Karl Springer (German, 1931-1991). Tessellated white fossil stone table. With a pedestal base and round top. With a plaque affixed along the underside and original shipping sticker along the top of the base.Base, height: 26 in x diameter: 24 1/2 in. Top; diameter: 48 in x depth: 3 in.Condition: The table is currently disassembled; hardware is included. There is light wear to the base consistent with age and use. There are a few minute chips to the edge, only visible with the top removed and under close inspection. Light scratches and wear throughout the table top consistent with age and use; only visible under a raking light.
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Yehan Wang (Chinese/Canadian, b. 1959). Large acrylic and oil on canvas painting titled "W5593" with each panel depicting an abstract field of colorful spots against a bold, red background. Each panel is signed along the verso and numbered 1/3, 2/3, or 3/3 indicating its placement within the triptych.Each panel; height: 98 1/2 in x width: 59 in. Total width: 177 in.Condition: All three paintings are in good condition with no rips, tears, losses, or restorations. Light wear throughout. Some light rubbing along the sides of the canvas consistent with storage and display.
Carol Sirak (American, 1906-1976). Oil on canvas painting depicting a snowy landscape with a figure venturing forth from the warmth of their cabin. Signed along the lower right.Sight; height: 11 1/2 in x width: 15 in. Framed; height: 14 3/4 in x width: 18 3/4 in.Condition: Overall there are no major losses or creases. The surface is stable. There is toning throughout the painting, in particular the top margin. There is inpainting visible under UV light, primarily in the lower right quadrant. Due to the thick and uneven nature of the varnish it is difficult to determine if there are further areas of inpainting. There is light craquelure throughout. There is a minute hole in the lower right quadrant of the image. Along the recto there is wear to the extreme edge of the canvas. Four stretcher keys are missing. There is wear to the frame, in particular to the front edge.
Dana Weiser (American, 20th/21st c). Ornate mirror profusely etched throughout. The central medallion is etched with a brocade pattern of scrolling floral motifs in which a recurring pattern of a French bulldog and a blossoming flower appears. The word "Intolerant?" is etched through the center of the image.Height: 34 1/2 in x width: 27 1/2 in.Condition: The mirror appears to be in excellent condition, with no cracks, losses or restorations. There is very light wear throughout, mostly along the extreme edges. All components appear to be firmly attached. The top crest does not perfectly align with the backing, most likely original to the artistic process.
Palm frond mirror in the style of Serge Roche (French, 1898-1988). Similar to styles of Dorothy Draper or John Dickinson. Carved wood in a gessoed white finish.Height: 48 in x width: 31 in x depth: 2 in.Condition: No visible chips, cracks, or losses to the center mirror. Dust collected to the surface; however, it can be easily cleaned. The white frame has minute losses along the edges; throughout the frame, it is difficult to discern whether the color was an intended original color or discolored over time; please see the listing image. Along the back, the board is affixed to the white frame. To the center of the board, there are two adhesive residues that are fluorescent under UV light. No visible sign of restoration under UV light.
David Broderick Walcott (American, 1825-1885). Oil on canvas painting depicting three children playing, 1854. Signed and dated along the lower right.Sight; height: 9 1/2 in x width: 12 in. Framed; height: 12 in x width: 15 in.Condition: The surface is stable. There are stretcher bar marks along all four sides. Along the bottom margin there is loss to the varnish, showing the texture of the canvas. There are minute areas of inpainting throughout the artwork, visible under UV light; most notable along the lower left quadrant, and along the center of the right and left margins. To the verso there are areas indicating moisture exposure. There is 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. Very light wear throughout as expected from use. No visible chips, cracks, or losses. Along the interior of the bottom, there is a minute stretch to the finish. The doors open and close smoothly. Along the backside of the furniture, there are adhesive resides adhered. Wear to the underside, consistent with age and use.
Set of six sterling silver mint julep cups, each marked sterling and 925 along the underside and stamped "E.M. Hnos Hecho en Mexico."Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Height: 3 3/4 in x diameter: 3 in. Gross weight: 30 troy oz.Condition: No major dents, deep scratches, or restorations. There is light tarnishing and light scratches throughout.
Aurafin, Italy. 14k yellow gold Flat Omega necklace with a bright polish finish. Hidden box clasp with a figure 8 safety. Marked along the back of the clasp.Width ranges from 14 mm to 14.25 mm. Chain length: 17 in. Weight: 53.34 dwt.Condition: In very good condition with only light wear. The clasp works smoothly.
Pair of black leather zero gravity reclining easy chairs. With a label from Backsaver Products Company.Each, height: 45 in x width: 47 in x depth: 29 in.Condition: Wear throughout as expected from age and use. No visible tears, losses, or signs of restoration under UV light. Along the leather component, light wear and natural lines throughout. Along the wooden components, there is light wear and natural stretches throughout. To one of the chairs, there is an area with minute losses to the backside of the right arm; to the same chair, there is an area of noticeable stretches to the left side of the back of the wooden leg. Wear to the underside, consistent with age and use.
Mark Horton (American, 20th/21st c). Oil on canvas painting depicting the Historic Minnesota Building in downtown Saint Paul. One corner of the Intercontinental Saint Paul Riverfront hotel is visible. Painted showing the corner of 4th St and Kellogg Blvd.Unframed; height: 30 in x width: 40 1/2 in. Framed; height: 31 in x width: 41 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 wear to the frame.
John Scott Bradstreet (American, 1845-1914). Entire room of Asian inspired "jin-di-sugi" carved cypress wood paneling including a fireplace and the ceiling. The fireplace with a carved panel of a sun among waves and two monopodial faux-legs with dragon heads and ball and claw feet. The wainscoting with carved panels, each depicting unique flora and fauna including: a crab, a dragon, lotus pods and flowers, water lilies, a bat, a kingfisher, chrysanthemums, and a turtle. There are a total of eight panels along the walls; two along each wall. The wainscoting is divided into three registers: a low horizontal lower register; a tall rectangular divided middle register; and a square upper register with alternating plain and carved panels. The ceiling with three beams and 12 panels; six panels slightly shorter than the length of the room due to the presence of the fireplace.Please note that this lot must be removed from its location by the end of August, 2023.Born in Massachusetts in 1845, John S. Bradstreet moved to Minnesota in 1873 and began working for the furniture firm Barnard, Clark, and Cope. With a heavy emphasis on late Victorian styles, Bradstreet felt that the items they were selling were too old-fashioned. Throughout the late 1870s and into the turn of the century, he worked with various partners to create furniture more in line with the growing popularity of the Gothic Revival and English Arts & Crafts movements. By 1901 he had founded his own business which focused primarily on his growing love of Asian inspired furniture and architecture - in particular, Japan. After opening the Minneapolis Crafthouse he was able to finally display and design his own works including his favorite line called "jin-di-sugi." This was a combination of Japanese carving techniques and American Arts & Crafts style, shown in the room offered in this lot.With his involvement in the growing aesthetic style of Minneapolis and as a heavy promoter of the arts in the city, he would go on to become one of the founders of the Minneapolis Fine Arts Society in 1883. This society would eventually evolve into the Minneapolis Institute of Art. He died only five months short of the institute's opening, and a room was opened in his honor, the John Scott Bradstreet Memorial Room, on January 7th, 1915.(Entire Room) 12 ft 2 in x 13 ft 2 in. (Mantle) height: 54 1/4 in x width: 76 in x depth: 25 in. Carved panel on mantle; height: 10 in x width: 13 1/4 in. (Wainscoting, 8 total panels) height ranges from 24 in to 54 1/2 in. [height ranges include below the window and include variance from panel to panel due to the room settling]. Total length of all wainscoting excluding the fireplace: 25 ft 10 in. (Carved panels excluding fireplace panel) height ranges from 10 in to 10 1/4 in; width ranges from 10 in to 11 in. (Chair rail) depth: 1 1/4 in.Condition: The wood in the room is in overall fairly good condition. There is light wear throughout as expected with a room of this age. Dust collected in the recessed areas of the works. There are small finishing nails throughout the wainscoting to affix the paneling to the wall of the room. There are four spaces for outlets, two spaces for light switches, and four areas where lights have been affixed to the panels. Several small areas where cord clips have been nailed/drilled into the paneling. There is one panel with an approx. 2 inch chip to the wood along the lower edge. The following carved panels have splits to the wood: the crab, the water lilies, the bat, and the chrysanthemums. The carved panel depicting a sun and waves along the mantle also has several splits along the center. There is wear to the top of the mantle. Numerous wax accretions, likely from candles, light scratches, a few small divots, dust, and an approx. 1 inch chip. Wear to the edges of the mantle throughout. There appears to be an extension added to the back of the mantle where it has been extended outwards to accommodate for modern use. This addition along the back measures approx. 8.75" x 63.25". There are six vents on the fireplace; two on either side and two along the top in the addition area.
Carol Summers (American, 1925-2016). Woodcut print on paper titled "Altiplano" depicting an abstract color-blocked scene in bright red, maroon, and dark navy, 1977. Pencil signed along the lower right; editioned 22/90 and titled along the lower left.Provenance: Peter M. David Gallery Inc., Minneapolis, MN; Private Minnesota Collection.Height: 24 1/2 in x width: 37 1/4 in.Condition: The piece shows no visible tears, creases or losses. No visible sign of restoration under UV light. Undulation throughout the sheet. The sheet is floated on the frame; all four margins are visible. Along the margins there is wear, most likely original to the artistic process. Framed under plexiglass; not inspected out of frame.
Ink on paper drawing depicting a young child and an old man playing cards at a table. Illegibly signed along the lower left.Sight; height: 13 1/4 in x width: 19 1/2 in. Framed; height: 17 1/4 in x width: 23 3/4 in.Condition: No visible tears, creases, or losses. The sheet has minor foxing to the center of the upper and lower margins. There is undulation throughout the recto. There are several scattered accretions to the exterior of the glass. Framed under plexiglass; not inspected out of frame. Wear to the frame. No visible signs of restoration under UV light.
Andre Derain (French, 1880-1954) for Ascher, United Kingdom. Printed silk scarf designed by Derain two figures and a dog. Signed in the print by Derain and Ascher along the lower right.Sight; height: 31 1/4 in x width: 32 1/2 in. Framed; height: 32 1/4 in x width: 33 1/4 in.Condition: There are no visible rips, tears, losses, stains, or restorations. The colors appear to by slightly muted and have possibly faded with age, though it may original to the artistic production. There are a few horizontal creases throughout the work, most visible under a raking light. There is a partially visible pencil inscription along the lower right corner, covered mostly by the frame. Wear to the frame; framed under plexiglass; scratches and some accretions throughout the plexiglass; not inspected out of frame.
Sir Antony Mark David Gormley OBE RA (British, b. 1950). Photopolymer-engraving on paper titled "Together" depicting the silhouettes of seven figures, 2020. Signed, titled, dated, and numbered 147/250 along the verso.Height: 16 in x width: 23 1/4 in.Condition: There are no rips, tears, creases, losses, or restorations. Very light soiling to the verso that does not affect the recto. Deckled edges. The work is not framed.
Kosta Boda, Sweden. Group of three art glass vessels, all signed and numbered along the underside. Two bowls by Goran Warff (Swedish, 1933-2022). Both in yellow and blue with uniform bubble inclusions throughout the bodies. The blue bowl numbered 59911; the yellow bowl numbered 2050203. One blue tall vase by Monica Backstrom (Swedish, 1939-2020). With a textured body fading to smooth glass along the top; numbered 40032.Height ranges from 4 1/2 in to 14 in; diameter ranges from 3 1/2 in to 9 3/4 in.Condition: No visible chips, cracks, or losses. No visible signs of restoration under UV light. Two circular bowls have protective felt pads adhered to the underside. No chips along the rim.
Wiener Kunstkeramische Werkstatte Busch & Ludescher (Vienna Ceramic Workshop), Vienna, Austria. Porcelain perfume lamp in the form of two white embracing monkeys on a blue plinth. Marked along the interior and with the numbers 285, 25, and 4 and the workshop stamp.Height: 12 in x width: 6 1/2 in x depth: 5 in.Condition: The item is in good condition with no major dents, losses, or visible cracks. Wear and crazing throughout. Dust collected to recessed areas, as expected. Throughout the piece, there are several scattered areas of minute loss to the glaze. Unevenness to the back of the monkey; it does not seem to be a restoration. Along the body of the bigger monkey, there are scattered minute light brown dots. The eyes appear to be restored with glue, visible under UV light. Wear to the underside, consistent with age and use.
Thomas Loraine McKenney (American, 1785-1859) and James Hall (American, 1793-1868). Hand-colored lithograph from the "History of the Indian Tribes of North America" depicting Seminole chief Yaha-Hajo. With the biographical leaf mounted along the verso; in an early 19th c. Birdseye maple frame.Literature: Thomas McKenney and James Hall, "History of the Indian Tribes of North America, with Biographical Sketches and Anecdotes of the Principal Chief. Embellished with One Hundred and Twenty Portraits, from the Indian Gallery in the Department of War, at Washington," Philadelphia: Frederick W. Greenough, 1838-1844.Sight; height: 17 in x width: 12 1/4 in. Framed; height: 22 1/2 in x width: 17 1/2 in.Condition: No visible tears, creases, or losses. The sheet is toned and has undulation throughout the recto as shown in the listing image. There is light foxing, particularly along the right center, lower center, and to the upper left corner. The verso could not be inspected. Not inspected out of frame. Framed under plexiglass. Along the exterior of the glass, there is a dent to the lower left quadrant. Wear and light losses to the frame.
Lalique, France. Large clear crystal glass "Persepolis" bowl. With blue accents on a tapered foot and the original sticker affixed along the side. Incised "Lalique France" along the underside.Height: 7 1/4 in x diameter: 12 in.Condition: No visible chips, cracks, or losses. No major scratches. Light wear throughout consistent with age. Five small dots along the underside where small pads for display were once affixed.
Roy Lichtenstein (American, 1923-1997). Offset lithograph on wove paper titled "Sunrise," 1965, depicting a sunrise over the mountains in Lichtenstein's iconic pop art style. Pencil signed along the lower right. From an edition of unknown size published by Leo Castelli Gallery, New York.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Unframed; height: 18 1/2 in x width: 24 1/2 in. Framed; height: 25 1/4 in x width: 30 3/4 in.Condition: The colors are somewhat faded. There is toning and undulation to the sheet throughout. Running horizontal through the center of the print there is a network of creases; most visible at a critical angle. To the extreme edges of the sheet there is wear. There is a small circular stain along the upper left corner. The artwork is hinged with two pieces of framing tape along the upper edge. The artwork is floated in the frame. Along the four corners of the verso there are four square areas with adhesive residue; likely from a previous framing, does not affect the recto. Light wear to the frame. Framed under glass. The paper backing has been cut along three edges to inspect the piece.
Folk art gouache painting on paper depicting a crowd of individuals gathered outside Charles Dickens' Bleak House in Broadstairs, Kent. Inscribed along the lower right "Victorian Festival / Dickensian Garden Party at Bleak House, Broadstairs" and signed illegibly.Provenance: From the collection of Frederick and Catherine Asher, Minneapolis, Minnesota.Frederick M. Asher and Catherine E. Asher were prominent scholars in the field of Art History. Both dedicated their lives to the education of students, teaching for many years as professors at the University of Minnesota. They both had a passion for South Asian art, traveling extensively throughout India, Asia, and the Middle East. Selections from their travels and careers as avid art historians are offered in this auction. Their collection includes Indian jewelry, Japanese woodblock prints, an incredible slide collection, and much more.Sight; height: 14 in x width: 20 in. Framed; height: 20 1/2 in x width: 26 3/4 in.Condition: No visible creases, losses, or signs of restoration under UV light. The color is bold and bright. The sheet has undulation throughout the recto. There is a tear to the upper right corner, measuring approximately 2 inches. Throughout the recto, there are minute fibers adhered to the surface, possibly paint brush, not visible at arm length; please see the listing image. Framed under plexiglass; not inspected out of frame. Very light wear to the frame.
Anne Decoster (American, b. 1933). Oil and acrylic on canvas painting titled "Lake Superior at Grand Marais" depicting light shining on the lake, 2005. Signed and dated along the lower right.Unframed; height: 36 in x width: 48 in. Framed; height: 37 1/4 in x width: 49 in.Condition: Overall there are no major tears, creases or losses. The colors are bold and bright. There a minute losses to all four corners, possibly against the old frame. Dust has collected on the verso, but can be easily cleaned. There is light, white paint accretion along the underside of the frame. There is light wear to the frame. There are no visible signs of restoration under UV light.
Pair of mid-century modern teak floor lamps with cloth shades differing in style.Each, height: 61 in x width: 15 in.Condition: Minor, light wear throughout consistent with age and use. All pieces appear to be firmly attached. Not tested for functionality. Each with a different yet similar cloth lampshade.
Sheffield, England, sterling silver cake stand with a low flared foot, 1946. Marked along the top with a partially illegibly maker's mark, date mark, city mark, and sterling lion passant.Height: 2 3/4 in x diameter: 10 in. Gross weight: 20.845 Troy oz.Condition: No visible dents, cracks, or losses. Light wear throughout as expected; surface scratches throughout. Some polish collected along the recessed area along the top and the underside. No visible sign of restoration under UV light.
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic pie dish. Matte glazed stoneware along the exterior. The interior with a gloss glaze with splashes of slip trailing blue and green. 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: 1 3/4 in x diameter: 10 1/4 in.Condition: There are cracks throughout the work, visible along the interior and the rim. Light wear throughout consistent with age and use.
Janice Knipe (American, 20th c). Drawing in gray pastel on paper titled "Trees," depicting a grove of trees moving in the wind. An original artist's label is adhered to the verso.Sight; Height: 17 in x width: 25 1/2 in. Framed; Height: 26 1/2 in x width: 35 in.Condition: No visible tears, creases, or losses. The sheet is toned and has light undulation throughout as shown in the listing image. To the lower center, there is a minor foxing began to form; please see the listing image. Framed under plexiglass; not inspected out of frame. The verso could not be inspected. Very light wear to the frame.
Watercolor on paper painting depicting a figure heavily laden with wares. Inscribed "Madrid" and dated 1868 along the lower right. Signed illegibly and faintly just above this inscription. The original pencil sketch can be seen through the pigments, most prominently in the goods the figure carries.Sight; height: 11 1/4 in x width: 6 1/2 in. Framed; height: 17 in x width: 12 1/4 in.Condition: Overall there are no visible tears, creases or losses. There is minute foxing throughout. The edges of the sheet have acid burn. There is a small, faint blue circle along the lower left quadrant, it is unknown if this is part of the original artwork. Image under window mat. There are dark accretions throughout the extreme edges of the mat, most visible along the top left corner, along the extreme left edge and the bottom edge. Framed under plexiglass. There is wear to the plexiglass. There is light wear to the frame. Not examined out of frame.
Jack Sonenberg (American, 1925-2012). Aquatint on paper titled "Sign No. 1" depicting a geometric composition in red and blue, 1971. Pencil signed and dated along the lower right; editioned 44/110 along the lower center; titled along the lower left.Unframed; height: 29 1/2 in x width: 22 1/4 in. Framed; height: 35 in x width: 27 in.Condition: The piece shows no visible tears, creases or losses. No visible sign of restoration under UV light. There is undulation along the left margin. In the center of the image, there are a few areas that show slight uneven coloration; however, it appears original to the artistic process. The sheet is affixed to the mat along the margins with framer's tape. Framed under plexiglass; not inspected out of frame. Light wear to the frame.
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.
Allan D'Arcangelo (American, 1930-1998). Serigraph on paper titled "Smoking Blonde" depicting a blonde woman smoking a cigarette in the background with a butterfly. Three roads divided by grassy hillocks lead to her. Pencil signed and dated 1996 along the lower right; numbered 29/65 along the lower left. His works are often characterized by his combination of art styles such as Pop Art, Surrealism, and Minimalism.Sight; height: 37 in x width: 46 in. Framed; height: 51 1/4 in x width: 60 in.Condition: There are no visible rips, losses, or restorations. There are several small creases along the edges of the work, mostly along the upper left edge. There is one small crease along the signature. There is one small crease near the lower center of the grass second from the left. Framed under matboard. Light wear to the frame; framed under plexiglass; not inspected out of frame.
Sam Francis (American, 1923-1994). Pair of color lithographs titled "Paradise of Ash" depicting blocks of color with the artist's signature network of splashes, 1981. The black square is pencil signed along the lower right. The red, yellow, and blue one is pencil numbered 41/43 along the lower left.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.Each, unframed; height: 46 in x width: 32 3/4 in. Framed; 53 in x width: 38 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.
Tiffany & Co., New York, United States. Large glass and sterling silver flask. The cut glass decorated with ferns and etched "Tiffany & Co" along the underside. The bottom sterling silver sleeve monogrammed M.H.H. With maker's marks, maker's numbers 846 and 9396, sterling silver, and 6 1/4" gills along the underside of the sterling sleeve. The lid is marked with maker's marks, Pat. 1883, and sterling.Height: 8 1/2 in x width: 5 in x depth: 2 in. Gross weight of sterling (does not include the lid that is attached to the glass bottle): 7.120 Troy oz.Condition: The item is in good condition with no visible cracks or losses, or major chips. All components are present. Light wear throughout as expected. Light oxidation to metal components, particularly along the interior of the silver case; no visible dents to the silver components. There are a few scattered minute chips along where the glass meets the silver case. Discoloration to the interior of the lid. When inspected under UV light, there is no visible sign of restoration.
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic bowl. Glazed stoneware with altered, triangular rim and painted decoration in iron or temoku and Reeve's green along the interior. Marked 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 in x diameter: 7 1/4 in.Condition: Original firing and glazing flaws. No visible cracks or signs of restoration under UV light. No major chips or losses. There is an area with minute chips to the glazing along the rim. Along the center of the interior of the bowl, there are two area that the surface is not covered with glazing; it is difficult to discern whether it is original or damaged; however, it is fluorescent under UV light; please see the listing image. Along the footrim, there is a minute chip.
Malcolm Haynie Myers (American, 1917-2002). Etching on paper titled "Ecce Homo (Behold the man)" depicting the biblical scene during Christ's crucifixion, 1952. Pencil signed and dated along the lower right; titled along the lower left; edition 9/35 along the lower center.Provenance: The collection of Urban Couch, Minnesota; by descent from above to Dennis Morton, West Virginia.Height: 17 1/4 in x width: 20 3/4 in.Condition: No visible sign of restoration under UV light. The sheet is heavily toned and the margins are discolored darker than the center, possibly acidic burn from the previous mat, as shown in the listing image. Along the lower margin, the brown discoloration is the most noticeable. Throughout the sheet, there are foxing and creases, particularly along the margins. Along the edges of the center image, there are creases, possibly from the artistic practice. To the upper left quadrant, there is an approximately 4 in long noticeable crease. Along the margins, there are minute chipping as well. To the left upper and upper right margins, there are light handling marks. Along the lower margin, there is a network of minute skimming; please see the listing image. To the center margin, there is a light brown mark. Along the verso, the paper is heavily toned and has original ink seen through from the recto; creases throughout; to the lower left corner, there is a network of skimming.
London, England. Sterling silver tray with four foliate feat, 1732. Stamped along the underside with the sterling lion passant, London city mark, date mark, and one unknown mark.Height: 1 1/2 in x diameter: 12 1/4 in. Gross weight of Sterling: 31.005 Troy oz.Condition: Overall, the item has light wear throughout as expected from age and use. The top has light scratches; however, there are no visible dents. There are a few scattered areas along the exterior that have light discoloration; see the listing image for detail. The underside has one minute dent towards the margin, but there are no visible dents to the feet. There is oxidation surrounding the base of the feet as expected from age. No visible signs of restoration under UV light.
John Moisan (American, 20th/21st c). Oil on board painting depicting two ducks in flight with a flock of ducks in the background. Signed and dated 1979 along the lower right.Sight; height: 18 in x width: 27 in. Framed; height: 28 in x width: 37 in.Condition: No visible tears, creases, or losses. No visible sign of restoration under UV light. The color is bold and bright. Framed under plexiglass; not inspected out of frame. Light wear to the frame.
Warren MacKenzie (American, 1924-2018). Studio pottery ceramic bowl. Conical form with tall sides. Shino glazed stoneware with MacKenzie's signature finger marks. 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 1/2 in x diameter: 8 1/4 in.Condition: No cracks, losses, or restorations. Light wear consistent with age and use. There are minute losses to the glaze along the top rim.
Beverly Pepper (American, 1922-2020). Ink painting titled "Jerusalem" depicting two figures in loose brushstrokes, 1957. Signed, titled, and dated along the lower right. With an additional painting in ink along the verso. This is an early example of her art before she moved to working primarily with sculptures.While studying art theory with Gyorgy Kepes, she was introduced to the works of Laszlo Moholy-Nagy and Man Ray and met environmental artist Frederick Kiesler. In post-war Europe in 1949 while studying painting in Paris at the Academie de la Grande Chaumiere she attended classes with cubist painter Andre Lhote and Fernand Leger at his atelier while visiting the studios of Ossip Zadkine and Brancusi.She worked as a painter but took up sculpture after a 1960 trip to Angkor Wat, Cambodia, where the temple ruins filled her with awe. Throughout her life she experimented with new and emerging sculptural techniques, becoming one of, if not the first sculptors to use Cor-Ten steel in her works.Height: 28 in x width: 20 in.Condition: The item is in generally good condition with no visible tears or losses, or major creases. When inspected under UV light, there is no visible sign of restoration. The paper is toned and has an acidic burn. Light wear along the margins. Along the margins, there are several light creases. To the lower of the right margin, there is an area with brown paint accretions. To the lower left quadrant, there is a line of blue paint accretion, which is visible in the lot listing. There are several original black paint residues throughout. Along the verso, the paper is toned and has an acidic burn. There are several areas of soiling and paper discoloration, most noticeably to the lower right quadrant; please see the listing image. From the verso, to the upper left margin, there is an area with adhesive residue, most likely old framer's tape.
Jean-Michel Folon (Belgian, 1934-2005). Silkscreen poster promoting Folon's show "Folon Serigraphies" at Galerie Marquet in Paris, 1972. The poster depicts a giant dragonfly encountering a man on a surreal landscape.Sight; height: 25 in x width: 19 in. Framed; height: 25 1/2 in x width: 19 1/4 in.Condition: Overall there are no visible creases, tears, or losses. There are minute printing flaws in the lower left quadrant of the image and the center beneath the dragonfly. There is chipping to the interior of the glass and loose glass particles in the extreme right corner of the glass. The exterior side of the glass appears to be unaffected. Light wear to the frame. Framed under glass. Not examined out of frame.
Oil on canvas painting depicting abstract figures in bold colors. With a label from the Museum of Modern Art (MoMA) affixed to the verso reading "Museum of Modern Art LOAN /54.1274 / C. Valentin G.†Illegibly signed or unsigned.Provenance: The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Unframed; height: 36 in x width: 28 in. Framed; height: 37 in x width: 29 1/4 in.Condition: No visible tears or signs of restoration under UV light. No major creases or losses that would alter the overall appearance of the painting. The color is bold and bright. There are a few scattered areas of minute paint losses along the extreme edges of the painting, against the frame. To the center of the upper margin, there is a stretcher bar marks visible. Throughout the recto, there are several scattered minute paint accretions that are fluorescent under UV light. Toward the lower half of the painting, there are several line surface scratches; however, it is difficult to discern whether they are damaged or original to the artist's intention, considering that the line scratches are visible throughout the lower half of the artwork. To the lower right quadrant, there is a line paint loss that is visible in lot listing, measuring approximately 1 1/2 in. To the upper left and quadrant, there are areas that have light creases to paint layers; please see the listing image. Along the verso, the canvas appears lightly toned and has soiling. There is a horizontal line mark along the lower margin of the verso. Very light wear to the frame.
Amelia Browne Sprague (American, 1870-1951) for Rookwood Pottery, United States. Studio pottery vase decorated with flowers. Stamped along the bottom with a Rookwood Pottery "RP" mark, numbered "900C," and signed. Founded by Maria Longworth Storer Nichols in 1880, Rookwood was one of the first female-led pottery manufacturers.Height: 8 1/4 in x width: 4 1/2 in.Condition: No visible cracks or losses. No visible signs of restoration under UV light. No major chip; there is a minute chip to the underside. Crazing to the glaze throughout. Light wear throughout. Along the exterior, there is a minute white accretion that does not alter the overall appearance of the vase; please see the listing image. Along the interior, there is a light hairline crack, measuring approx 4 in, that is not visible from the exterior. Along the underside, there is wear and light grey discoloration as shown in the listing image.
Tomas Sanchez (Cuban, b. 1948). Screenprint on paper titled "Contemplar al Otro en Tarde Rosa" depicting a peaceful riverside landscape with an archway of trees, 2021. Signed and dated along the lower right, numbered 44/75 along the lower left.Unframed; height: 25 1/4 in x width: 21 in. Framed; height: 28 in x width: 24 in.Condition: The artwork appears to be free of any rips, tears or losses. Colors are bold and bright. Framed under plexiglass, light wear to the frame. Not inspected out of frame.
Eduardo Pascual Monturiol (Spanish, 1882-1933/34). Pen and ink drawing on paper titled "Fisherman" depicting the dark silhouettes of figures, early 20th century. Signed along the lower left and stamped along the lower right.Sight; height: 18 in x width: 12 in. Framed; height: 26 in x width: 22 in.Condition: No visible tears, creases, or losses. The sheet is toned; the mat is heavily toned. No visible signs of restoration under UV light. Framed under plexiglass; not inspected out of frame. Wear and losses to the frame. The verso was not inspected.
Van Briggle Art Pottery, Colorado, USA. Studio pottery ceramic vase with a gray "oatmeal" glaze, 1905. Marked with the Van Briggle logo of two conjoined A's, "Van Briggle," dated, and further incised VX along the underside.Height: 6 1/4 in x diameter: 4 1/2 in.Condition: No visible cracks or signs of restoration under UV light. Light wear throughout. There is a minute chip to the footrim. No visible chip to the top rim. Original firing and glazing flaws. Along the exterior, there are a few water streaks. Wear along the underside, consistent with age and use.
Stephane Ruais (American, b. 1945). Oil on canvas painting depicting a bridge, 1997. Signed along the lower right; dated along the verso.He discovered his joy of painting at a young age and studied at the Ecole des Beaux-Arts from 1964-1974. In 1991 he was appointed the official painter of the French Navy and in 2000 he was appointed the official painter of the French Air Force. He frequently works en plein air and rarely paints in a studio.Sight; height: 19 1/2 in x width: 24 1/2 in. Framed; height: 26 1/2 in x width: 32 1/2 in.Condition: The painting is in excellent condition with no visible tears, creases or restoration under UV light. The surface is stable, and the color is bold and bright. Along the upper margin, there is a minute paint loss against the frame. Light wear to the frame. Clean verso.
John Gerletti (American, 20th/21st c). Handblown glass vase of undulating form in lavender fused with ochre, red, pink, white, and blue, 1983. Criss-crossed with dark lines throughout. Signed, dated, and incised "La Verne" along the underside.Height: 12 1/2 in x width: 9 1/2 in x depth: 8 1/2 in.Condition: No visible cracks, chips, losses, or restorations. Bubbles throughout original to the artistic process. Very light wear consistent with light use and age. Some light roughness to the pontil, likely original to the artistic process.
Queen Lace, Germany. Group of 12 handblown and handcut etched double old fashioned crystal glasses. Each decorated with an African animal amongst fauna. Including: two water buffalo, two lions, two giraffes, two oryx, three elephants, and one rhino.Height: 3 3/4 in x diameter: 3 in.Condition: Most of the glasses are in good condition with light wear consistent with age and use. The two giraffe glasses each have on chip to the rim.
Megan Rye (American, b. 1975). Oil on canvas painting titled "Iraqi Store" depicting a disheveled and cluttered storefront, 2006. As a part of a decade-long exploration into the Iraq War, Rye based this series of paintings off photographs her brother took while serving in the U.S. Marines in Fallujah, Iraq.Exhibition: "I Will Follow You Into the Dark," June 6 - July 15, 2011, Forum Gallery, New York.Unframed; height: 36 in x width: 45 in. Framed; height: 38 in x width: 47 in.Condition: No visible tears, ceases, or signs of restoration under UV light. The colors are bright and bright. No major losses. There is a minute paint loss to the upper left edge, possibly against the old frame. To the upper right edge, there is another minute paint loss. There are a few scattered cracks to paint along the upper center quadrant. There is a spiral crack to the upper center quadrant of the item; please see the listing image. Along the lower left quadrant, there is a network of craquelure. Along the lower right quadrant, there is an area where the surface texture differs from the rest of the painting, appears to be original to the artist, possibly a touch up. Along the center lower edge, there is a 4 in wide area of craquelure. Clean verso. Small losses against the frame. No visible signs of restoration under UV light. Very light wear to the frame.
Warren MacKenzie (American, 1924-2018). Group of five small studio pottery ceramic plates. Shino glazed stoneware with slip trailing decoration. Each marked 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.Each, height: 1 in x diameter: 6 3/4 in.Condition: Light wear throughout. No visible cracks, chips or losses. Original firing and glazing flaws throughout. Crazing throughout all items. Minute chips to the rim on all pieces. Wear to the underside consistent with age and use. No visible sings of restoration under UV light.
Oil on canvas painting depicting a still life with an Asian porcelain vase with white calla lilies and pink lilies. Inscribed along the verso "Wm Hubacek."Sight; height: 21 1/2 in x width: 13 1/4 in. Framed; height: 25 1/2 in x width: 17 1/2 in.Condition: The colors are bold and bright. The surface is stable. There are several areas of inpainting throughout the artwork, visible under UV light. Most notable in the following areas: both of the white calla lilies and the right margin. There are numerous other areas of inpainting throughout. There are stretcher bar marks throughout all four side. Along the verso, there are six noticeable patches corresponding to areas of inpainting on the recto. There is wear to the extreme edges of the canvas along the verso. All but one stretcher key is missing. Wear to the frame.
Marguerite Kirmse (American, 1885-1954) for Gorham, United States. Small bronze Scottish Terrier with a dark brown patina, depicted playfully crouched with raised hindquarters. Impressed "M. KIRMSE, GORHAM CO," and numbered "QGGF" along the underside.Height: 2 in x width: 3 1/2 in x depth: 1 1/2 in.Condition: No visible dents, cracks, or losses. Dust collected along the recessed areas. Surface scratches along the underside. No visible sign of restoration under UV light. Light wear throughout as expected.
Bev Doolittle (American, b. 1947). Lithograph titled "Sacred Ground" depicting a figure riding a horse and leading a packhorse through a snowy birch tree-filled landscape, 1989. Camouflaged within the trees are the profiles of a Native American man and three eagles. Pencil signed and numbered 10860/69996 along the lower right. With original documentation and certificate of authenticity in a paper pocket along the verso.Sight; height: 11 1/2 in x width: 38 1/4 in. Height: 19 in x width: 46 1/2 in.Condition: There are no visible rips, tears, or restorations. Some wear to the folder and certificate along the verso. Light wear to the frame; framed under glass; not inspected out of frame.
Russian silver cigarette case with a ridged, woven texture along the exterior. With a blue cabochon stone or bead along the clasp. Impressed 84 kokoshnik and illegible maker's mark along the interior.Provenance: Hillwood Estate, Museum & Gardens, Washington D.C.; Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania.Height: 3 3/4 in x width: 3 3/4 in x depth: 3/4 in. Gross weight: 129.4 g.Condition: Light wear and light oxidation throughout. No visible signs of restoration under UV light. The blue jewel is kept intact. Light surface scratches visible. Along the interior, there are stickers adhered. To one of the interior corners, there is a network of black minute dots; please see the listing image.
Sutton Nicholls (British, active 1680-1740). Hand-colored lithograph depicting a bird's eye view of Hanover Square in London. From John Stowe's "Survey of London," ca. 1754. With notable streets and locations labeled. Labeled in plate along the lower center margin "Published according to Act of Parliament 1754 for Stowes Survey."Provenance: From the Estate of C. Curtis "Curt" Dunnavan, Long Lake, Minnesota.C. Curtis "Curt" Dunnavan (1926-2022) was a passionate world traveler and avid collector. It was through his travels that he was inspired to begin a lifelong relationship with the Minneapolis Institute of Art (Mia), becoming a major sponsor of the institute and facilitating the growth of their Asian art department, which is now one of the best in the country. His generous donations to Mia allowed them to establish a fund for the Deputy Director and Chief Operating Officer, one of the few endowed positions of this type in the museum field. He additionally served as a trustee of the institute, advocating for its operational growth. In its turn, the museum established a gallery named in his honor in recognition for his endowment fund and numerous contributions to their collection. The selections here showcase his talent and breadth of collecting, ranging from ancient statues to 19th-century woodblock prints. His appreciation for art persisted throughout his life and we are honored to offer items from his collection in this auction.Sight; height: 14 in x width: 18 in. Framed; height: 25 in x width: 29 1/2 in.Condition: Overall no visible losses, tears, or restorations. The colors are bold and bright. There are several vertical creases along the sheet, most noticeably along the center, the center of the left quadrant, and the bottom left corner. The sheet has toning throughout. There is discoloration and foxing throughout, especially in the margins.There is undulation and wear throughout the sheet. Light wear to the frame. Framed under glass. Not inspected out of frame.
Paul Cadmus (American, 1904-1999). Ink on paper drawing depicting a muscular nude male torso. Signed in pencil along the lower left.Provenance: Estate of Paul Cadmus; The collection of Jon Anderson; Private Minnesota collection.Height: 10 1/8 in x width: 7 1/8 in.Condition: No visible tears, losses, or signs of restoration under UV light. The sheet is slightly toned as shown in the listing image. Along the upper margin, there are light creases. Under UV light, the upper margin is fluorescent. To the right side of the recto, there are original crayon accretions. Along the lower left margin, the paper is discolored to light brown. Along the verso, there are light original pencil marks that do not affect the recto.
Will Barnet (American, 1911-2012). Screenprint on paper titled "5th Season" depicting a woman feeding a robin while a nearby perched cat watches intently, 1977. Pencil signed along the lower right; inscribed "Artist's Imp" along the lower center; titled along the lower left.Unframed; height: 27 1/2 in x width: 22 in. Framed; height: 29 1/2 in x width: 23 3/4 in.Condition: No visible tears, creases, or losses. The sheet is floating on the mat; all four margins are visible. There is toning throughout the recto. To the upper left quadrant, there are minute light brown networks; however, it does not appear to be foxing. Framed under plexiglass; not inspected out of frame. To the external of the glass, there are a few scattered accretions. Light wear to the frame.
Henry Thomas Schafer (British, 1854-1915). Oil on canvas painting depicting the Church of Saint-Maclou in Rouen, Normandy, in France, 1875. Signed and dated along the lower right corner. Further signed and the location noted along the verso. Further noted on a plaque affixed to the plaster and gilt wooden frame.Sight; height: 11 1/2 in x width: 9 3/4 in. Framed; height: 17 in x width: 14 1/4 in.Condition: No visible tears, creases, or restoration under UV light. There are two light stretcher's bar marks. Along the left margin, there is a vertical line of impression that is possibly from the previous frame. Very light craquelure throughout the recto, visible at a critical angle. Very minute paint losses along the extreme edges against the frame. Along the lower margin, there is a horizontal line; please see the listing image. To the center upper margin, there is a minute paint loss. Soiling and toning along the verso. Wear and losses 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: No visible chips, cracks, or losses. No visible sign of restoration under UV light. Structurally stable and sturdy. Very light wear throughout as expected from use. The doors open and close smoothly. Clean backside. Wear along the underside, consistent with age and use.

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