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Preisdatenbank abonnierenMarc R. Hanson (American, b. 1955). Oil on canvas painting titled "Skimmers" depicting a seascape with a low sun and a flock of birds, 2019. Signed along the verso.Unframed; height: 20 in x width: 24 in. Framed; height: 26 1/2 in x width: 30 1/2 in.br/>Condition:Extremely good condition. No notable issues. Light dust gathered in the recessed areas of the frame. Edges not inspected. Clean verso.
Reed Kay (American, b. 1925). Oil on canvas painting titled "Rocky Neck, Twilight" depicting a waterfront with boats and houses, 2004. Signed along the lower left. With a label from Alpha Gallery affixed to the verso.Provenance: Alpha Gallery, Boston, Massachusetts; Private Minnesota collection. Sight; height: 23 1/2 in x width: 29 1/4 in. Framed; height: 29 in x width: 35 in.br/>Condition:The colors are bold and bright. No losses or restorations. Edges and verso not inspected. Very light wear to the frame.
Group of rhodolite garnet loose stones, including one 3.55 ct round cut, and two oval cuts. One round cut weighing 3.55 ct. Two oval cut, one weighing 1.05 ct and the other weighing 1.15 ct(Round cut) Diameter: 9.16 mm, depth: 5.80 mm; (Oval cuts) one, length: 7.20 mm x width: 5.15 mm x depth: 3.54 mm; other, length: 7.14 mm x width: 5.14 mm x depth: 3.94 mm. Gross weight of lot: 5.80 ctw.br/>Condition:Very light, minor scratching.
Group lot of gemological tools from Gem Instruments, Santa Monica USA. Including one Duplex II Refractometer in white and black with refractive index charts along the sides, with dust cover and original manuals. One Gemolite Deluxe B Mark V microscope in black and grey with .7x to 3x magnification.(Refractometer) length: 5.5 in x width: 2.5 in x height: 4.375 in. (Microscope) length: 11.5 in x width: 11 in x height: 18.5 in.br/>Condition:Both working. Condition commensurate with normal use. Microscope secondary light source not working. Microscope dirty.
1909 $2.5 "Indian Head" gold coin. Depicting the bust of a Native American with a feathered headdress, this coin is often referred to as an "Indian Head" coin. Designed by Bela Lyon Pratt. The other side of the coin with a quarter eagle. The coin is unique for its incuse or sunken design.Diameter: 18 mm. Weight (approx.): 4.18 grams.br/>Condition:Some light wear throughout associated with age and use. This coin has not been professionally graded. This coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the coins prior to purchase.
1911 $2.5 "Indian Head" gold coin set as a pendant. Depicting the bust of a Native American with a feathered headdress, this coin is often referred to as an "Indian Head" coin. Designed by Bela Lyon Pratt. The other side of the coin with a quarter eagle. The coin is unique for its incuse or sunken design.Diameter: 18.46 mm. Weight: 4.92 grams.br/>Condition:Light wear throughout associated with age and use. The letters "PDIK" are written in pen along the surface of the coin near the eagle's head. Light wear to the encircling pendant. This coin has not been professionally graded. This coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the coins prior to purchase.
1882 five dollar Liberty Head gold coin. Designed by Christian Gobrecht.Diameter: 21.6 mm. Weight (approx.): 8.36 grams.br/>Condition:Some light wear throughout including some surface marks. This coin has not been professionally graded. This coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the coins prior to purchase.
Charles Robert Perrin (American, 1915-1999). Watercolor on paper painting titled "Reflections of the U.N." depicting a lone tree rising above the reflective streets of a city. Signed along the lower right. Pencil titled along the verso.Height: 22 in x width: 16 in.br/>Condition:The colors are bold and bright. There is some wear along the deckled edges. There are some small chips and losses to the edges, particularly to the left edge of the sheet. There are a few small spots of foxing visible mainly within the white areas of the work. Along the verso there are four areas along the edges with remnants of tape. Light soiling and networks of foxing throughout the verso. The work is not framed.
1905 five dollar Liberty Head gold coin. Designed by Christian Gobrecht.Diameter: 21.50 mm. Weight: 8.27 grams.br/>Condition:Some light wear throughout including some surface marks and rubbing. This coin has not been professionally graded. This coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the coins prior to purchase.
1881 ten dollar Liberty Head gold coin set as a pendant within a 14k yellow gold setting. Designed by Christian Gobrecht. The pendant marked 14k along the bail.Diameter: 41.96 mm. Weight: 26.59 grams.br/>Condition:Some surface marks throughout associated with age and use. Some very light wear to the pendant components. This coin has not been professionally graded. This coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the coins prior to purchase.
1893 ten dollar Liberty Head gold coin. Designed by Christian Gobrecht.Diameter: 26.89 mm. Weight: 16.70 grams.br/>Condition:Some wear throughout including some light surface marks and signs of use. This coin has not been professionally graded. This coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the coins prior to purchase.
1901 ten dollar Liberty Head gold coin. Designed by Christian Gobrecht.Diameter: 26.95 mm. Weight: 16.70 grams.br/>Condition:There are some light scratches and surface marks throughout the coin. This coin has not been professionally graded. This coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the coins prior to purchase.
Charles Robert Perrin (American, 1915-1999). Watercolor on paper painting titled "Storm Bright Nantucket" depicting storm clouds above a windswept landscape with an ocean in the background. Signed along the lower right; pencil titled along the verso.Height: 15 in x width: 22 in.br/>Condition:The colors are bold and bright. There is light wear along the edges. There are four staple marks on the corners of the sheet. There are tape marks along the edges of the verso as well as scattered foxing and soiling throughout the verso.
1915 Austrian gold four ducat coin. The obverse with a laureate, armored bust facing right; the reverse with a crowned imperial double eagle.Diameter: 39.65 mm. Weight: 13.97 grams.br/>Condition:Some light wear associated with handling. This coin has not been professionally graded. This coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the coins prior to purchase.
1915 Austrian gold four ducat coin. The obverse with a laureate, armored bust facing right; the reverse with a crowned imperial double eagle.Diameter: 39.50 mm. Weight: 13.98 grams.br/>Condition:Some light wear throughout associated with handling. This coin has not been professionally graded. This coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting the coins prior to purchase.
George Segal (American, 1924-2000). Group of two lithographs on paper depicting nude female figures at the waist. Each pencil signed and dated 1978 along the lower right; numbered 11/100 along the lower left.Each; height: 22 in x width: 30 in.br/>Condition:There are no tears, major creases, losses, or restorations. Light toning to the verso. Light wear throughout. Both are not framed.
Martin, Hall & Co., Sheffield, United Kingdom. Silverplate serving tray. With three ball and claw feet. The top etched with scrollwork surrounding a bull. Marked along the underside.Height: 1 in x diameter: 8 1/4 in. Weight: 9.48 Troy ozbr/>Condition:No major scratches or cracks. There is a minute loss to one of the spheres at the point in the hexafoil border. There is tarnishing throughout. Along the underside there are two small dents near the maker's marks. There is an adhesive residue near one of the feet. There is polish residue throughout the recessed areas. There are no signs of restoration under UV light.
18th to 19th century antique Spanish colonial silver tripod lobed bowl. Containing 800 silver or less. With two applied handles and three legs.Height: 4 3/4 in x diameter: 7 in. Weight: 364.6 grams.br/>Condition:No major dents, bends, breaks, or restorations. Light wear throughout including light scratches. Tarnish in the recessed areas of the work.
English 800 silver beaker. The exterior with a band of stylized floral and foliate motifs. Marked 800 along the rim; marked "EM" along the underside, possibly Elizabeth Morley.Height: 3 1/2 in x diameter: 2 1/2 in. Gross weight: 100.6 grams.br/>Condition:No bends, breaks, repairs, or losses. Light tarnishing in the recessed areas of the work. Light wear throughout consistent with age and use.
Russian .875 silver cigarette case with an etched design along the front. Monogrammed PJ along the front. Stamped along the front and back with a maker's mark in Cyrillic and a Moscow 84 Kokoshnik mark, ca. 1908-1926.Height: 4 in x width: 2 1/2 in x depth: 1/2 in.br/>Condition:The case opens smoothly and clasps firmly. Several small dents throughout. Light scratches throughout. Some tarnishing throughout.
Group of two silver items. One Gorham sterling silver small flask with profuse floral repousse decoration. Marked sterling with maker's marks along the neck. One cigarette case stamped 900 with illegible maker's marks along the interior.(Flask) Height: 4 1/2 in x width: 1 1/2 in. Weight: 1.75 Troy oz. (Case) Height: 3 in x width: 3 in. Weight: 95.1 grams.br/>Condition:No major dents, deep scratches, losses, or repairs to either item. Both items open and close smoothly. With very light wear throughout consistent with age and use. Some very small spots of tarnishing along the interiors and recessed areas.
Art Deco style hammered sterling silver flask monogrammed "L.A.D." in a cartouche along the side. Marked "Sterling 3203 5/8PT" along the neck with an illegible maker's mark.Height: 7 1/4 in x width: 4 1/4 in. Gross weight: 8.11 Troy oz.br/>Condition:The lid hinges open and closes firmly and smoothly. There are a couple of small dents along the back Light scratches throughout. Light wear consistent with age and use. A few small spots of tarnishing.
English sterling silver card box. Stamped along the side with the sterling lion passant, city mark of Chester, date letter for 1901, and an illegible maker's mark. The box can hold two decks of cards; two vintage decks of cards are included. One set stamped "B.F. Grimaud" and "Paris."Height: 3 3/4 in x width: 2 3/4 in x depth: 1 3/4 in. Gross weight: 5.45 Troy oz.br/>Condition:There are no deep scratches, dents, breaks, or repairs. The lid closes and opens smoothly. Some tarnishing along the interior. Some light scratches to the underside. Light wear throughout consistent with age and use.
Group of eight sterling and silver beakers and cups. One Stieff sterling silver beaker, stamped sterling and with maker's marks along the underside. One Just Anderson for GAB, Sweden silver cup, ca. 1928; marked along the underside, minimum .800 silver content. One .875 silver Russian cup with an 84 Kokoshnik mark. Set of five cups with a filigree design, possibly Egyptian, not marked.Height ranges from 2 1/4 in to 5 1/4 in; diameter ranges from 2 1/4 in to 4 in. Gross weight of silver: 813 grams. Gross weight of sterling silver: 5.23 Troy oz.br/>Condition:There are no major dents, deep scratches, or losses. Light scratches and wear throughout; spots and areas of tarnishing.
Adrian Hamers Co., New York, United States. Hammered sterling silver communion cup or chalice with a gold wash interior and black glass node. The base inlaid with an enamel lamb and rainbow. Stamped sterling and with maker's marks along the underside.Height: 7 1/2 in x diameter: 4 3/4 in. Weight: 1,026.5 grams.br/>Condition:There are no dents, bends, breaks, or repairs. Some slight tarnishing in the recessed areas of the work. Light wear throughout.
Wallace, United States. 45 piece sterling silver serving flatware set in the "Grand Baroque" pattern, introduced in 1941, all marked. Also included are two spoons marked Gorham, two spoons marked Lunt, and one ladle, likely silverplate, with a mark of an A and a star in a diamond. Total of 50 pieces of flatware. The "Grand Baroque" set includes 24 forks, 16 spoons, and five serving flatware. With a wooden storage chest.Gross weight of sterling (not including 17 sterling handled items): 73.52 Troy oz.br/>Condition:All pieces are in overall good condition with no bends, breaks, or losses. Very minimal wear throughout. Some light tarnishing to a few pieces and in recessed areas. Light wear to the storage chest.
Jens Quistgaard (Danish, 1919-2008) for Dansk, Germany. Set of 51 pieces of stainless steel flatware in the "Odin" pattern, first introduced around 1960. Including 18 spoons, 18 forks, nine knives, one butter knife, two serving spoons, one set of tongs, and one set of salt and pepper shakers.(Salt and Pepper) Height: 4 3/4 in x diameter: 1 1 /2 in. (Flatware) Height ranges from 6 1/4 in to 8 3/4 in; width ranges from 2 in to 3 in.br/>Condition:There are no bends, breaks, or losses. Light wear throughout including some scratches. There is wear to the case. One corner of the case has been recolored with marker and has numerous small gouges.
Arne Jacobsen (Danish, 1902-1971) for Stelton, Denmark. 14-piece stainless steel coffee and tea set. Including salt and pepper shakers, a lidded ice bucket, a pot, two tongs, a lidded sugar bowl with a spoon and another utensil, a creamer, one vacuum jug, one coffee pot, a teapot, and a tray. All marked along the underside. Part of the Cylinda collection first designed in 1967.Height ranges from 1 1/4 in to 11 3/4 in; diameter ranges from 2 in to 11 in.br/>Condition:No major dents, bends, or breaks. Light wear throughout consistent with age and use; there are some light scratches or signs of wear such as discoloration along the interior. Some pieces have small felt tabs along the underside.
Nic Jonk (Dutch, 1928-1994). Group of five artworks including four graphite drawings on paper and one ink painting on paper depicting nude women. Two of the drawings are pencil signed and dated 1986. The ink painting is signed and dated June 23, 1978 in ink.Height ranges from 10 3/4 to 13 in; width ranges from 8 1/4 to 10 in.br/>Condition:To the ink painting there are some handling marks, spots of foxing, and a spot of blue paint along the verso. To the pencil drawings there are a few small creases or handling marks, a few light spots of foxing, and a few light handling marks. None of the artworks are framed.
Nic Jonk (Dutch, 1928-1994). Group of two drawings in graphite on paper. One depicts a reclining female nude, signed and dated 1986 along the lower right; the other depicts a group of huddled figures and is signed and dated 1961 along the lower left.Larger; height: 10 1/8 in x width: 13 1/2 in. Smaller; height: 5 1/4 in x width: 7 1/2 in.br/>Condition:The drawings are in good condition overall with no visible creases, or major losses or tears. The reclining female drawing has a loss to the upper left quadrant; the paper is toned and browned; light wear to the margins. There is soiling to the upper right corner; there is a red mark to the face. From the verso, soiling along the margins is visible.The smaller drawing with a group of huddled figures has a tear to the upper margin, followed by skimming- skimming measuring 2 in and the tear measuring 3/4 in. Along the reverse of the sheet, there is pencil marks as shown in the lot listing.
Harry Lindley Hosford (American, 1877-1945). Etching on paper depicting a fishing boat in a harbor with two fishermen. Pencil signed along the lower right; numbered 5/50 along the lower left.Sight; height: 6 1/2 in x width: 7 1/2 in. Framed; height: 16 in x width: 13 in.br/>Condition:No visible tears, creases or losses. The print and mat are toned. There is mat burn along the edges of the print. There is discoloration along the bottom left corner and margin, possibly from water exposure. There is a minute spot of discoloration along the center of the lower margin. No signs of restoration under UV light. Framed under glass. Not examined out of frame.
Benjamin Damman (French, 1835-1921) after Jean-Francois Millet (French, 1814-1875). Etching on laid paper titled "The Gleaners" after Millet's 1857 painting depicting three women working in a field. The original painting is in the collection of the Musee d'Orsay. Signed in plate along the lower right; Millet's signature in plate in the lower right of the image. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in.br/>Condition:There are no tears, losses, or restorations. The sheet is slightly toned; the work is slightly unevenly toned within the image. There are a few light creases/handling marks along the edges. There is a slight undulation to the sheet. Light wear along the deckled edges. There are a few small stains to the sheet. Pencil number 76 written along the upper right. The work is not framed.
Henri Toussaint (French, 1849-1911) after Eugene Delacroix (French, 1798-1863). Etching on laid paper titled "The Coast of Morocco" depicting a boat set on tumultuous seas with a distant coastline. After a ca. 1853 work by Delacroix, more likely depicting the biblical scene of Christ on the Sea of Galilee. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in.br/>Condition:The sheet is toned; there is a slight uneven toning to the margins of the sheet. Light undulation to the sheet. Light wear to the deckled edges. There is a horizontal tear extending 1/2 inch inward from the upper left edge. There is a small loss to the lower left corner. There are creases along the left edge. There is a crease along the lower right edge as well. There is a slight loss along the lower right corner. The print is not framed.
Charles Louis Kratke (French, 1848-1921) after Etienne Pierre Theodore Rousseau (French, 1812-1867). Etching on laid paper after a Theodore Rousseau painting titled "Evening" depicting an idyllic riverside landscape with a fisherman. Signed in plate by Kratke along the lower right. Th. Rousseau signature in plate along the lower left of the image. With a watermark with "MA" along the center. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in.br/>Condition:There is light toning to the sheet; there is uneven toning along the margins of the print. Light undulation to the sheet. There is light wear along the deckled edges. There is an acidic burn and a vertical line along the entire right margin. There is a light crease along the right edge. The print is not framed.
Jules-Elie Delaunay (French, 1828-1891) after Meindert Lubbertszoon Hobbema (Dutch, 1638-1709). Etching on laid paper titled "A Forest" depicting a wooded cottage with figures strolling along the road. Signed in plate by Dalauney along the lower right. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 12 1/2 in x width: 17 3/4 in.br/>Condition:There are no tears, creases, losses, or restorations. The sheet is slightly toned; the work is slightly unevenly toned within the image. There is a slight undulation to the sheet. Light wear along the deckled edges. Pencil number 88 written along the upper right. The work is not framed.
Roswell Weidner (American, 1911-1999). Oil pastel on paper waterscape drawing titled "Tree Roots #15" depicting a tree-lined pond. Signed along the lower right. Further signed and titled along the verso.Sight; height: 31 in x width: 44 in. Framed; height: 35 in x width: 47 1/2 in.br/>Condition:There are no visible tears, losses, or restorations when inspected under UV light. The colors are bold and bright. Along the lower edge of the frame, there appears to be moisture exposure that does not appear to affect the artwork. Light wear to the frame; framed under plexiglass; not inspected out of frame.
Rod Massey (American, b. 1949). Oil on panel painting titled "Waiting Construction Equipment" depicting five large construction vehicles in an empty field. Likely depicting a scene in Minneapolis, St. Paul, or one of the Twin Cities' suburbs. Signed, dated, and titled along a label along the verso.Provenance: Groveland Gallery, Minneapolis, Minnesota; Private Minnesota collection.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Sight; height: 20 in x width: 30 in. Framed; height: 22 1/4 in x width: 32 1/4 in.br/>Condition:The colors are deep and bold. There are no visible tears or losses. The surface is stable. There are a few areas of soiling/scuffs throughout, in particular along the upper right quadrant, along the upper edge and along the right edge of the board. Also down the top edge of the upper left quadrant. There is wear to the frame. There are no signs of restoration under UV light.
Rod Massey (American, b. 1949). Oil on panel painting titled "Brian's Fixer-Upper" depicting houses buried in white snow, 2004. Initialed and dated along the lower right corner. Likely depicting a home in St. Paul or Minneapolis. Signed and dated along the verso. With a label from Groveland Gallery in Minneapolis, Minnesota along the verso.Massey was born in Minneapolis in 1949 and received his BFA at the Minneapolis College of Art and Design. Upon graduation, he continued his education at the Tanglewood/Boston University and the Skowhegan School of Painting and Sculpture. His work features everyday urban scenes and imbues them with a sense of buoyancy. Massey's main interests lie in unpacking the underlying character of daily objects, such as houses, highways, work trucks, fruits, etc. He argues that "While my art is rooted in traditional painting, my intent is to convey a deeper, more personal and contemporary insight into my environment. Distortions of perspective, space, color and light all define the regionalist nature of my personal vision and experience." His work is housed in numerous national collections including, but not limited to, the Minneapolis Institute of Art, 3M Company, General Mills, and Target Corporation.Unframed; height: 48 in x width: 38 in. Framed; height: 50 1/2 in x width: 40 1/2 in.br/>Condition:There are no visible losses, breaks, or restorations. Light wear to the frame.
Paul Winstanley (British, b. 1954). Oil on canvas painting titled "Flux" depicting an interior room or lobby leading to floor-length windows with trees outside, 2005. Signed, titled, and dated along the verso.Lot Essay:Born in Manchester in June 1954, Paul Winstanley is a renowned artist who embarked on his artistic journey by studying painting at Cardiff College of Art from 1973 to 1976, followed by the Slade from 1976 to 1978. Initially influenced by abstract Modernism, Winstanley later forged a distinctive visual language, merging minimalism with photographic pictorialism. His breakthrough moment came with the exhibition of the large painting 'Walkway' at the Whitechapel Open in 1989, earning him the prestigious first prize Unilever Award. This success led to a year as Kettle's Yard artist in residence in Cambridge, where he produced a significant body of work exploring semi-public, post-war interior spaces, culminating in impactful shows like 'Driven Landscapes' in 1993 and 'Annexe' at Tate, Millbank in 1997/98.Throughout the 1990s, Winstanley's work delved into the utility of English modernism and its political context, including landscapes viewed from moving vehicles. After recovering from a serious road accident, his focus shifted to the transience of the interior/exterior relationship, exemplified by the 'Veil' series. His major retrospective in 2008 at Art Space, Auckland, New Zealand, showcased the evolution of his artistic exploration. Winstanley's art places a central emphasis on the role of the viewer, incorporating occasional figures and portraying active passivity. His diverse body of work has been featured in exhibitions worldwide, and his creations find homes in esteemed collections such as Tate, MoMA, MoCA, and more. Currently residing and working in London, Winstanley continues to push the boundaries of his practice, as evidenced by his publications, including the photographic project 'Art School' in 2013 and the book '59 Paintings' in 2018.Height: 47 1/2 in x width: 63 in x depth: 2 in.br/>Condition:No major losses or restorations when viewed under UV light. There are a few minute spots of rubbing and paint loss along the extreme edges; one small spot along the upper center edge. There is a light scuff along the surface along the upper left corner. Clean verso.
Eyvind Earle (American, 1916-2000). Serigraph on paper titled "Softening Shades of Twilight" depicting a forest, 1993. Signed in blue ink along the lower right; numbered PP 2/6 along the lower left. Eyvind Earle is well-known for his work on Disney's "Sleeping Beauty" (1959) animated film.Sight; height: 20 3/4 in x width: 27 1/2 in. Framed; height: 36 in x width: 42 3/4 in.br/>Condition:Along the lower left tree there is an approx. 2.5 inch long area of inpainting which fluoresces under UV light. No other visible areas of inpainting. No visible rips or losses. Framed under an acidic mat. Not inspected out of frame. Light wear to the frame; framed under plexiglass.
Jack Pierson (American, b. 1960). Large print on canvas mounted to board titled "Ricki Tivi Tavi" depicting red flowers against a window, 1994-1995. Signed in print, titled, dated along the edge. From an edition of two.Height: 83 1/4 in x width: 83 in x depth: 2 in.br/>Condition:The colors are bold and bright. There is craquelure throughout the work. A few light surface marks. Light wear along the edges.
American New England oil on canvas folk painting depicting a ship captain's wife. Portrayed seated in front of a sea with storm clouds looming in the distance.Sight; height: 30 in x width: 24 1/4 in. Framed; height: 38 1/4 in x width: 32 in.br/>Condition:The painting has been relined. The canvas is taut. When inspected under UV light there are areas of inpainting and restoration throughout. The varnish is somewhat discolored or darkened. Some wear to the plaster and wood frame including a few losses, areas of restoration, and cracks.
Emil Rau (German, 1858-1937). Oil on canvas portrait painting depicting a young girl sitting at a desk holding a fruit. She leans back, smiling coyly at the observer. Signed along the upper right.Unframed; height: 24 in x width: 18 in. Framed; height: 30 in x width: 24 1/2 in.br/>Condition:There are no noticeable repairs or losses. A few small areas of craquelure: one area just below the girl's elbow and one area long the back of the chair. A few light surface scuffs along the lower half of the work. Some small areas of rubbing along the extreme edge. There is an annotation along the stretcher on the verso noting a cleaning and varnishing done in 1938. There is moderate wear to the frame, with cracking present throughout.
Large Old Master oil on canvas painting depicting a butcher in his shop surrounded by meats and tools of his trade, likely northern Italian circa 16th-17th century.Provenance: Holzerman's, Minneapolis, MN; Collection of Tom Sewell; Collection of Dudley Riggs, Minneapolis, MN.Unframed; height: 56 in x width: 91 in. Framed; height: 67 in x width: 81 1/2 in.Condition:The painting was conserved most recently in 1996; please see the documents in the lot listing photographs for details on the work done in that treatment. The painting has been relined and re-stretched. The varnish is discolored, making finer details difficult to see. There is extensive craquelure and stretcher bar marks along the perimeter of the work. There is cupping throughout that appears to have been treated, the surface is currently stable. When examined under UV light there are numerous areas of inpainting. The most extensive areas of inpainting are: the area surrounding the delftware jug, the background in between the man and the severed cow head, along the edges, and on and around the man's face. There's also evidence of restoration and inpainting vertically through the center of the work; possibly from a previous stretcher. There is also a horizontal line running between the length of the work about nine inches from the bottom. It is possible that the work was folded in the past, causing this crack. There is wear to the frame including: small losses, worm holes, and drill holes. The painting has been reinforced within the frame with thirteen pieces of wood, please see photographs of the verso.
Paul Cadmus (American, 1904-1999). Crayon on paper drawing depicting a reclining female nude. Signed along the lower right.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 12 in x width: 17 3/4 in.br/>Condition:There are no tears, losses, or restorations. There is a crease along the upper left corner. Some light handling marks throughout. There are two square areas with residual adhesive, likely from pieces of tape, along the upper right and left corners; visible in the lot listing. There is a small piece of tape affixed along the verso. Not framed.
Possibly Sir William Hamilton (British, 1730-1803). Engraving on paper depicting the Greek myth of Theseus and the Minotaur in a circular cartouche flanked by three figures on each side.Possibly from the book "Collection of engravings from ancient vases mostly of pure Greek workmanship discovered in sepulchres in the kingdom of the Two Sicilies but chiefly in the neighbourhood of Naples during the course of the years MDCCLXXXIX. and MDCCLXXXX. now in the possession of Sir Wm. Hamilton ... with remarks on each vase by the collector." (Naples: Wm. Tischbein, 1791-1795).Sheet; height: 19 3/4 in x width: 14 3/4 in.br/>Condition:The sheet is slightly toned, with instances of foxing and soiling throughout the recto and verso. There is undulation to the sheet. There is light wear along the deckled edges. There is slight discoloration along the perimeters of the image and along the extreme edges of the sheet. The edges are slightly uneven. There is some creasing to the lower and lower-left and upper-left edges of the sheet. There is a minute tear to the right edge of the sheet. There is a minute tear to the lower edge of the sheet. The print is not framed.
Sir William Hamilton (British, 1730-1803). Group of two color engravings in black and orange to mimic the coloration of ancient Greek vases. One depicting three figures and the other depicting a line of alternating big cats and antlered beasts.(Figural) Height: 19 1/4 in x width: 15 in. (Animals) Height: 6 1/4 in x width: 22 1/2 in.br/>Condition:The colors are bold and deep on each print. Along the print with animals there is a vertical crease along the center; there is a piece of paper affixed to the verso along this crease, possibly added as reinforcement. This piece of paper has caused some uneven toning to the sheet. Slight undulation to the sheet throughout. Networks of foxing throughout. Light wear along the edges. To the figural print there are two horizontal creases, one above and one below the image. Wear including small chips and creases along the edges. Networks of foxing and areas of discoloration throughout. There is a crease along the lower right corner. The works are not framed.
Group of 17 etchings depicting marble statues, some from differing angles. By Francois Perrier (French, 1594-1649), Johann Dominicus Fiorillo (German, 1748-1821), and Simon Thomassin (French, 1654-1733).Height ranges from 7 1/2 in to 17 3/4 in; width ranges from 4 3/4 in to 13 in.br/>Condition:The sheets are toned, consistent with age. Soiling, some small stains, foxing, and areas of discoloration throughout. Evidence of moisture exposure to the smaller group of prints. Pencil inscriptions in the margins of most prints. Handling marks, light creases, wear along the edges, and some small chips throughout the prints. These prints are not framed.
Ada Augusta Wolfe (American, 1878-1945). Oil on canvas painting of an impressionistic still life scene with melon, grapes, and other fruit next to a large glass goblet of wine. Signed and dated 1914 along the verso.Unframed; height:16 3/4 in x width: 19 1/2 in. Framed; height: 19 5/8 in x 22 in.br/>Condition:There are small areas of rubbing and paint loss along the edges. Stretcher bar marks along the perimeter of the work. There is one larger area of paint loss where the canvas is showing through along the lower right edge. Due to a thick and uneven varnish, it is difficult to discern if there are any areas of restoration or inpainting. Some light wear to the frame. Edges not inspected.
Ellery Gibson (American, 1916-2010). Watercolor painting on paper depicting two blooming yellow flowers.Sight; height: 29 1/4 in x width: 21 1/4 in. Framed; height: 36 in x width: 27 3/4 in.br/>Condition:The colors are bold and bright. No visible tears, losses, or restorations. Undulation to the sheet throughout. Extreme edges and verso not inspected; not inspected out of frame. Housed under two acidic mats. Framed under glass; light wear to the frame.
After Alfred Montgomery (American, 1857-1922). Oil on canvas painting depicting a basket with ears of corn spilling out.This work is very similar to work by Alfred Montgomery. A "farmer-painter" for most of his life, ears of corn were a staple in Montgomery's work from early on. He boasted that if he was crossing a street a horse would try to reach out and eat the corn that his paintings depicted. It took him nearly nine years to learn his unique technique of layering paint to produce a textured and raised effect for each kernel that adds both depth and realism.Sight; height: 19 in x width: 26 1/2 in. Framed; height: 22 1/2 in x width: 30 1/4 in.br/>Condition:The painting is in good condition with no visible tears, creases, or losses. To the upper left corner, there is a minute paint loss. Throughout the painting, there are minute white paint accretions, which do not significantly alter the overall appearance of the item. There is a minute paint loss to the lower right quadrant. No visible sign of restoration under UV light. Light wear to the frame.
Warik Wheatley (American, 1928-1996). Oil on canvas painting titled "The Red Hat" depicting an impressionistic scene of three figures, one wearing a bright red hat, in a field, 1967. Signed along the lower right; titled and dated along the verso.Sight; height: 29 3/4 in x width: 39 3/4 in. Framed; height: 34 3/4 in x width: 44 3/4 in.br/>Condition:The colors are bright and bold. The surface is stable. There is light craquelure throughout the upper right quadrant. There is an accretion of a dark substance scattered throughout the upper right quadrant and the lower right quadrant. No signs of restoration under UV light. Not examined out of frame.
Paul Cadmus (American, 1904-1999). Crayon on paper drawing of a nude seated man. Signed and inscribed "NM269A" along the upper left corner.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 25 1/4 in x width: 19 in.br/>Condition:The colors are bold and bright. There are two tears along the lower-right corner. There are two creases along the lower-left corner. There is a small crease along the upper-right corner. There are light handling marks along all of the edges. Very light soiling along the verso, likely original to the artistic process.
Warik Wheatley (American, 1928-1996). Oil on canvas painting depicting a still life of a vase overflowing with brightly colored blooming flowers. Signed along the lower right; further signed along the verso.Sight; height: 39 1/2 in x width: 29 1/2 in. Framed; height: 45 1/2 in x width: 35 1/2 in.br/>Condition:The colors are bold and bright. The surface is not entirely stable. There is craquelure and significant loss to the paint throughout the entire canvas. Along the verso there is discoloration throughout the canvas. Text has been stamped along the canvas along the verso but it is illegible. All canvas keys are present. No signs of restoration under UV light. Not inspected out of frame.
Yana Golubyatnikova (Ukrainian, b. 1977). Oil painting on canvas still life titled "Silver Teapot" depicting a still life with a silver teapot and yellow pears on the table, 2005. Signed along the upper left; signed, titled, and dated along the verso.Sight; height: 26 3/4 in x width: 26 3/4 in. Framed; height: 35 in x width: 35 in.br/>Condition:The colors are bold and bright. No losses, tears, or restorations when viewed under UV light. One small spot of craquelure along one of the pears in the lower right quadrant. Clean verso; all stretcher keys present. Very minimal wear to the frame.
Bernard Chaet (American, 1924-2012). Oil on canvas painting titled "Three Sunflowers" depicting a still life with a vase with flowers set against a primarily white background, 2001-2002. Signed, titled, and dated along the verso.Unframed; height: 28 1/4 in x width: 34 in. Framed; height: 29 1/4 in x width: 35 in.br/>Condition:The colors are bold and bright and the surface is stable. No apparent losses or restorations. Light wear along the edges; the edges are lined with white tape, visible in the lot listing photos. Light wear to the frame.
Ed Baynard (American, 1940-2016). Oil on canvas painting titled "Composition with Two Purple Flowers" depicting a colorful vase on a yellow platform containing purple flowers, 2000. Signed, titled, and dated along the verso.Unframed; height: 30 in x width: 24 in. Framed; height: 35 in x width: 28 3/4 in.br/>Condition:The item is in excellent condition with no visible tears, creases, or losses. All margins are visible. The surface is stable, and the color is bold and bright. No visible sign of restoration under UV light. Very light wear to the frame.
Ed Baynard (American, 1940-2016). Acrylic on clayboard painting titled "Piscine Promenade" depicting a surreal composition with bright flowing colors intertwined with fish and a human skull, 2010. Signed, titled, and dated along the verso.Unframed; 36 in x 18 in. Framed; height: 39 in x width: 21 in.br/>Condition:The colors are bold and bright. There are no tears, losses, or restorations. Very light wear along the extreme edges. Framed under plexiglass; light wear to the frame. Not inspected out of frame. Clean verso.
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