2- Kazmir Malevich, "Black Square"

1- Mikhail Vrubel, "Demon Seeded"

View here....

October Silent Auctions!

Kibardin, Georgiy Vladimirovich

"Evening is Coming"

15¾'' x 30¾'', (40 x 78 cm),1956, Oil on Board, Framed

Estimate $4,000 to $5,000. Current Bid $500 by R. McCall, Next Bid is $750

Kibardin, Georgy Vladimirovich (1903-1963)

Кибардин, Георгий Владимирович

(Translated from the original Russian)

Soviet graphic artist, painter, poster artist, graphic designer. Member of the Union of Artists of the USSR.

Georgy Vladimirovich Kibardin (1903–1963) was a Soviet painter, graphic artist, poster designer, and long-standing member of the Union of Artists of the USSR.

Born in the village of Istobinsloye, Kirovsk Province, he moved to Moscow to pursue formal artistic training, studying at VKhUTEMAS under Ilya Ivanovich Mashkov and completing courses with the Association of Artists of Revolutionary Russia (AKhRR/AKhR) in 1923. He was also associated with the Youth Association of the Association of Artists of the Revolution (OMAHR). Kibardin began a continuous exhibition career in 1928 and remained an active participant in all‑Union and regional shows throughout his life.

Working primarily in Moscow, Kibardin produced a substantial body of genre paintings, landscapes, posters, and exhibition designs. His early works demonstrate an engagement with the social and industrial themes that characterized Soviet visual culture of the 1920s and 1930s. Notable paintings from this period include Trees by the Pond (1928), Race in the Race (1929), Work on Bulls’ Dams of the Dnieper (1932), Flock (1937), and Future Navigators (1938). Kibardin’s poster work—designed for both public campaign and celebratory purposes—includes Let’s Perform a Squadron of Dirigibles (1931) and Sports Parade — A Powerful Demonstration of the Power and Invincibility of the Russian People (1938). He contributed to the visual programming of regional agricultural exhibitions (e.g., Kalinin/Tver, 1935) and to civic spectacles such as the Moscow athletes’ parade in 1945.

Kibardin’s artistic practice was interrupted by the Second World War when he volunteered for military service in 1941. Serving at the front, he produced military-themed portraits and paintings and a series of instructional posters on physical culture. In 1944 he contributed to the organization of the exhibition “The First Belorussian Front,” which presented wartime works by Soviet artists and supported the official wartime visual narrative. After demobilization he resumed civic design work and exhibition activity in Moscow.

From the mid-1950s Kibardin’s focus shifted decisively toward the Russian North. Following a 1955 expedition to the White Sea Biological Station of Moscow State University, he concentrated on the White Sea as a primary subject. Between 1955 and 1963 he produced more than six hundred works devoted to this region—predominantly landscapes alongside portraits and genre scenes—many of which were later reproduced in the volume Belomoriye (The White Sea, 1964). A dedicated exhibition of his White Sea paintings opened in Moscow in 1957, and the theme continued to anchor his solo shows in subsequent years.

Kibardin exhibited widely across the Soviet Union, including participation in thematic exhibitions such as the Exhibition of Works by Kirov Artists (1942), Spring Exhibition of Paintings by Moscow Artists (1953), and On the Roads of War (1958). He held solo exhibitions in Moscow in 1951, 1952, 1957, 1960 (The White Sea), 1963, and posthumously in 1971. His paintings are held in regional museums in Murmansk, Krasnoyarsk, and Chelyabinsk, and they appear in private collections in Russia and abroad, notably in Germany, France, Belgium, Sweden, the United Kingdom, and the United States.

Kibardin's legacy continues to inspire and influence artists and art enthusiasts alike. His dedication to his craft and his ability to capture the essence of his subjects have left an indelible mark on the world of art.

Literature:

White Sea. M. Soviet artist. 1964.71 s. Text by D.I. Eremina, ill. G.V. Cybardine.

Butko, Victor Nikolaevich

"The Small Haystack at the River. The Last Sunrays"

14½'' x 22¾'', (37 x 58 cm), 2007, Oil on Canvas, Framed

Estimated $3.000 to $4,000. Current Bid $500 by Irving McDonnel, Next Bid is $750

Butko, Victor Nikolaevich

"The Evening Shadows"

14½'' x 22¾'', (37 x 58 cm), 2007, Oil on Canvas, Framed

Estimated $3.000 to $4,000. Current Bid $500 by Irving McDonnel, Next Bid is $750

Victor N. Butko

The Thomas Kearns McCarthey Gallery is pleased and honored to be able to represent the work of Victor N. Butko, scion of a great family of Russian artists. In the tradition of his ancestors, Butko paints with exquisite artistry and sensitivity, portraying the special beauty of his country's landscape and its people.

Victor Nikolaevich Butko is the youngest Russian artist the Thomas Kearns McCarthey Gallery has ever represented. We are proud to have his art in our gallery, as Victor is the heir to a legacy of greatness in Russian Impressionistic art. It was almost five years ago that legendary Russian artists Alexei and Sergei Tkachev introduced us to Victor Butko. The Tkachevs have known Victor since he was a child. Butko comes from an family of artists. Victor's grandfather and mother have received many honors as artists and they participated in exhibitions around the world. Young Butko spent summers at the family country house at the village of Academic Dacha. The Academic Dacha is half way between St. Petersburg and Moscow and has been a summer painting refuge for generations of Russian artists. That is where, at eight years of age, Butko was first noticed by the grand patriarch brothers of Russian Impressionism. The Tkachevs closely followed the development and career of Victor guiding and mentoring him along the way.

On one of our many visits to Academic Dacha, the brothers invited our group to meet Victor. As a delegation, we went to the small house and studio of the Butko family. Grigoriy Chainikov joined us. Unannounced, we knocked on the door. The young artist was surprised and a bit embarrassed by the attention. Taking charge, Sergei Tkachev began grabbing Butko's paintings and extolling the talent of the young, red-faced artist. Tkachev said that Butko's work was the next generation of greatness. Following the work of the brothers, then Grigoriy Chainikov, the mantle of Russian Impressionism would fall to Victor. Tkachev added, he was quite comfortable with leaving the burden of Russian Impressionism in the talented hands of Victor Nikolaevich Butko. That was the day that we, of the Thomas Kearns McCarthey Gallery, invited Victor Butko to be our partner. Ever since he has been growing as an artist and creating new jewels in the tradition of Russian Impressionism. He is fulfilling the prophecy of Sergei Tkachev.

Victor N. Butko, b. 1978

Butko was born in 1978 in Moscow into a veritable artistic dynasty. Several generations of the family were well known artists, including his grandfather, Nikaolai Konstantinovich Chulovich, and great-uncle Viktor Konstatinovich Chulovich (both graduates of the Imperial Stroganov Art School), as well as Honored Art Worker of Russia Viktor Nikolaevich Chulovich (a wonderful landscape painter who was a student of P.I. Petrovichev) and of course his own parents, Nikolai Butko and Marina Chulovich.

From early childhood, Butko was involved in the creative work of his family. His first art lessons were given by his parents. His grandfather also greatly influenced his work, especially landscapes. Butko's still life painting style was developed from exposure to an incredible collection of objects to be found in the family's studio. There was a collection of antique items, which his grandfather had brought back from numerous trips around the country: Russian and Uzbek samovars, wicker baskets, pitchers, jugs, etc. Butko painted from them for his first still-life works.

In 1989, Butko entered the Moscow Academy Art Lyceum under the supervision of the Russian Academy of Arts, where he studied watercolor and oil painting. In 1994, he took part in his first art exhibition, in the Art Lyceum Students' Exhibition at the Central House of Art Workers. Two years later, he took part at the Lyceum exhibition, which was held at the Tretyakov Gallery.

After graduation from art school, Butko went to Vishny Volochok, not far from the Academic country house for painters, where he continued to study painting, being especially influenced by the works of A.M. and A.A. Gritsai, and N. Fedeosov.

In 1997, he was able to spend the summer with A.N. Gritsai, an experience that greatly influenced Butko professionally. In the same year, Butko took part in the exhibition of the Moscow Art Union at its gallery in Krymsky Val, and afterwards became a union member. Butko's works are exhibited at galleries throughout Russia.

Exhibitions:

Viktor’s first solo show was held in the United States, in 2002 at the Thomas Kearns McCarthey Gallery, one of the foremost dealers in the United States for Russian Impressionist art. This marked the beginning of a long cooperation with the gallery. Later, in 2016, He took part in an international plein air event, which was organized by American painter Ben Fenske and art dealer Laura Grenning. As a result of this Russian-American Painting Alliance a large exhibition was held in the Grenning Gallery in Sag Harbor. His work is in the Vyshniy Volochek Museum collection, Collection of the IRRA and private collections in Russia, China and the U.S. Butko regularly paints in Sag Harbor and Maine as well as Russia and Italy and is represented by the Grenning Gallery, gWatson Gallery, Williams Fine Art and the McCarthey Gallery. He lives with his wife, Kelly Carmody, in Waltham Massachusetts, where they paint and teach in and around their studio.

1994 - The exhibition of the MacAL students in the Central House of Art Workers.

1996 - The exhibition of the MacAL students in the State Tretyakov Gallery.

1997 - Autumn exhibition of MAU in the Central Art Gallery in Krimsky Val.

1998 - The Family exhibition at the municipal gallery in Naro-Fominsk.

1998 - The rence, Grenning Gallery

2019 -Painting Locally, Grenning Gallery

2021 -Painting, Beloved, Grenning Gallery

 gional exhibition "Moscow-Petersberg", the Central Art Gallery.

1998 - The exhibition of self-portrait in the CAG.

1999 - The All-Russian exhibition "The Autumn in Boldino", dedicated to the memory of A.S. Pushkin.

2000 - The Family exhibition at the "Zamoskvorechy Gallery"

2000 - The All-Russian exhibition "In the Name of God in the CAG"

2001 - The Family exhibition in the Central House of Art Workers, the exhibition of the young painters of MAU, dedicated to the anniversary of the Moscow House of Artists.

2002 McCarthey Gallery, Park City, UT

2016- The Russian-American Painting Alliance, Grenning Gallery

2017 -Sag and the City, Grenning Gallery

2018 -GEMS of the Grenning Gallery, Grenning Gallery

The Russian American Painting Allia



Read More About Viktor N. Butko...

Photos from a 2021 visit with Viktor at his Moscow Studio.

MEET VICTOR BUTKO- Boston Voyager, December 2018

Every artist has a unique story. Can you briefly walk us through yours?

I was born in 1978 in Moscow, into the family of artists, Nikolai Butko and Marina Chulovich. My childhood was mostly in the area of Verkhnyaya Maslovka street, where my grandfather, Viktor Chulovich, a well-known Moscow landscape painter also had his studio which perhaps, was one of my most favorite places of childhood. I liked to run around the endless corridors of house number one, climb the stairs to the shelves with paintings, and so on. In addition, there were meetings with artists who often visited my grandfather and he would in return, visit them. The world of art studios is insanely interesting, it can be described for an infinitely long time.

For example, the downstairs studio neighbor of my grandfather was the famous artist Arkady Plastov. In my time the son of Arkady Plastov, Nikolay and his wife Elena Kholodilina worked there. My Grandfather and Plastov were friends and often arranged joint dinners. It was like this: at lunchtime, a conditioned signal - a knock on the heating pipe- and then my grandfather, parents and I, of course, went down a floor below and had dinner. When it was my Grandfather's turn to prepare dinner, he told me to knock on the heating radiator with a wrench. Ten minutes later, the Plastovs arrived and we all dined in his studio. During meals, there were discussions of each other's paintings, upcoming and past exhibitions... endless interesting stories were told, enough for a separate book.

In general, I grew up in a creative atmosphere saturated with vapors of solvents and smells of paints, and I was constantly observing the process of creating paintings. In the summer, this process moved to the village - my grandfather purchased a house near Vyshniy Volochok in the early eighties. Life was different then than it is now - of course. The village was alive, it was full of friends, and even tourists came... in this time, as a child, I was interested in art only during the prolonged rains that often visited that region. The rest of the time was devoted to much more important things - the construction of various kinds of fortifications and "main staffs" of fine aspen and alder. To build them was necessary - because at any time there could be an attack of "white guards" and other characters. In August, our "regiments" began to thin out as the neighborhood friends started to head back to school. At the very end of August, I would also return to the city. Again, the most interesting place was the workshop of my grandfather and there a slow desire began for me to be involved in this particular world - the World of Art.

To compete with my interest in art could only be my passion for learning different technologies, mostly electric. A victim of this passion was my grandmother's vacuum cleaner. I had long wanted to see what was inside of it... As soon as my grandmother was away - I took the rather unfortunate device from the wall cupboard, picked up the screwdriver and when my grandmother returned she found me sitting on the floor with a screwdriver, surrounded by lifeless remains, which until recently were a vacuum cleaner. That's how my interest in art and technology coexisted in me, they were struggling against each other.

1985 brought new experiences to my life - a rapid flow of knowledge picked me up and attracted me through the waves of school life, continually putting my head on the granite of science. Eventually, my interest in art won, I began to prepare for admission to the famous Moscow Art School and attended preparatory classes in Lavrushinsky Lane. I entered there in 1989. By that time, the new building of the art school was located on the Crimean Val street, next to the Central House of Artists. There, I trained in drawing, painting, and composition under the guidance of teachers VI Borissov, LS Tamashevskaya, LP Besednova, and NI Kozlov. The latter is a truly legendary person: what student of his does not remember the egg, pipe, and suitcase [it was his theory on how to constructing a portrait]. Classes in Moscow Art School began in the autumn - teachers went with us to Kolomenskoye, Kuskovo and Novodevichy Monastery, painting landscape etudes from life.

The first three classes were devoted to the knowledge of watercolor technique, and then to oil paints. In the nineties the school was touched by the wind of change - in 1996, I graduated from the Moscow Academic Art Lyceum at the Russian Academy of Arts. Having graduated from the Lyceum, I decided to move to my grandpa's village house, and devote my time to work in plein air. Nearby the village is the Academic Dacha of artists named after Ilya Repin - a place known and visited by the creative intelligentsia. There was my creative communication, it was a kind of club - artists from different cities and countries got acquainted with each other. Students of art universities came to practice.

In 1997, the Academic Dacha was visited by the famous artist Alexei Gritsai. He was a remarkable teacher, I was lucky to paint next to him. He explained so many nice tricks to me about painting and aerial perspective. As it turned out, this was his last visit to the Dacha. Also, in 1997, I joined the Moscow Union of Artists and began to participate regularly in their local and national exhibitions. My history in the United States began in 2002, with my first solo exhibition in Utah in the McCarthy Gallery. For two weeks, I was not only in Utah, but also visited Nevada - Zion and Las Vegas. The exhibition was a success, and years of good cooperation followed.

In 2013, the town of Plyos hosted a Russian-Italian plein air event. As it turned out, most of the Italian participants were Americans. In this open air, I got to know Ben Fenske, Marc Dalessio, Leo Mancini-Hresco and Tim McGuire. It was a wonderful, full-fledged plein air trip. It was then that the idea arose to arrange something like this in America. And three years later, in 2016, Ben Fenske, with the support of the Grenning Gallery, organized a plein-air trip with the participation of Russian and American artists in Stonington (ME) and Sag Harbor, NY. It culminated in an exhibition of paintings created on the trip. It was a bright event in the cultural life in the Village of Sag Harbor, covered in the press, and which is remembered and spoken of to this day. For me, this event was even more than just an open air - in Stonington, Maine I met my now wife Kelly Carmody, a beautiful person and artist.

Please tell us about your art.

I am an oil painter, mainly in the genre of landscape. I paint mostly from nature, sometimes I make edits in the studio. As can be seen from my story, I am from a family of realist artists, therefore; realistic painting was a natural choice for me.

I go with my easel and canvas, as a rule, to a pre-selected place at the time when I can observe the state of nature necessary for me. I usually work for two or three hours on one session; sometimes less when the condition is fleeting, such as twilight. I continue to go to the same place at the same time as many times as I need to complete the painting. I use oil paints of different manufacturers, professional quality. As a solvent, I mainly use the mineral spirit without odor, without adding anything. Sometimes, I use turpentine. I usually need several flat bristle brushes of different sizes, and a pair of small Kolinsky brushes for details.

I am inspired by the emotions that I experience when I observe the conditions of nature. I especially like the tense moments - before or after the storm, the first snow, the spring flood, the moonlight, twilight, dawns, etc. I try to bring these fleeting impressions to the viewer. Ultimately, art is a mediator that interacts with the personality of the viewer, making the strings of his soul sound in a certain way. And I try to create a good melody.

Do you have any advice for other artists? Any lessons you wished you learned earlier?

Ideally, the artist should not go on about the popular trends at the moment. He must educate society by asking of them a high standard, instilling good taste, making him think, and eventually getting better. For this and inside the artist himself, work must take place - to feel and perceive the world around him, and bring it to the viewer, forcing him to empathize through graphics, painting, sculpture, poster, etc.

"Evening is Coming", "The Evening Shadows" and "The Small Haystack at the River. The Last Sunrays", would all make stunning additions to any collection or great paintings to start your collection. The two works by V. Bukto look especially amazing together!

The current high bids for each painting are all just $500! The next bids are $750, followed by minimum bidding increments of $250. Remember, there is no reserve, at the end of the auction the high bid wins!

Remember, there is no reserve, at the end of the auction the high bid wins!

Bids will be taken via telephone, or e-mail until 7:00 pm MST, Friday, October 24th. Follow all the bidding updates on the Gallery's website.

Georgiy Kibardin, "Evening is Coming", Framed

Estimate $4,000 to $5,000- framed, Current Bid $500 by R. McCall, Next Bid is $750

Victor Butko, "The Evening Shadows", Framed,

Estimated $3,000 to $4,000. Current Bid $500 by Irving McDonnel, Next Bid is $750

Victor Butko, "The Small Haystack at the River. The Last Sunrays", Framed

Estimated $3,000 to $4,000. Current Bid $500 by Irving McDonnel, Next Bid is $750

Note that you may place a maximum bid and the Gallery will bid on your behalf up to your maximum. By placing a maximum bid, you will be assured you are not out bid at the last minute. 

Please, e-mail bids only to info@McCartheyGallery.net and make sure your receive confirmation of your bid. Note that you may place a maximum bid and the Gallery will bid on your behalf up to your maximum. By placing a maximum bid you will be assured you are not out bid at the last minute. 

Tel: 801-755-7072

email:  info@McCartheyGallery.net

website:   www.McCartheyGallery.net

We look forward to your participation and wish you the best of luck in your bidding endeavors.

Warm regards,

Stephen Justesen