534325 Lose gefunden, die zu Ihrer Suche passen. Abonnieren Sie die Preisdatenbank, um sofortigen Zugriff auf alle Dienstleistungen der Preisdatenbank zu haben.
Preisdatenbank abonnierenAfter Pablo Picasso (Spanish, 1881-1973). Lithograph on paper titled "Faunes et Flores" depicting a colorful abstract scene, 1959. Signed and dated in plate.Sight; height: 25 in x 19 1/4 in. Framed; height: 26 1/2 in x width: 20 3/4 in.Condition: No visible tears, creases or losses. No visible signs of restoration under UV light. The color is bold and bright. The sheet is toned. Framed under glass. Not inspected out of frame; there is wear to the frame.
John Waters (American, b. 1946) for Adora Porcelain, New York. Set of three "The Girls" porcelain collector plates depicting Barbie-like dolls with bouffant hairstyles and thick makeup, 2003. Including "Tina," "Kim," and "Kathy." Each plate is signed and numbered 24/300 along the underside. Each housed in the original packaging.Each, Diameter: 10 1/4 in.Condition: Each plate is in good condition with no chips, cracks, losses, or restorations. Extremely light wear throughout. Light wear to the boxes.
Rembrandt Harnenszoon Van Rijn (Dutch, 1606-1669). Etching and drypoint on laid paper titled "The Death of the Virgin" depicting the dormition of the Virgin Mary as the heavens sweep down to her body, surrounded by loved ones and holy figures, 1639. Third state printing. With a figure of fortune watermark.Literature: Bartsch 99; White & Boon 99.Sheet; height: 16 1/2 in x width: 13 in. Mat; height: 20 in x width: 16 in.Condition: No major rips, creases, or restorations. The sheet is toned. There is foxing throughout, visible in the lot listing. Some wear along the edges including a few minute losses along the upper left corner. There is an area of light skimming to the surface along the upper right corner. The sheet is hinged to the matboard backing with three pieces of clear tape along the verso: one along the upper right corner, the upper left corner, and the upper center. A few light areas of handling marks. A watermark is visible under direct light. The work is housed between two matboards. Not framed.
Milton Resnick (American, 1917-2004). Oil on paper painting depicting the artist's signature abstract composition in bright colors, 1960. Signed along the lower left. With a label from Columbus Gallery of Fine Arts (later the Columbus Museum of Art) affixed along the verso. This painting is characteristic of his abstract works of the early 1960s which moved from figural to more loose handling of the paint. It was at this time that his paintings began to grow in size as well, sometimes reaching sizes of 25 feet in length.Provenance: Howard Wise Gallery, New York; The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Unframed; height: 31 in x width: 53 in. Framed; height: 35 1/2 in x width: 56 1/2 in.Condition: The colors are bold and bright. There is one small area of loss along the lower center of the composition. Undulation to the sheet throughout. Light wear along the deckled edges; some small creases along the extreme edges that may be original to the nature of the paper. The work is floated in frame. It is affixed to an acidic backing. The sheet is hinged along each corner with adhesive. Wear to the frame; the top bar of the frame is loose. Framed under glass.
David Rathman (American, b. 1958). Etching and aquatint on paper titled "Butterfly Mornings, Wildflower Afternoons." 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 1/4 in x width: 14 in. Framed; height: 21 1/4 in x width: 18 3/4 in.Condition: The item is in good condition with no visible tears, losses, or creases. Four margins are visible. The paper is floating on the matte. No visible sign of restoration under UV light. Framed under plexiglass; not inspected out of frame. Very light wear to the 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. No visible cracks, dents, or losses. No visible sign of restoration under UV light. Doors open and close very smoothly. Along the back, there are horizontal adhesive marks, possibly from tape. Light wear throughout. Wear along the underside, consistent with age and use.
Group of seven gold coins. Six Caciques de Venezuela .900 gold purity coins and one gold "Mother Light of Life, Tenderness & Love" coin. One coin mounted as a pendant.Diameter ranging from 18 mm to 23 mm. Gross weight of coins: 35.7 grams.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Bjorn Wiinblad (Danish, 1918-2006). Hand-painted pottery vessel or flower vase titled "Eva No.14" in the form of a female figure, 1969. Signed, dated, and inscribed "Danmark" and "V-14" along the interior of the underside vessel. In blue and white with a pink hue to the vessels adorning the head and upper rim.Height: 12 in x diameter: 13 1/2 in.Condition: No major losses, cracks, or restorations. There are four minute chips to the candleholders on the left side of the vase. Very light wear throughout. On the footrim there are four green felt tabs affixed to the vase. There are six spots of residual adhesive from previous tabs.
Carol Summers (American, 1925-2016). Color woodcut titled "Red Lake" depicting a landscape in bold colors and shapes, ca. 1970s. Pencil signed along the upper edge of the right green shape; numbered 9/30 and titled along the upper edge of the left green shape.Sight; height: 21 1/4 x width: 16 1/4 in. Framed; height: 30 x width: 24 1/2 in.Condition: The colors are bold and bright. There are no visible rips, losses, or restorations. Unevenness to the sheet and edges throughout due to the nature of the textured paper. The sheet is floated in frame. Light wear to the frame; framed under glass; not inspected out of frame.
Paul Cadmus (American, 1904-1999). Graphite on paper drawing depicting a nude woman holding her hair. Signed along the upper left.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 11 in x width: 8 1/2 in.Condition: There are no tears, losses, or restorations. There is a light crease along the upper right corner. Light wear throughout. A couple of small accretions near the lower left near the figure's knee. Some graphite marks along the verso, original to the artistic process. Not framed.
Curtis Jere for Artisan House, United States. Large vintage postmodern crane floor lamp, ca. 1970s. With a counterbalanced arm terminating in two lamps.Base diameter: 28 1/4 in. Total vertical length (both arms vertical): 12 ft 2 in. Top arm length: 8 ft 2 in. Lower arm height: 6 ft 6 in.Condition: The lights are loose in the sockets. The upper arm does not tighten or stay upright. All other pieces appear present and accounted for. Light wear to the metal throughout. Some dirt and dust accumulated throughout. Not tested for functionality.
Donald Sultan (American, b. 1951). Woodcut on TGL handmade paper titled "Four Red Flowers" depicting four vibrant red poppies, 1999. Pencil titled, dated May 17, 1999, and initialed along the left margin. Pencil numbered 33/40 along the lower right.Provenance: The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Sight; height: 35 1/2 in x width: 27 1/2 in. Framed; height: 38 in x width: 30 in.Condition: The colors are bold and bright. No creases, tears, losses, or restorations. Some unevenness along the edges of the sheet due to the nature of the paper. The sheet is hinged along the entirety of the top edge to a non-acidic matboard backing. Some very light wear along the deckled edges. Framed under plexiglass; light wear to the frame.
Paul Cadmus (American, 1904-1999). Crayon on paper drawing depicting two nude female figures standing. Signed along the lower left.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 9 1/2 in x width: 11 3/4 in.Condition: No tears, losses, or restorations. Light wear along the deckled edges, possibly original to the paper. There is a small pinhole near the right-most figure's foot in-between the two figures. Light wear from handling throughout.
Zelman & Friedman, United States. 14k yellow gold domed woven link V-shaped necklace with a solitaire garnet. The round-cut red Almandine garnet in a full-bezel mounting. Marked along the back of the clasp. With a recent appraisal.Width: 5.50 mm x depth: 2.10 mm. Chain length: 16 in. Weight: 29.8 grams.Condition: The necklace is in good condition with only light wear. The necklace shows no visible dents, cracks, or losses. The clasp works smoothly.Garnet: the garnet measures 7.50 x 7.50 x 4.04mm (approx.) and weighs and est. 1.55 carats. Medium dark, strong, and slightly purplish red coloration. Very slightly included. Refractive index reading - singly refractive - 1.79.
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: 7 ft 2 in x width: 4 ft 7 in.Condition: The colors are bold and deep. Even pile throughout. Loose threads and wear to the fringes throughout; one of the small black and white fringes along the edges is missing. Light wear and a few loose threads along the edges. Light wear to the verso. Some dirt and dust collected throughout.
Paola Lenti, Italian. Pair of two runner length hallway rugs. Cream-colored wool with two rows of brown dots. Bordered by brown stitching and backed with brown wool.Each, length: 7 ft 9 in x width: 3 ft 2 in.Condition: The colors are bright and bold. Even pile throughout. Light dust and dirt collected throughout. Light wear to the back.
Dennis Ray Beall (American, b. 1929). Etching and aquatint titled "Baal" depicting abstract forms in black and white, 1960. Pencil signed and dated along the lower right; titled and editioned A.P. along the lower left.Sight, height: 20 1/2 in x width: 16 in. Framed, height: 26 1/2 in x width: 21 1/2 in.Condition: The sheet is lightly toned. There are networks of foxing throughout. Light wear along the deckled edges. A few light creases along the upper right and left corners. The artwork is floated in frame; it is mounted to foam. Framed under glass; light wear to the frame; not inspected out of frame.
Angel Botello y Barros (Spanish/Puerto Rican, 1913-1986). Oil on canvas laid board titled "The Dead Also Eat," depicting four figures, 1948. The figure in red raises her hands above her head and three younger figures in blue offer oranges toward her. A dog and a raven sit along either side of the figure. A stylized undulating landscape flows through the background. Likely painted while he was in Haiti. Signed "A. Botello Barros" and dated along the lower right. This painting was featured on the cover of a medical journal in April 1951.We are grateful to Juan Botello for his assistance in cataloguing and confirming the authenticity of this work.Sight; height: 25 1/4 in x width: 24 1/2 in. Framed; height: 31 1/2 in x width: 31 in.Condition: The colors are bold and bright and there are no major losses. Small areas of restoration and touch-ups throughout, notably along the sky. Wear and minor losses along the extreme edges of the work, not visible when framed. Drill holes along the verso from prior framing that do not affect the recto. Light wear to the frame.
Fred Becker (American, 1913-2004). Etching on paper titled "Insectivore" depicting abstract forms of bugs, 1950. Pencil signed and dated along the lower right; titled along the lower left.Sight; height: 15 3/4 in x width: 11 3/4 in. Framed; height: 25 in x width: 20 1/4 in.Condition: There are no major losses or restorations. Light undulation to the sheet throughout; the sheet is toned. There are a few light handling creases throughout. There is a very small tear along the top center edge. Some wear along the extreme edges. There are two pinholes along the top left and right corners; likely original to production. The sheet is mounted to the matboard with two pieces of framers tape along the verso along the top right and left corners. Framed between non-acidic mats. Framed under glass; some wear to the frame. The paper backing of the frame has been cut along three edges to allow for inspection out of frame.
Warren MacKenzie (American, 1924-2018). Studio pottery lidded ceramic pot. Tenmoku 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: 8 1/2 in x diameter: 9 in.Condition: There are no visible chips, cracks, losses, or restorations. Light wear throughout. Minute glazing flaws throughout. Light wear to the footrim. Very light wear where the lid and the pot meet.
Yayoi Kusama (Japanese, b. 1929). Group of two painted cast resin pumpkins with Kusama's iconic dot motif; one in red and white and one in yellow and black, 2013. Both with the artist's copyright along the underside. Produced by Benesse Holdings, Inc., Naoshima, Japan. Both with the original box.Each, height: 4 in x width: 3 1/4 in x depth: 3 1/4 in. Box; height: 4 1/4 in x width: 5 in x depth: 5 in.Condition: The pumpkins are in excellent condition. Both pumpkins show no scratches, losses, or restorations. The boxes show very light and minimal wear, mostly to the protective foam padding along the interior.
Randy Johnston (American, 20th/21st c). Studio pottery ceramic vessel. Stoneware with his signature Kaolin flashing slip glaze with a rough, matte texture. Made from a clay that is no longer mined known as Avery Kaolin. Some of the coloration comes from being fired in a natural wood ash kiln. Stamped along the underside.Height: 11 in x width: 8 in x depth: 3 3/4 in.Condition: No breaks, cracks, losses, or restorations. Light wear throughout, mostly to the footrim, consistent with age and display.
Edward Fields, United States. Large Mid-Century Modern 100% wool pile rug depicting blue, white, green, and red flowers on a yellow field in a Pop Art style. Marked along the border along the underside and dated 1972. With a Woolmark quality certification tag affixed along the underside.Length: 12 ft x width: 9 ft.Condition: The rug is in good condition overall. There are small stains throughout, most noticeable along the white areas. There is a light accumulation of dirt and dust throughout. Along the upper left corner there are four impressions consistent with a small table being displayed on the rug. Along the backing there is soiling and wear along with a slight discoloration to the glue that is consistent with age and use. There is a long piece of clear masking tape along one edge of the backing that does not seem to affect the overall work or reflect any issues.
After Hans Holbein (German, 1497-1543). Oil on panel portrait of Margaret Roper. Inscribed "Margaret Rooper (sic), Daughter unto Sir Thomas More" along the upper right.Provenance: Possibly Galerie Moderne, Brussels, Belgium in the 1970s; Private Collection, Minnesota.Lot Essay:Margaret Roper (1505-1544) was the eldest and favorite daughter of Sir Thomas More. Extremely well educated for a woman of her time, she was particularly well-known for her knowledge of Latin and Greek. Her translation into English of "Precatio Dominica" by the Dutch humanist Desiderius Erasmus, a close family friend, was one of the earliest translations ever published by a British woman, and was very well-received. She was her father’s closest confidante in his later years, and his writings about her make it clear that he saw her as an intellectual equal. After his execution in 1535 for his refusal to accept Henry VIII’s departure from Catholicism, she and her lawyer husband, William Roper, were the people who ensured that his story did not die with him. Along with rescuing and preserving his head, Margaret carefully collected and protected More’s writings, particularly his letters from prison. Her diligence ensured the survival of the narrative of More’s martyrdom, likely leading to his eventual sainthood, conferred in 1933.This portrait is a copy by a well-trained artist of part of an original portrait by Hans Holbein the Younger. Holbein, often seen as the greatest portrait painter of his generation, first came to England in 1526 with a letter of recommendation to Sir Thomas More from Erasmus, who he had painted previously. Along with painting his now-famous portrait of More, Holbein also painted a group portrait of More with his family. This painting was destroyed by a fire in the 18th century, and now survives only through copies. Copying paintings was a common practice in the 16th century, and Holbein’s works were in high demand. His portraits were extremely popular during his lifetime, and after he died, no other portrait painters initially stepped up to take his place. As a result, the market for copies of his portraits boomed in the century after his death, as collectors clamored for Holbeins of their own. The majority of these were created within a century of his death, a fact backed up for several pieces by dendrochronology. Research even suggests that many copies were created using Holbein’s own drawings and patterns, which had come into the possession of Henry VIII following Holbein’s death. This portrait is most likely one of those early copies.There was evidently some desire to own portraits of Margaret, since multiple portraits of her alone copied from Holbein’s Sir Thomas More with his Family and Household are extant, including one in the National Trust in Knole, Kent. This was likely due to her influential status and fame as a model woman of letters. This painting is generally consistent with the other surviving copies; however, Roper’s bodice is here depicted as solid black and does not include a red panel as in other versions. The details of her costume are carefully rendered, with layers of mordant creating a low relief forming the gold decorations and chains in her garments. This painting includes Margaret Roper’s arms, which consist of her husband’s impaling her own, made up of Thomas More’s quartering her mother’s.Unframed; height: 26 1/2 in x width: 19 3/4. Framed; height: 34 in x 27 1/2 in.Condition: The panel has slightly warped, notably along the left and right edges, which are slightly convex. The surface is in good condition; some light cracks along the figure’s face, with a thick varnish layer. There are two straight vertical lines visible on the surface, due to a repair to straighten the panel. There is inpainting visible under UV light along these lines. Under UV, it is difficult to discern other areas that have been restored due to the thick layer of varnish. The verso has some inset glued joints with buttons. The frame likely early 20th century, and exhibits some wear.
Whiting Manufacturing Co., United States. Sterling silver flask with scroll repousse. With a monogram along the side. With a hinged screw-top lid. Marked along the rim.Height: 4 1/2 in x width: 4 1/2 in x depth: 1 1/2 in. Weight: 5.76 Troy oz.Condition: No major losses, breaks, or restorations. Three small dents along the body. Four dents along the lid. A few deeper scratches; light scratches throughout. Light tarnishing throughout; deeper tarnishing in the recessed areas of the work.
Roseville Pottery Company, United States. Early Velmoss cylindrical leaf vase, ca. 1916. Numbered along the underside "19k No 132-8."Height: 8 in x diameter: 2 1/2 in.Condition: No chips, cracks, losses ,or restorations. Light wear throughout consistent with age and use. Some light accretions throughout. Wear to the underside.
Heinrich Kley (German, 1863-1945). Ink on paper sketches depicting horses and figures. Signed along the lower center. With a signed slip of paper framed just above the sketches.Provenance: From the collection of Malcolm E. Lein, former director of the Minnesota Museum of American Art.Malcolm Emil Lein (1913-2003) was the director of the Minnesota Museum of American Art during its early and formative years. During his 30-year tenure, he fought to procure the museum funding, grow its permanent collection, and establish it as St. Paul's premiere gallery. Along with his wife Miriam, who worked at the Walker Art Center, he was a fixture in the Twin Cities artistic community throughout his life.Sight; height: 9 x width: 8 1/4 in. Framed; height: 18 1/4 x width: 16 3/4 in.Condition: The sheet is toned. There is a vertical crease running the length of the sheet along the right of the composition. Light creases throughout. Framed under an acidic mat. Light wear to the frame; framed under glass; not inspected out of frame.
Josh Simpson (American, b. 1949). Large art glass vase in shades of blue. Signed along the underside. The undulating shades of blue mimic the waves of the ocean, giving movement and life to the vase.Height: 19 1/2 in x diameter: 15 in.Condition: There are no visible cracks, losses, or restorations. One minute firing flaw along the body of the work. Some very light wear along the underside.
International Silver Co., United States. Set of four sterling silver objects in the pattern "Kenilworth" including two teapots, a creamer, and a sugar bowl. Also included is a J.E. Caldwell & Co. sterling silver pitcher. Each marked along the underside.Height ranges from: 4 1/2 in to 10 3/4 in; width ranges from: 5 1/2 in to 10 in; depth ranges from: 5 1/2 in to 10 in. Gross weight: 87.46 Troy oz.Condition: No major losses, scratches or signs of restoration. Throughout all the items there are light scratches and tarnishing consistent with use. There is a dent along the 10 cup teapot. There are minute dents along the body of the pitcher. There are small dents along the underside of the water pitcher. Wear to the footrims of all objects consistent with age and use.
Robert Eickholt (American, b. 1947). Art glass vase depicting reflective mirror-like swirls against a red background, 2005. Signed, dated, and inscribed "VCLEWTX" along the underside.Height: 8 in x diameter: 4 1/2 in.Condition: No chips, cracks, losses, or restorations. Very light wear throughout. There is a bubble/bump along the exterior; likely original to the artistic process.
Arne Hovmand-Olsen (Danish, 1919-1989). Pair of wooden milking stools. Tri-pod legs with rounded feet and sculpted seats.Each, height: 6 1/2 in x width: 15 in x depth: 13 1/2 in.Condition: Both stools are structurally sound and stable. Both have signs of wear including some discolorations, scratches, and some light accretions throughout consistent with age and use. One of the legs on one of the stools has been repaired and there are signs of regluing.
John Fery (born Johann Nepomuk Levy) (Austrian/American, 1859-1934). Large oil on canvas painting titled "Red Eagle Pass" depicting the eponymous mountain in Glacier National Park in Montana. Signed along the lower right. The sweeping landscape captures the breathtaking essence of the glacier and the mountainous park which inspired many of John Fery's works.Fery's paintings were often large format, sometimes reaching sizes of over one hundred square feet. He specialized in large landscapes of outdoor scenes, which attracted the interest of Louis Hill, son of James J. Hill, and owner of the Great Northern Railway, who would go on to be one of his largest customers. The works were hung in train stations and other locations to promote travel, particularly to Glacier National Park.He never lived in one place for very long, traveling throughout the United States and visiting state and national parks whenever he could. At one point, he lived in Duluth where he and fellow Austrian-born painter Feodor von Luerzer painted murals for the Fitger Brewery tap room. Though a fire near the end of his life destroyed much of his sketches and many paintings, about 150 have been discovered after his death.Sight; height: 35 in x width: 71 in. Framed; height: 43 1/2 in x width: 79 in.Condition: The colors are bold and bright and the surface is stable. Craquelure throughout including several spiral cracks. Several areas of restoration and repair throughout; there are five large patches along the verso corresponding to the largest areas of restoration. Areas of in-painting throughout. The largest area of restoration measures approx. 5 inches x 4 inches. These areas of restoration appear under UV light. Wear along the extreme edges of the canvas where it meets the frame. Wear to the frame. Discoloration to the verso and stretcher consistent with age.
Irina Zaytceba (Russian, b. 1957). Whimsical porcelain figural teapot in bright colors with applied clocks. With a lid in the form of a conical hat topped by a clock finial.Height: 11 1 /2 x diameter: 5 in.Condition: There are no major losses, chips, or restorations. Very light wear throughout.
Daniel Lotton (American, 20th/21st c.) for Lotton Art Glass, United States. Art glass perfume atomizer in purple with swirled decoration in iridescent light blue, 1989. Signed and dated along the underside.Height: 5 1/2 in x diameter: 3 1/2 in.Condition: No chips, cracks, losses, or restorations. Extremely light wear. The atomizer functions.
Finn Juhl (Danish, 1912-1989) for Baker Furniture, United States. Set of six Mid-century Modern dining chairs, model NV-51, ca. 1960s. With black leather upholstered seats and back. Sculptural carved skirts and V-shaped stretcher bars. A lovely match to the dining table offered in this sale.Each, Height: 32 in x width: 22 in x depth: 18 in.Condition: The chairs are structurally sound and stable. All components are firmly attached. There is some wear to the black leather seats including some scratches, cracking, and other signs of general use. There is signs of glue and light restorations to some of the joints to some of the chairs. There are some scuffs and scratches to the legs as expected from age and use.
William Henry Jackson (American, 1843-1942). Group of two early photochromes depicting American landscapes, 1901. One titled "The Heart of the Rockies" depicting the Rocky Mountains; Detroit Photographic Co. # 53152. One titled "Cape Horn, on the Columbia River" depicting the unique rock cliff in Oregon.Provenance: Distinguished Corporate Collection, Minnesota.(Heart of the Rockies) sight; height: 6 1/2 in x width: 8 1/2 in. Framed; height: 16 1/4 x width: 20 1/2 in.(Cape Horn) sight; height: 8 3/4 in x width: 6 3/4 in. Framed; height: 20 1/4 in x width: 16 1/4 in.Condition: (Rockies) No major tears, creases, or losses. There are light scratches throughout the lower right and left quadrants, only noticeable under close scrutiny. There is minor undulation throughout the center of the image. Framed under glass; not inspected out of frame. Light wear to the frame. Printed along the bottom "53152 The Heart of the Rockies Copyright, 1901, by Detroit Photographic Co."(Cape Horn) No major tears, creases, or losses. There is a minute crease in the upper right corner. Framed under glass; not inspected out of frame. Light wear to the frame. Printed along the bottom "53807 Cape Horn, on the Columbia River Copyright, 1901, by Detroit Photographic Co."
Krishna Reddy (Indian, 1925-2018). Intaglio print titled "Violence and Sorrow" depicting an abstract composition, 1995. Pencil signed along the lower right; titled along the lower center; inscribed "Imp [impression] by the Artist" and numbered XIII/XXV (13/25) along the lower left.Sight; height: 14 in x width: 19 in. Framed; height: 27 in x width: 31 1/2 in.Condition: The colors are bold and deep. There are no visible rips, tears, losses, or restorations. There is a light undulation to the sheet. Framed behind a non-acidic mat. Framed under glass; light wear to the frame; not inspected out of frame.
Ellsworth Kelly (American, 1923-2015). Lithograph on paper titled "Pear III" depicting a pear from the "Suite of Plant Lithographs," 1965-66. Pencil signed lower right; numbered H.C. (Artist Proof) lower left. A label from Marlborough Gallery, New York is attached to the verso. As is characteristic of the series, the pear is depicted as a simple contour drawing, all details suggested by the clean and purposeful lines. The pear is depicted without a stem, but surrounded by a spray of pear leaves, fanning out on either side, almost like wings.Reference: Axsom 47Provenance: Marlborough Gallery, New York City; The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Unframed; height: 35 in x width: 24 in. Framed; height: 37 1/2 in x width: 26 3/4 in.Condition: The artwork is in excellent condition overall. There is some light toning along the extreme edges. There is a small bump mark along the extreme edge on the upper left. There is a pencil inscription "Pear III" along the verso. The artwork is hinged along the top with framers tape. The frame has some wear.
Jenny Holzer (American, b. 1950). Group of 14 offset lithographs on paper from "Inflammatory Essays," 1979-82. Published in various colors. Generally shortened in title to the first line, this group includes the following: "Only My Brother Men...," "A Cruel but Ancient Law...," "You Get So You Don't Even Notice...," "Ruin Your Fucking Self Before...," "Shriek When the Pain Hits...," "People Must Pay for What They...," "Snakes are Evil Incarnate...," two prints of "Sentimentality Delays the Removal Of...," "Don't Talk Down to Me...," "It's Mostly Love That Makes...," "Destroy Superabundance. Starve The...," "Child Molestation is Abhorrent...," and "Thou Art That Kind of Privelaged..."Height ranges from 17 in to 17 1/4 in; width ranges from 16 3/4 in to 17 in.Condition: All sheets have a slight undulation. There are small handling marks and creases along the edges throughout the sheets. Several have light soiling along the edges. There are a few with a small creases on the corners. One of the essays "Sentimentality Delays the Removal Of..." has a small tear along the lower left edge. No other major rips or losses. None are framed.
Leonard Howard Reedy (American, 1899-1956). Watercolor on paper painting titled "Navajo Trading Post" depicting two people walking towards the white door of the trading post. Signed along the lower left. With certificate of authenticity from Wally Findlay Galleries.Provenance: Wally Findlay Galleries, Florida, May 15, 1979; Private collection, Minnesota.Sight; height: 8 in x width: 11 in. Framed; height: 14 3/4 in x width: 18 in.Condition: No visible tears, creases, or losses. No visible signs of restoration under UV light. The sheet is toned as shown in the listing image and has light undulation throughout the recto. There is light foxing visible throughout the recto. There are original pencil marks visible throughout the recto, particularly in the center and upper right quadrants. Not inspected out of frame; framed under plexiglass. Wear to the frame. The verso could not be inspected.
Terence David La Noue (American, b. 1941). Mixed media on board painting titled " Ancient and Lost Rivers: Seville" depicting an abstract composition in red, yellow, green, blue, white, and black, 1996-2000. Signed, titled, and dated along the verso.Unframed; height: 24 in x width: 21 in. Framed; height: 30 3/4 in x width: 27 1/4 in.Condition: The colors are bold and bright and the surface is stable. No visible losses, breaks, or restorations. The artwork is mounted to a panel. Due to the nature of the mounting and framing, the verso has not been inspected. Light wear to the frame.
Reliquary reputably containing the skin and hair of St. Teresa Margaret of the Sacred Heart, OCD (Italian, 1747-1770). Born Anna Maria Redi, she was admitted to the monastery of Discalced Carmelite nuns in Florence in November 1764. She took the name Teresa Margaret Marianne of the Sacred Heart and took her vows on March 12, 1766. She died at the young age of 22 in 1770, having had a premonition of her death shortly before. The beatification process began in 1806 and was approved over a century later in 1929. Her canonization finally took place in 1934. The present relics come with a letter of authenticity dated May 4, 1933, shortly before her canonization.Height: 1/2 in x diameter: 1 1/2 in.Condition: There is oxidation throughout the casing. There is wear consistent with age. No visible signs of repair under UV light.
Margo Margolis (American, b. 1947). Oil on paper painting titled "Wrap" depicting a geometric raised image on a rectangle of white, 1976. Pencil signed and dated along the lower right. With a gallery label affixed along the verso.Provenance: Brooke Alexander Inc., New York; Distinguished Corporate Collection, Minnesota.Sight; height: 29 1/2 in x width: 22 1/4 in. Framed; height: 32 1/2 in x width: 25 in.Condition: There are no major visible losses, rips, or restorations. The sheet is toned. There is a darer area surrounding the rectangular area of paint. Wear along the deckled edges. There are two pinholes along the upper right and left corners, original to the artistic production. Some paint accretions through the sheet, likely original to the artistic process. The sheet is floated in frame. Light wear to the frame; framed under plexiglass; not inspected out of frame.
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.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.
Walton Ford (American, b. 1960). Engraving, drypoint, and aquatint on wove paper titled "Nantes" depicting a monkey attacking a parrot with a disrupted still life in the foreground, 2009. Pencil signed and dated along the lower right; numbered 23/65 along the lower left. Published by Paul Kasmin Editions, New York. From an edition of 65 along with 25 artist proofs.Inspired by the works of John James Audubon, Ford repositions the animals in his works into chaotic and violent scenes. His works are a commentary on the history of colonialism, slavery, and oppression. He also forms a commentary on the ways in which Audubon collected his specimens, often killing the creatures in order to draw them as alive.Sight; height: 47 1/2 in x width: 36 1/2 in. Framed; height: 52 1/4 in x width: 41 in.Condition: No visible tears, creases, or losses. The sheet is floating on the frame; all four margins are visible. To the upper right margin, there is a light crease to the sheet. Along the edges of the image, there is light brown areas that are original to the artistic production. Framed under plexiglass; not inspected out of frame. Very light wear to the frame. No visible sign of restoration under UV light.
Robert Meadows (American, 1933-2009). Oil on canvas painting depicting a single eggplant, 1964. Incised signature and date along the lower right.Provenance: Distinguished Corporate Collection, Minnesota.Unframed; height: 17 3/4 in x width: 18 1/2 in. Framed; height: 21 in x width: 22 in.Condition: There are no restorations, tears, or losses to the painting. The color are bold and deep. There is craquelure along the eggplant. There is a slight undulation to the canvas. Verso not inspected. Light wear to the frame.
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic plate. Shino glazed stoneware with fingermark decoration along the top. Stamped along 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.Diameter: 7 1/2 in.Condition: There are no visible chips, cracks, losses, or restorations. Light crazing to the glaze, along the outer edge of the top. Light wear to the footrim, consistent with age and use.
Warren MacKenzie (American, 1924-2018). Tall lidded studio pottery ceramic vessel with three bands encircling the pot. Matte gray stoneware. Double 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: 11 1/4 in x diameter: 8 1/2 in.Condition: There are no visible chips, cracks, losses, or restorations. There is crazing throughout the vessel and the lid. There is an indent along the lowest ridge and near the footrim, likely original to artist production. Light wear along the footrim and along the lid, where the lid and vessel meet, consistent with age and use.
Baccarat, France. Cut crystal glass epergne or fruit and flower vase. The glass with scalloped rims. With silver fittings. The stem of the vase is in the form of a cherub with outstretched arms holding aloft the bowl. On four low feet. Marked along the underside.Height: 12 1/2 in x width: 7 in.Condition: There are no major cracks, losses, or restorations. There are several fleabite chips throughout along the edges of the glass. There is one small chip along the glass along the base. Light wear to the silver throughout. Some evidence of silver polish residue in the recessed areas of the work. Some tarnish to the silver, mostly in the recessed areas. Light dust/dirt collected in the recessed areas of the work. Light wear throughout the glass. All pieces fit firmly together and the work is structurally stable.
Group of 31 sterling and silver objects. Including one set of four Gorham repousse sterling silver desk corners, set of three Howard & Co. sterling silver desk corners, three sterling silver small flatware, two sterling toothpick cases, one sterling sugar bowl, one sterling vessel, five sterling cups, five various small pieces of sterling silver include two lids, one silver unmarked cup, one silver bourbon tag, one unmarked silver rattle, and a set of four silver and leather desk corners. Most marked along the underside.Height ranges from 1 in to 4 1/2 in; width ranges from 1 1/4 in to 6 1/4 in; depth ranges from 1 1/4 in to 5 3/4 in. Gross weight (not including 7 non-sterling or unmarked objects, or objects with attached leather): 39.80 Troy oz.Condition: Wear throughout consistent with age and use. Heavy tarnishing along many of the pieces. Some small dents and light scratches throughout. Some pieces such as lids are not associated with matching vessels. One of the desk corners with leather is not attached to the leather base. Wear to the leather.
William Clutz (American, 1933-2021). Pastel on paper drawing depicting figures seated in front of windows, 1976. The light shining in dramatically backlights the figures. Signed and dated along the lower right.Sight; height: 27 1/2 in x width: 22 in. Framed; height: 38 1/2 in x width: 32 3/4 in.Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
Robert Slezak (Czech, 20th c). Bauhaus zebrawood and chrome wood cabinet, ca. 1930s. With three doors; two open to reveal a chrome pole for hanging clothes, one opens to reveal a five-shelf compartment. With a Slezak Bystrice p. Host label.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: 70 in x width: 63 1/2 in x depth: 22 1/4 in.Condition: The item is structurally sound and stable. The doors are warped and do not close firmly. There is discoloration to the wood along the sides. Tarnishing to the chrome fittings. Both keys are included but it is unknown of the locks function as the doors are unable to be fully shut due to the warping of the wood. Light wear to the interior wooden shelves.
Walter Rogalski (American 1923-1996). Engraving on paper titled "Locust" depicting the titular creature, 1954. Pencil signed along the lower right. Published by the Print Club of Cleveland Ohio, number 32.Height: 9 in x width: 12 3/4 in.Condition: There are no visible tears, losses, or creases. No signs of restoration under UV light. There is very minute foxing along the margins, particularly along the lower right quadrant. Along the verso there is minute foxing throughout. There is a "The Print Club of Cleveland" insignia along the lower left quadrant.
Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Frightened" depicting three nude women walking along a hillside near a body of water, 1912. 2nd state printing. Pencil signed along the lower right. Signed and dated in plate along the lower left.Reference:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 386, plate 248.Image; 7 3/4 in x width: 5 3/4 in. Sight; height: 9 1/4 in x width: 6 3/4 in. Framed; height: 17 in x width: 14 in.Condition: There are no visible rips, tears, losses, or restorations. The sheet is slightly toned; there is a slight undulation to the sheet throughout. There is a minute pinhole along the left edge of the sheet. Light wear along the deckled edges of the sheet. There is old framing tape along the top edge of the sheet along the verso. The sheet is affixed to the non-acid mat frame with two pieces of framer's tape along the verso along the top left and right corners. Some pencil inscriptions along the verso: "54/1096," "25,8 x 33," and "G.5258." There is also a crown-shaped watermark in the paper; original to the paper. Light wear to the frame; framed under glass.
Bruce Sillars (American, 20th/21st c.) for Orient and Flume, Chico, California. Blue glass vase decorated with white daisies. With the original sticker affixed along the underside. Signed along the underside with "Orient and Flume PO363K65176NGL 165/250 Sillars."Height: 9 1/2 in x diameter: 4 in.Condition: No visible cracks, losses, or restorations. Light wear to the underside. Wear and losses to the original sticker along the underside.
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic bowl. Matte glazed stoneware in brown and yellow with streaks of glossy brown. 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: 3 1/4 in x diameter: 5 1/4 in.Condition: No visible chips, cracks, losses, or sign of restoration under UV light. No chips along the rim or footrim. Along the exterior, there is a minute area that is rubbed against, smaller than 1/8 in. Very light wear along the footrim, consistent with age and use.
Marc Chagall (Russian/French, 1887-1985). Lithograph on Arches paper titled "Paris of Dream" depicting a dream-like depiction of Paris, 1969-1970. Pencil signed along the lower right; numbered 12/75 along the lower left. With a certificate of authenticity from Cass Publishing. As the artist described these works, "Visions of Paris which are perhaps the same and also different. Paris, reflection of my heart. I'd like to fade into it, not be alone with myself."Literature: Mourlot 600.Provenance: Cass Publishing, Minnetonka, Minnesota; Private Collection, Minnesota.Lot Essay:Marc Chagall (born Moishe Shagal) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opera.Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk." "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".Sight; height: 40 1/2 in x width: 28 in. Framed; height: 57 1/4 in x width: 45 in.Condition: The artwork is in good condition overall. There are no rips, major creases, or restorations. No issues when inspected under UV light. The artwork is hinged along the upper edge in three spots (corners and center). It is floated in the frame. The sheet is very lightly toned and there is a very slight undulation to the sheet. There is an approx. 7 inch long crease along the lower right margin. Several handling marks throughout the margins. Some wear to the deckled edge; possibly original to the artistic process. The work is titled with pencil along the lower margin of the verso. There is some light wear to the mat. Some light wear to the frame; framed under glass.
Peter Max (German/American, b. 1937). Color silkscreen titled "Earth Flowers" depicting abstract shapes in bright colors against a mauve background, 1979. Pencil signed along the lower right; numbered 129/165 along the lower left.Sheet; height: 21 1/2 in x width: 27 1/2 in. Matted; height: 25 1/2 in x width: 32 in.Condition: The colors are bold and bright. There are no visible rips, losses, or restorations. There are two vertical creases along the top edge; the crease is visible along the mat as well. The sheet is affixed to the mat with four long pieces of tape along each edge along the verso. Light soiling to the verso, possibly original to the artistic process. Some wear to the mat.
Warren MacKenzie (American, 1924-2018). Tall studio pottery ceramic jug. Matte yellow glazed stoneware with lovely drip decoration. Stamped lightly 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: 11 in x width: 8 1/4 x diameter: 6 1/4 in.Condition: There are no visible chips, cracks, losses, or restorations. Light wear throughout, consistent with age and use.
Wedgwood, England. Set of 79 serving ware. 77 pieces on the pattern "Gold Columbia" with a sage green border. The set includes eight demitasse cups with saucers, eight one-handled teacups with saucers, eight two-handled teacups with saucers, eight small plates, eight salad plates, eight dinner plates, one gravy boat with undertray, one serving dish or bowl, and two serving platters. Each marked along the underside. Also included are two Wedgwood Jasperware pieces including one vase and one candlestick.Height ranges from 7 in to 15 1/3 in; width ranges from 4 1/2 in to 11 1/2 in.Condition: Very light wear throughout. No chips, cracks, losses, or restorations.
Loading...
