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Preisdatenbank abonnierenJ T Wilson (19th century) ‘The Fox and Hounds’, Stratford; ‘The Old Black Bull’, Stratford; ‘The Blue Boar’, Stratford; ‘The Red Lion’, Leytonstone; ‘The Plough and Harrow’, Leytonstone; ‘The Bell Inn', Leytonstone; ‘The Thatched House’, Leytonstone;pencil and watercolour heightened with white 18 x 27cm (7)Condition Reportoverall: 41 x 50cm Light foxing and time staining. Not viewed out of glazed frames.
An embroidered panel,19th century, Ottoman Empire, worked in silk, depicting a vase of flowers beneath an arch within a scrolling foliate border, with a tasselled fringe,183 x 120cm Condition Reportsilk thread lost in places, particularly dark green, overall light staining and fading, wear to the cotton? ground
J T Wilson (19th century) ‘The Roebuck’, Lewisham; ‘Brockley Jack’, Lewisham; ‘The Salutation’, Lewisham; ‘The Mansion House’, Deptford; ‘The Cape of Good Hope’, Deptford one signed, pencil and watercolour heightened with white 18 x 27cm (5)Condition Reportoverall: 41 x 50cm Light time staining with foxing starting to emerge in places. ‘The Roebuck’ has some light cockling. Not viewed out of glazed frames.
J T Wilson (19th century) ‘The Six Bells’, Acton; ‘The White Hart’, Acton; ‘The Red Lion’, Edgware; ‘The King’s Arm’s', Edgware; ‘The Bald-faced Stag’, Edgwarepencil and watercolour heightened with white 18 x 27cm (5)Condition Reportoverall: 41 x 50cmSome light foxing starting to emerge in places. The worst affected is ‘The Red Lion’, please see images. Not viewed out of glazed frames.
J Murphy, after Francis Wheatley 'The Encampment at Brighton';'The Departure From Brighton'a pair, coloured mezzotints53 x 66cm,Richard Earlom, after Francis Wheatley 'Going to Labour';'Preparing for Market'two coloured mezzotints47 x 61cm (4)Condition Reportoverall: 'The Encampment at Brighton', 64 x 75.5cm; 'The Departure From Brighton', 62 x 76cm; 'Going to Labour' and 'Preparing for Market', 60 x 72.5cm.Paper discolouration with foxing and staining to all. 'The Departure From Brighton' has some light surface abrasions with a 5cm crease along the top edge, and the glazing is cracked. Not viewed out of glazed frames.
A large circular walnut extending dining table,early 20th century, French, the quarter-veneered top raised on a split-pedestal column support and octagonal base, with fold-out leaf and flip-down supports,144cm diameter80cm highCondition ReportLight surface wear, scratches and marks in line with age and use, the top lightly faded.Sadly, this table is missing the drop-in leaves for when extended.
An Edwardian octagonal tented clothes closet by Robinson & Son, Ilkley, Yorkshire,with finial, brass hangings and a locking handle,76cm diameter230cm highCondition ReportThe fabric is a little discoloured but free from holes, the fabric binding decoration to the edges is loose and failing.The door closes and the brass latch works as it should.It is a light weight portable piece of furniture, which is reflected in the frame work, but is not unsound.
'Opening Time is Guinness Time'advertising poster with a toucan opening a bottlelithograph, published by John Waddington Ltd., Leeds74 x 49cmCondition Reportoverall: 78.5 x 53cmDiscolouration to the paper with light creasing. Spots and speckles of surface dirt. A 35cm faint brown vertical line to the right hand side, with staining and watermarks to the bottom of the print, please see images. Not viewed out of glazed frame.
A Sheraton Revival mahogany dressing table mirror,19th century, having satinwood banding and inlaid urn and swag decoration,63cm wide24.5cm deep87cm highCondition ReportVery little damage with only a small veneer chip to the right corner of the shield mirror frameSome marks to the top surface of the base, also some light surface scratched along to front edge above the drawers, but no lifting marquetry or other apparent damages.
J T Wilson (19th century)‘The Golden Lion’, Romford;‘The Bull Inn', Dagenhamthe first signed 'J. T Wilson' l.r., the second signed ‘Wilson’ l.l. (obscured by mount), pencil and watercolour heightened with white18 x 27cm,together with:‘The Sun Inn and The Compasses’, Romford; ‘The King’s Head’, Romford;‘The Coach and Bell’, Romford; ‘The White Hart’, Romford’; ‘The Cross Keys’, Dagenham (7)Condition Reportoverall: 41 x 50cmFoxing and time staining with light cockling to the paper. The ‘King’s Head ‘ and ‘The Sun Inn’ are the worst affected, please see images. Not viewed out of glazed frames.
A Royal Copenhagen 'Blue Lace' vase,19th/20th century, the reticulated pentagon-shaped neck above a squat body and pentagonal base, numbered '1/1124', 15cm diameter 20.5cm highCondition ReportThe foot chipped in multiple areas. light scratching to the surface, pierced top section free from damage chips to the feet and restoration required.
A Spode felspar porcelain part dessert service,19th century, with green banded and gilded floral decoration, footed rectangular dish 34cm wide 22cm deep 12cm high (qty.)Condition Report2 x rectangular serving dishes - scratched enamel and gilding 2 x bon bon dishes 1 x large footed rectangular plate 2 x oval serving dishes - a star crack to base 2 x circular serving dishes 4 x scalloped rim dishes 16 x dessert plates1 x sauce tureen - cover is cracked, one handle is rivetted and the standish also has glaze cracks.All pieces have some light wear to the gilt borders and gilt decoration.
Indian School,Punjab, late 19th century, a ceremony with ten Sikh gurus and attendantsgouache on paper68 x 86cmCondition ReportOverall: 90 x 105cmThe paper is rippled and lightly creased. There is foxing starting to emerge in places. Light surface abrasions and scratches throughout. There appears to be a small 4cm x 2cm patch repair to the top left. Not viewed out of glazed frame.
George Keating, after George Morland'Children Playing at Soldiers'coloured mezzotint44 x 54cm,William Ward, after George Morland'The Effects of Extravagance and Idleness'plate 64 x 48cm,others, after George Morland'Setters'mezzotint32 x 38cm;Figures resting with dogscoloured stipple engraving45 x 35cm (4)Condition Reportoverall: 'Children Playing at Soldiers'; 62.5 x 72cm; 'The Effects of Extravagance and Idleness', 78 x 60,5cm; 'Setters' 48 x 55cm; Figures resting with dogs, 59 x 49.5cm.Discolouration to the paper with time staining, foxing and light creasing. The glazing of 'The Effects of Extravagence and Idleness' is cracked and missing the top half. Not viewed out of glazed frames.
â–´ Emma Tennant (b.1943)'One Pear'signed with initials and dated '94', watercolour on handmade paper18.5 x 14.5cm, in a Victorian rosewood frameExhibited: Mallett, London, 1996.Condition Reportoverall: 31.5 x 27cmThere is a 4cm line visible to the upper left quarter which appears to be a pencil mark showing through the paper. Light time staining and a brown mark to the upper left corner. There are some brown spots and speckles and it is unclear if these are part of the paper which is handmade, please see images. Not viewed out of glazed frame.
J T Wilson (19th century) ‘The Greyhound’, Eltham; ‘The Three Hammers’, Eltham; ‘The Black Horse’, Eltham; ‘The Porcupine Tavern’, Elthampencil and watercolour heightened with white 18 x 27cm (4)Condition Reportoverall: 41 x 50cm Time staining with light foxing in places. The worst affected is ‘The Greyhound’, please see images. Not viewed out of glazed frames.
Emily Eden (1797-1869) 'Portraits of the Princes and Peoples of India by the Honble. Miss Eden/Drawn on the Stone by L. Dickinson' with hand-coloured lithographed title page depicting the son of the Nawab of Banda, and twenty-four hand-coloured lithographed plates by Lowes Dickinson, heightened with watercolour and bodycolour, each with printed caption below the image, printed on card, printed by Charles Hullmandel, published by J Dickinson, London, 1844 unbound, in a portfolio card 52 x 37cm Emily Eden (1797-1869), the seventh daughter of William Eden, 1st Baron Auckland, was a novelist, gifted artist and traveller. She journeyed to India in 1836 with her sister Fanny to join their brother George, Lord Auckland, who was Governor-General between 1835 and 1842, and proceeded to write entertaining accounts of her time there. These were full of local colour and included descriptions of ceremonies and social functions, witty observations and, on occasion, she gave perceptive insights into significant political events. After a stay in Calcutta, Emily and her two siblings toured through Oudh and the Upper Provinces between October 1837 and February 1840, when she recorded their experiences in letters and sketched the people and places they visited. On her return to England in 1842, Emily worked up a number of the sketches, which she then had printed privately and published in four parts in the 'Portraits'. Most copies were issued in monochrome, but a few were enhanced by exquisite hand-colouring, of which the work offered here is one. The collection of twenty-four lithographs includes not only celebrated princely figures, such as the Maharaja Ranjit Singh, whom she met in 1838, and the King of the Punjab, Maharaja Sher Singh, but also members of their families, servants at Government House and various religious figures. On her meeting with Ranjit Singh, she presented him with her sketch of a portrait of Queen Victoria, with whom she corresponded, in her coronation robes. The superb quality of the plates and the freshness of the hand-colouring capture the magnificence of the artist's subjects and their entourage, and the images include caparisoned elephants, horses from the Mararajas’ stables, hawks and even hunting leopards, a gift to Lord Auckland from the King of Oudh. Condition ReportThe sheets are unbound in a portfolio and the corners are slightly worn with some small rips and tears to the edges. Some light time staining with dirty marks and smudges to the margins. Overall the printed areas appear to be in generally good condition. The sheets printed with text are foxed.
J T Wilson (19th century) ‘The Bell Inn', Hendon’; ‘The Bear’, Hendon’; ‘The Plough Inn', Hendon; ‘The King’s Head’, Hendon; ‘The Greyhound’, Hendonpencil and watercolour heightened with white 18 x 27cm (5)Condition Reportoverall: 41 x 50cm Light foxing starting to emerge to some. The worst affected is ‘The Bell Inn’, please see images. Not viewed out of glazed frames.
A large suzani panel,19th century, probably Bokhara, Uzbekistan, worked in multicoloured silk threads on a cotton ground, decorated with large floral medallions within a similarly patterned border, with old label to the reverse, '6776, V Frases algiers 1902',239 x 163cmCondition ReportMade from six panels. Some light stains and marks, frayed edges and small plucks to threads. Overall in good cosmetic condition small isolated areas of staining and small holes
Indian School, 20th centuryA ceremonial dancegouache on linen121 x 89cmCondition Reportoverall: 126 x 95cmTwo small rips to the upper left corner and light surface abrasions. Some losses and in places the paint is rubbed and worn, please see images. There is a vertical line running down the centre. The linen is very thin.
A diamond cluster ring set with seven diamonds, size K. Stamped 18kt and marked as 0.33ct of diamonds. Weight 2.9g. Diamond secure. Very good condition with only light wear on shank. Please see the buyer's terms and conditions for purchasing diamonds and coloured gemstones. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect, nor does the mention of one fault preclude the presence of another. Griffin's does not guarantee the working order or accuracy of any watches sold.
Robertson's Golden Shred enamel badge - lemon on card. Some light scratches to yellow enamel. Miller makers mark. These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.
Half-eternity CZ ring, size O. Weight 2.93g. Stamped 916 (22ct). Good condition. Light surface abrasions on shank as consistent with use. Please see the buyer's terms and conditions for purchasing diamonds and coloured gemstones. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect, nor does the mention of one fault preclude the presence of another. Griffin's does not guarantee the working order or accuracy of any watches sold.
Masonic silver past masters jewels (8), all hallmarked, with Standard Lodge No.6820 to W. Bro. Charles Harris 1949-50, The Lodge of Wych-Malbank No.6064 to W.Bro. W.R. Bowen 1947, Light of the Craft Lodge No.3265 to W.Bro. S.G.P. Osborne 1978-79, Temperance Lodge No.2876 to W.Bro. James R. Galston 1977, Bretton Priory Lodge No.5774 to W. Bro. F.A. Haigh 1965, Tolworth Lodge No.5462 to W.Bro. Eric Smith 1961 and represented to W.Bro. F.C. Wilson 2002, Lodge Fellowship No.20 to W.Bro. C. Davies 1977 and boxed Westfield Lodge No.3686 to W. Bro. John Scrivens 1956. Qty 8
Sam Francis (American, 1923-1994). Monotype on handmade paper titled "Chariot," 1985. This print depicts an abstract composition of amorphous forms in various colors such as red, blue, yellow, black, and green. Signed in pencil along the lower right. Original artist pencil inventory number on the lower edge of the verso "GTW-VF-VB. 03-#2-1985." With detached gallery labels.Provenance: Pamela Auchincloss Gallery, Santa Barbara, California; Flanders, Minneapolis, Minnesota; Private Minnesota Collection.Lot Essay:Sam Francis came to be an artist under unlikely circumstances. After serving the Air Force during World War II, Francis was injured during flight test maneuvers and subsequently hospitalized. It was while he was recovering that he first began to paint. Francis went on to graduate from the University of California, Berkeley in 1950 with a degree in art and began his European travels. His first stop was Paris, where he studied Monet’s “Water Lilies†and developed a relationship with the Matisse family and artists such as Al Held, Joan Mitchell, and Jean-Paul Riopelle. He went on to develop and maintain studios in Bern, Paris, Tokyo, Mexico City, New York and Northern and Southern California.Sam Francis was considered a revolutionary master of color, space, and light. His works call to various art movements - New York Abstract Expressionism, Impressionism, Art Informel, and color field painting. They are characterized by bright, vibrant splashes of color against a luminous white background. Francis took great interest in the creative process, but his understanding of the relationship between color and light set him apart from contemporaries such as Jackson Pollock and solidified him as a key player in contemporary art history.Height: 30 in x width: 25 1/2 inCondition: The sheet is in excellent condition with no tears, rips, losses, or restorations. The colors are bold and bright. Along the verso there are two areas of framer's tape along the top left and right edge. There are two rectangular areas of skimming to the sheet along the upper left and right corners of the verso. Each measure 1 inch x 1.5 inches. Purple and red spots along the verso original to the artistic process. It is possible that there is very light wear along the deckled edges. There are natural areas of unevenness to the paper due to the handmade nature of the material. Not framed.
Paul Cadmus (American, 1904-1999). Crayon on paper drawing depicting a nude male figure. Signed along the upper center margin.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 13 1/2 in x width: 10 3/4 in.Condition: No visible tears, creases, or losses. No visible signs of restoration under UV light. There are light surface scratches to the lower left quadrant. All four margins are not clear cut; however, it is original to the artistic practice. Due to the original color of the paper, it is difficult to discern whether there is foxing or soiling. Color pencil marks to the upper right margin are original. Clean verso; there is a minute original color pencil mark which does not affect the recto.
Robert La Hotan (American, 1927-2002). Oil on canvas painting titled "The Virgin Woods" depicting an Impressionist style forest. Signed along the lower right. The bold daubs of jewel tones add to the depth of the forest depicted, allowing the viewer to become lost in the sun-dappled woods.Provenance: The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Unframed; height: 40 1/4 in x width: 36 1/4 in. Framed; height: 40 1/2 in x width: 36 1/2 in.Condition: There are no rips, tears, or restorations. The colors are bold and bright. When inspected under UV light, there was a network of accretions throughout, not noticeable at arm's length. Light wear to the frame.
Middle Eastern or Turkish kapanuk hanging wall rug with long tasseled fringes meant for a tent or yurt door.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went.Height: 6 ft 9 in x width: 4 ft 7 in.Condition: The colors are bold and deep. Even pile throughout. Some losses and wear to the fringe; most are in good condition. Light wear to the back. Light dust and dirt collected throughout.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "That’s as Fair as I Know How to Make It." Pencil signed and dated 2002 along the bottom edge. Editioned 1/18 along the bottom right edge. Titled along the top edge of the print.Unframed; height: 17 in x width: 14 1/2 in. Framed; height: 21 in x width: 18 3/4 in.Condition: There are no visible tears, losses, or restorations when inspected under UV light. There is some undulation to the sheet. The artwork is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
MasterCraft, United States. A brass and glass display cabinet or vitrine with smoked glass back, one of two in this auction. Complete with lighting displayed.Height: 86 in x width: 39 in x depth: 15 in.Condition: Structurally stable and sturdy. Very light wear throughout. All doors open and close smoothly. No visible cracks, dents, or losses. Along the back, there is a line of adhesive residue line; please see the listing image. To the lower back, there is a tape adhered. Wear along the underside, consistent with age and use.
Frank Stella (American, b. 1936). Lithograph on paper titled "Quathlamba I" depicting three abstract 'V' forms fitting together to form a trapezoid, 1968. Each 'V' form is created in geometric repetitions of the stripe patterns in various shades of gray. Pencil signed and dated along lower left quadrant and numbered 99/100.Sight; height: 16 in x width: 28 1/2 in. Framed; height: 22 1/4 in x width: 34 1/2 in.Condition: There are no rips, major creases, losses, or restorations. Light undulation to the sheet throughout. Framed under a non-acidic mat. There is a line of very faint toning/discoloration along the right side, not visible when framed. The work is hinged to a stiff paper backing with two pieces of framer's tape along the right and left corners of the verso. Some residue tape and light skimming along the verso along the corners from previous framing. Framed under glass; light wear to the frame. The paper backing has been cut along three sides to allow for inspection out of frame.
May & Vieve Hamilton Pottery for Vernon Kilns, United States. Orange pottery vessel titled "Spheres No. 4" in the form of a banded sphere, ca. 1930s. Stamped along the underside. Diane May Stuart Hamilton de Causse (1886-1971) and Genevieve "Vieve" Bartlett Hamilton Montgomery (1887-1976) were two sisters known for their modernist sculptures and designs. With the guidance of their mother, they rose to prominence as early female potters in the United States.Height: 5 x diameter: 5 in.Condition: No chips, cracks, losses, or restorations. Very light wear throughout; a few light scratches across the body of the exterior. Wear to the footrim.
Georges-Ebrin Adingra (Ivoirian/French, 1933-2015). Oil and mixed media on canvas abstract painting, 1967. Signed and dated along the verso.Unframed; height: 21 1/2 in x width: 13 in. Framed; height: 22 1/2 in x width: 14 in.Condition: The painting appears to be in good condition. There are no major losses, rips, or restorations. Due to the nature of the material it is impossible to know if there are any minute losses. Light wear to the frame.
Clement Bernard Haupers (American, 1900-1982). Oil on Masonite portrait painting depicting an Algerian man resting. He is dressed in bright blue robes with red stripes and a red hat.Clement Bernard Haupers was a St. Paul born American painter, printmaker, arts administrator, and arts educator active from the 1920s to the 1980s. He is best known for his directorship of the Minnesota Works Progress Administration Federal Art Project and for his influence in the Minnesota art community.Unframed; height: 8 3/4 in x width: 17 3/4 in. Framed; height: 11 1/4 in x width: 20 in.Condition: The colors are bold and bright and the surface is stable. There are no major losses or restorations when inspected under UV light. There are two spots of accretions along the lower left corner that show up under UV light. Soiling/paint along the verso, original to the artistic production. There is a piece of black electrical tape along the lower edge of the verso keeping it held within the frame. Some wear along the verso from nails. Wear to the frame.
Warren MacKenzie (American, 1924-2018). Studio pottery altered ceramic bowl. Shino glazed stoneware. Stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 4 3/4 in x diameter: 10 in.Condition: Overall there are no visible chips, cracks, losses, or restorations. There is a glazing flaw along the top rim measuring approx. 1/2 inch in length, visible in the lot listing. Light wear throughout.
Scott Amrhein (American, 20th/21st c). Oval glass vessel titled "Elliptical Oval Lumen," 2004. Signed and dated along the underside. The vessel with a woven metal rim. With a wooden and metal stand. Amrhein owns High Cliff Studio located in Sherwood, Wisconsin.Height: 11 1/2 in x width: 28 in x depth: 9 in.Condition: No visible cracks, losses, or restorations. Very light wear throughout. There are four small, round felt tabs affixed to the top of the stand to protect the glass vessel.
Meissen, Germany. Set of 12 porcelain plates, each hand-painted with different fruits. Each marked along the underside with crossed scepters in blue. Each with impressed "U68 58 3" along the underside. With gilt scalloped rims.Each, diameter: 8 3/4 in.Condition: There are no major breaks, chips, losses, or restorations. Wear throughout consistent with age and use including light losses to the gilt, accretions, and wear to the footrims.
Middle Eastern or Turkish kapanuk wool hanging wall rug with long tasseled fringes meant for a tent or yurt door.Provenance: From the Estate of Horst Rechelbacher, Osceola, Wisconsin.Horst Rechelbacher, the founder of Aveda and Intelligent Nutrients, was a pioneer in the field of safe and eco-friendly cosmetics. The same curiosity that led him to explore ways to improve the beauty industry led him to travel the world, collecting rare and beautiful objects as he went.Height: 6 ft 10 in x width: 4 ft 6 in.Condition: The colors are bold and deep. Even pile throughout. Wear and a few loose threads to the fringe; most in good condition. Light to the backing. Light dirt and dust collected throughout.
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic square box with applied rings. Shino glazed stoneware. Stamped along the lid along the interior of the ring.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 4 1/2 in x width: 3 3/4 in x depth: 3 3/4 in.Condition: There are no visible chips, cracks, losses, or restorations. There is a glazing flaw along the base piece measuring approximately 1/2 inch in length, visible in the lot listing. Extremely light wear throughout. Light wear along the lid rim, base rim and foot rim, consistent with age and use.
Daniel Lotton (American, 20th/21st c.) for Lotton Art Glass, United States. Art glass perfume atomizer in pink with a webbed decoration in iridescent light green or blue, 1989. Signed and dated along the underside.Height: 5 3/4 in x diameter: 3 1/2 in.Condition: No chips, cracks, losses, or restorations. Extremely light wear. The atomizer functions.
Rod Massey (American, b. 1949). Oil on panel painting titled "Between Houses, Spring" depicting two white homes, 2000. Likely depicting houses in Minneapolis, St. Paul, or one of the Twin Cities' suburbs. Signed, dated, and titled along the frame 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.Unframed; height: 10 in x width: 12 1/4 in. Framed; height: 15 in x width: 17 1/4 in.Condition: The colors are bold and bright and the surface is stable. There are no cracks, losses, or restorations when inspected under UV light. Some soiling (paint) along the verso, likely original to the artistic process. Light wear to the frame.
Jean-Claude Picot (French, 1930-2022). Enhanced giclee on canvas depicting a beach scene. Signed along the lower right and numbered 111/250 along the verso.Sight; height: 11 1/4 in x width: 12 3/4 in. Framed; height: 19 1/4 in x width: 21 in.Condition: No visible tears, creases, or losses. No visible signs of restoration under UV light. The surface is stable, and the color is bold and bright. Clean verso with pen inscriptions. Wear to the frame; there are losses along the edges; please see the listing image.
Oiva Toikka (Finnish, 1931-2019) for Iittala, Finland. Pair of glass birds. Each signed and dated 2007 along the underside. One with a spiderweb design of white and blue. The other in dark green and deep amber.Blue; height: 6 1/2 in x width: 4 in x depth: 11 in. Black; height: 7 1/2 in x width: 5 1/2 in x depth: 12 in.Condition: There are no visible cracks, losses, or restorations. Very light wear throughout. There is a small patch of roughness along the tail of the blue bird.
Felix Mas (Spanish, b. 1935). Serigraph on paper with gold leaf titled "Harmony" depicting two figures standing back-to-back against an abstract background with textured gold leaf, 1990. Pencil signed along the lower right; numbered 94/300 along the lower left.Sight; height: 39 3/4 in x width: 33 in. Framed; height: 48 in x width: 41 1/2 in.Condition: Overall there are no visible tears, losses or creases. The sheet has undulation throughout, most noticeably along the upper margin. The color is bold and bright. There is a light accretion to the upper left corner of the mat, which does not affect the artwork. There are marks along the exterior of the plexiglass that do not affect the work. There is very light wear to the frame. Backing has impressions throughout; there is a dent on the upper right corner as shown in the listing image. There is adhesive residue to the upper left of the backing as well. Not examined out of frame. There are no visible signs of restoration under UV light.
Pat Steir (American, b. 1940). Aquatint on Magnani Pescia Satinato bright white paper titled "Beautiful" depicting one of the artist's signature waterfall forms, 2008. Pencil signed and dated along the lower right. From an edition of 120; inscribed "ed. 120" along the lower left. Printed by Carol Weaver and Johee Kim and editioned by Carol Weaver and Felix Harlan. Published by the Madison Print Club. With a printing information sheet signed by Carol Weaver.Image; height: 17 3/4 in x width: 7 3/4 in. Framed; height: 31 in x width: 23 3/4 in.Condition: The colors are bold and deep. The impression is clear. There are no visible rips, losses, stains, or restorations. Framed under glass; light wear to the frame; not inspected out of frame.
Mimmo Paladino (Italian, b. 1948). Group of four color linocut prints from the "Ulysses" suite, 1984. Each depicting an abstract composition in bold colors. Including "Dedalus," "Introibo Ad Altare Dei," "Sogno Umido," and "Ellpodbomool." Each pencil signed along the lower right and numbered 35/65 along the lower left.Provenance: Distinguished corporate collection, Minnesota.(Each) Sight; height: 35 1/4 x width: 50 1/4 in. Framed; height: 42 1/4 x width: 57 1/4 inCondition: All prints appear to be in good condition with no visible rips, losses, or restorations. The colors are bold and bright. There is a light undulation to the sheets throughout. Each framed under a non-acidic mat. Light wear to the frame; framed under plexiglass; not inspected out of frame.
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