Sven Wejsfelt (Swedish, 1930-2009) for Gustavsberg, Sweden. Group of four ceramic stoneware vases, 20th century. Each vase is of a highly unique and bulbous form featuring a tall, narrow recessed neck and flared rim. All vases are with incised "Swen" signatures, Gustavsberg maker's marks, and "Unik" along the underside. This lot includes:One large vase with oxblood glaze dated 1992 along the underside and numbered along the footrim "2012A."One smaller vase with red flambe glaze dated 1990 and numbered along the footrim "2043B-788A."One medium-sized vase with blue flambe glaze dated 1994.One small vase with indigo glaze dated 1987.Height ranges from 3 3/4 in to 7 1/2 in; diameter ranges from 2 1/2 in to 4 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrims.
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Large collection of 82 art catalogs and exhibition books. Many from Minnesota and New York galleries and museums including the Walker Art Center in Minneapolis, auction catalogs from Sotheby's and Christie's, the Minnesota Museum of Art, and more. Please see the photographs in the listing for a full list of items included in this lot.(Shipping Dimension) Height: 12 in x width: 26 in x depth: 18 in.Condition: All books appear in overall good condition with light wear consistent with shelf use.
Stig Lindberg (Swedish, 1916-1982) for Gustavsberg, Sweden. An unusual, post-modern ceramic vase. Stoneware pottery with a dark brown high glaze. Carved Gustavsberg maker's mark and incised "Stig L." in addition to several other esoteric marks and signatures along the underside.Stig Lindberg is one of the most celebrated figures of illustrious 20th-century Swedish ceramic design. Renowned for his continuous creativity and remarkable eye for shapes, proportions, and patterns, Lindberg worked at the Gustavsberg factory from 1937 to 1980. His work is represented in the Swedish National Museum of Art and Design.Height: 11 1/2 in x diameter: 5 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Christofle, France. Small Art Deco patinated and gilt bronze dinanderie vase, early 20th century. With gilt accents along the rim and the contours of geometric facets along the upper third of the vessel. Impressed "Christofle" and numbered "132" along the underside.Height: 6 1/2 in x diameter: 2 3/4 in.Condition: There are no major bends, losses, or restorations to the vase. There are two minute dents to the body; one along the body and the other along the shoulder. Light tarnishing throughout, particularly along the inner rim and underside. Light wear to the footrim. Dust gathered along the interior.
Late 19th century albumen photograph print depicting figures posing on the partially exposed paws of the Great Sphinx and the Great Pyramid of Giza, ca. 1886-1890. Depicting the Sphinx after the first clearance. The Dream Stele can be seen between the paws of the Sphinx.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 9 1/2 in x width: 7 3/8 in. Matted; height: 17 1/8 in x width: 14 1/8 in.Condition: There are no visible tears or restorations. The colors are slightly faded. Light to moderate creases throughout. Spots of soiling or toning along the upper half. Housed between two non-acidic mats. With plastic sleeve wrapped around and affixed to the verso of the matboard. Not inspected out of matting.
Group of six carved Chinese jades in the form of various floral forms and fruit.Height ranges from 1/4 in to 3/4 in; width ranges from 1 in to 2 1/2 in; depth ranges from 3/4 in to 1 1/2 in. Gross weight: 109.3 g.Condition: Wear throughout. The triangular jade with a loss along one tip. Many with minute chips and wear along the edges. Many with accretions that fluoresce under UV light - possibly accretions or minor repairs.
Gauthier-Poinsignon, France. Small wooden Art Nouveau cabinet with display shelf, ca. 1910. Possibly made of mahogany wood. With carved vines and floral motifs cascading along the center of the cabinet door. Stamped along the lower edge of the right panel "Ateliers Gauthier-Poinsignon Nancy."Height: 57 in x width: 27 in x depth: 15 in.Condition: There are no major losses. Irregular fading to the backboard. Along the left side, there are two apparent repairs to splits that run vertically along the upper third of the panel and there is some discoloration, possibly water damage. The door is minutely ajar and there are extremely light scratches where the lock meets the frame of the door. Key included; lock works.
Carl-Harry Stalhane (Swedish, 1920-1990) for Rorstrand, Sweden. Ceramic faceted vase featuring a crosshatch pattern along the shoulder and a striped motif along the neck, 20th century. Stoneware pottery with a lovely variegated brown-grey glaze. Incised "CHS-e," "Atelje," first quality Rorstrand maker's mark, and "Sweden" along the underside.Carl-Harry Stalhane is one of the most celebrated figures of 20th-century Swedish ceramic design. He is best known for his role as the artistic leader at Rorstrand during the 1960s. His name has become synonymous with exceptional ceramic quality, stunning creative design, and outstanding craftsmanship. Stalhane's work is represented in the Swedish National Museum of Art and Design.Height: 8 1/2 in x diameter: 4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Christofle, France. Small Art Deco patinated and gilt bronze bottle-form dinanderie vase, early 20th century. With gilt foliate motifs along the neck of the vase and a lovely verdigris patina throughout. Impressed "Christofle" and numbered "8C" along the underside.Height: 6 3/4 in x diameter: 2 3/4 in.Condition: There are no major bends, dents, losses, or restorations to the vase. Some tarnishing and light scratches along the inner rim. There is a small chip to the gilt along the waist of the vase. Light wear to the footrim. Dust and debris gathered along the interior.
En Iwamura (Japanese, b. 1988). Studio ceramic pottery cup depicting a stylized and abstract fish-headed human figure accented by whimsical and vibrant splashes of color on a speckled white ground, 21st century. Stoneware with luster glaze. Label with title and artist's name affixed to the underside; painted initials along the footrim.Height: 4 1/2 in x diameter 3 1/2 in.Condition: There are no major cracks, losses, or restorations to the vessel. There are three small areas along the exterior where there is no glaze, likely original to the artistic process. Light wear to the footrim.
Pair of Chinese carved jade netsuke spoons or tea scoops. Each spoon is of a rich and verdant spinach green jade with a flower skillfully carved along the neck, where the stem meets the bowl of the spoon. With a custom made case.(Each spoon) height: 8 1/4 in x width: 1 1/4 in x depth: 1/4 in. Gross weight: 116.8 g.Condition: There are no major losses. There is one repaired break along the stem of one of the spoons. Minute chips along the extreme edges of the bowl of the spoon. Light wear and faint accretions throughout. Light wear to the case.
P. Peridis (act. late 19th c). Late 19th century albumen photograph print depicting two women posing in front of the Great Sphinx of Giza. Two pyramids can be partially seen in the background.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 10 1/4 in x width: 8 in. Matted; height: 17 1/8 in x width: 14 1/8 in.Condition: There are no visible tears, losses, or restorations. The colors are slightly faded. Light to moderate creases throughout. There are two pinholes along the upper left quadrant. Housed between two non-acidic mats. With plastic sleeve wrapped around and affixed to the verso of the matboard. Not inspected out of matting.
John Ward (British, 1938-2023). Small studio ceramic sculptural cup or vase vessel, ca. 1980. Stoneware with an alumina-rich, copper matte glaze and organically textured exterior. The shape of the cup is highly unique yet structured, more reminiscent of a sculpture than a functional vessel. The base of the cup tapers sharply into a pointed, virtually conical form; its body appears tiered, divided into three distinct sections with angular ridges separating each. Faintly impressed seal along the underside.Height: 3 in x diameter: 3 1/4 in.Condition: There are no major cracks, losses, or restorations. There is a minute firing flaw along the underside, possibly original to the artistic process. Light wear throughout, especially along the rim, underside, and interior of the vessel.
Algot Eriksson (Swedish, 1868-1937) for Rorstrand, Sweden. Art Nouveau porcelain baluster vase depicting delicate blooming pink peonies against a sleek black ground, early 20th century. Stamped Rorstrand maker's mark and initialed "AE" along the underside.Height: 12 1/2 in x diameter: 5 1/2 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Late 19th century albumen photograph print depicting bas relief hieroglyphics along a wall in Egypt. The left-most figures depict the gods Horus and Hathor.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 9 1/2 in x width: 7 1/2 in. Matted; height: 17 1/8 in x width: 14 1/8 in.Condition: There are no visible tears, losses, or restorations. The colors are slightly faded. Light creases throughout. Creases in all four corners. Housed between two non-acidic mats. With plastic sleeve wrapped around and affixed to the verso of the matboard. Not inspected out of matting.
Stig Lindberg (Swedish, 1916-1982) for Gustavsberg, Sweden. Tall ceramic figure depicting a partially nude woman with her arms raised above her head, ca. 1940s. Chamotte stoneware with highly unique and attractive combination of glazed and unglazed surfaces throughout the exterior of the sculpture. With stand. Painted signature and Gustavsberg maker's mark along the underside of the figure.Stig Lindberg is one of the most celebrated figures of illustrious 20th-century Swedish ceramic design. Renowned for his continuous creativity and remarkable eye for shapes, proportions, and patterns, Lindberg worked at the Gustavsberg factory from 1937 to 1980. His work is represented in the Swedish National Museum of Art and Design.Height: 18 in x diameter: 7 in.Condition: There are no cracks, major losses, or restorations. Small chip along her hair. Light wear to the footrim. Light wear to the base.
Adelphoi Zangaki, Greece. Late 19th century albumen photograph print depicting the Great Hall and obelisk at the Karnak Temple Complex. Inscribed illegibly and numbered 108 along the lower right.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 8 1/2 in x width: 11 in. Matted; height: 14 1/8 in x width: 17 1/8 in.Condition: There are no visible tears, losses, or restorations. The photograph is toned. Light to moderate creases throughout. Housed between two non-acidic mats. With plastic sleeve wrapped around and affixed to the verso of the matboard. Not inspected out of matting.
19th c. Japanese double-gourd ceramic satsuma vase, Meiji era. With three cartouches along the lower lobe of the body depicting figural groups and immortals, geometric motifs and a band of fluttering butterflies along the upper lobe of the vase, and millefleur floral motifs throughout. Illegibly impressed along the underside.Height: 4 in x diameter: 2 3/4 in.Condition: There are no visible cracks, losses, or restorations. Crazing throuhgout the glaze. Light wear along the footrim, including some adhesive accretions along the underside. Dust and debris gathered along the interior.
Saxbo, Sweden. Small and rotund model no. 67 ceramic vase, ca. 1960s. Stoneware with a lovely soft yellow haresfur glaze. Impressed Saxbo maker's mark and "Danmark" along the underside; numbered 67.Height: 5 1/2 in x diameter: 4 1/2 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Kyllikki Salmenhaara (Finnish, 1915-1981) for Arabia, Finland. Mid-century modern stoneware ceramic bowl with a beautiful mottled brown glaze, 20th century. Incised "Arabia" and initialed "KS" along the underside.Height: 3 in x width: 6 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Late 19th century albumen photograph print depicting three figures atop camels posing in front of the Great Sphinx and the Great Pyramid of Giza.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 6 1/2 in x width: 8 3/4 in. Matted; height: 14 1/8 in x width: 17 1/8 in.Condition: There are no visible tears, losses, or restorations. The colors are slightly faded. Light to moderate creases throughout. Housed between two non-acidic mats. With plastic sleeve wrapped around and affixed to the verso of the matboard. Not inspected out of matting.
Philip LaVerne (Amercan, 1907-1987) and Kelvin LaVerne (American, b. 1937). Acid-etched patinated bronze, enamel, and pewter model "#142" coffee or cocktail table from the LaVerne's iconic "Chan" series, ca. 1960. The central tabletop image depicts a lively Chan dynasty era village scene. Peasants mill around the landscape carrying sacred gifts, possibly for an Emperor’s child, evoking themes of reverence and celebration. The harmonious blend of delicately wrought foliage and figures, enhanced by a rich palette of multicolored patinas, embody the essence of Chinoiserie design. Incised signatures along the lower right of the tabletop; "Philip LaVerne Galleries Ltd." label along the underside of the tabletop.Lot Essay:Philip and Kelvin LaVerne, a father-and-son duo from New York, emerged as pivotal figures in mid-20th century American design, renowned for their transformative approach to furniture and decorative arts. Philip LaVerne, initially a skilled craftsman, began his career in the early 1940s, creating bespoke pieces that combined traditional techniques with modern sensibilities. His collaboration with his son Kelvin, who brought fresh perspectives and innovative techniques, marked a significant evolution in their design philosophy. Together, they pioneered the use of complex metal alloys and intricate etching processes, crafting furniture that was both functional and highly artistic. Their work, characterized by its rich textures and dynamic patterns, drew inspiration from a range of influences including classical art, Asian aesthetics, and abstract modernism.The "Chan" Series, Model #142 coffee table featured in this lot, a prime example of the LaVerne's legendary craftsmanship, reflects their dedication to integrating art with utility. The table's design embodies their signature style, featuring hand-etched bronze with elaborate patterns that evoke both elegance and intrigue. This piece not only highlights their technical skill but also their ability to imbue everyday objects with a sense of artistry and cultural depth. The work of the LaVerne's remains a testament to their innovative spirit and enduring influence in the world of decorative arts, bridging the gap between high art and functional design.Height: 17 in x diameter: 47 1/4 in.Condition: There are no major splits, cracks, or losses to the wood or the inlay. Some light scratches along the surface of the table. Some patination throughout, possibly original to the artistic process. Marker inscription along the top surface of the table base, only visible when the tabletop is lifted off of the base.
Late 19th century albumen photograph print depicting two figures atop camels posing in front of the Great Sphinx and the Great Pyramid of Giza.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 6 1/2 in x width: 8 3/4 in. Matted; height: 14 1/8 in x width: 17 1/8 in.Condition: There are no visible tears or restorations. The colors are slightly faded. Light to moderate creases throughout. A few small spots of skimming along the upper edge. Housed between two non-acidic mats. With plastic sleeve wrapped around and affixed to the verso of the matboard. Not inspected out of matting.
Don Reitz (American, 1929-2014). Studio ceramic jug or vase with a glazed blue burst design sprawling along the unglazed exterior, mid- to late 20th century. This bulbous vessel features a squat, rounded form with a tapered neck. The contrast between the turquoise-hued glazed splashing across the earthy unglazed surface adds a layered and tactile texture to the piece. Carved "Reitz" along the underside.Height: 7 in x width: 7 in x depth: 5 1/2 in.Condition: There are no visible cracks, losses, or restorations. Light wear to the footrim. Dust and debris gathered along the interior.
Anna-Lisa Thomson (Swedish, 1905-1952) for Upsala-Ekeby, Sweden. Group of two ceramic items including a large model no. 1041 bowl from Thomson's "Athene" series, a rare and important line for UE, and a model no. 1070 decorative dish or plate from Thomson's "Spectra" series for UE, ca. 1950. Earthenware, the bowl depicting abstract figures amid foliage with grey and white glazes; the plaque depicting fish and marine motifs with vibrant colorful glazes. Incised Upsala-Ekeby maker's mark, initials, and numbered along the underside of each.(Athene Plate) Height: 2 1/2 in x diameter: 15 in. (Spectra Dish) Height: 2 3/4 in x width: 13 in x depth: 9 1/2 in.Condition: (Athene Plate) There are no chips, cracks, losses, or restorations. Light wear to the footrim. Minute spots of pitting throughout. (Spectra Plate) There are no chips, cracks, losses, or restorations. Some crazing throughout. Light wear to the footrim. There is a metal wire hanger wrapped around the work.
David Gilhooly (American, 1943-2013). Small studio ceramic sculpture depicting a realistic chocolate frosted cake donut, 1981. Incised signature and dated "'81" along the underside.Lot Essay:David Gilhooly, a pioneering artist within the Funk Art movement, is renowned for his subversive and inventive approach to ceramics. Emerging in the late 1960s, Funk Art challenged conventional aesthetics and Abstract Expressionism with its embrace of irreverence and satire, aligning seamlessly with Gilhooly’s artistic ethos. His work is notably characterized by whimsical and playful visual motifs including anthropomorphic frog figures, fast food, and pastries. Among his most intriguing contributions to the field are his vivid and convincing donut sculptures, which transcend a mere replication of delectable everyday objects. By elevating the commonplace into the realm of high art, Gilhooly not only expanded the expressive potential of ceramics but also redefined the medium’s role in contemporary art discourse.Height: 1 1/2 in x diameter: 3 1/2 in.Condition: There are no visible cracks, losses, or restorations. Light wear along the underside.
David Sanctuary Howard, "Chinese Armorial Porcelain," London: Heirloom & Howard Limited, 2003. Volume two. Large book including descriptions, analyses, and images of Chinese armorial porcelain.Height: 11 3/4 in x width: 9 in x depth: 3 in.Condition: The binding of the book is sturdy and intact. There are no obvious missing pages, tears, or otherwise losses to the book. Light wear to the dust jacket.
Warren MacKenzie (American, 1924-2018). A small studio pottery ceramic chawan tea bowl or cup. Stoneware with a shino glaze. 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 3/4 in x diameter: 5 3/4 in.Condition: No chips, cracks, losses, or signs of restoration when examined under UV light. Extremely light crazing throughout. There is extremely light wear along the footrim consistent with age and use.
Helena Tynell (Finnish, 1918-2016) for Riihimaki or Riihimaen Lasi Oy, Finland. Abstract glass sculpture of a unique staggered, geometric form depicting an ethereal landscape within, 20th century. Etched signature and studio along the underside.Height: 7 in x width: 6 1/2 in x depth: 3 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Eva Staehr-Nielsen (Danish, 1911-1976) for Saxbo, Denmark. Ceramic model no. 35 vase of a rounded, cylindrical form with a recessed neck, flared rim, and a delicate, faintly ribbed exterior, ca. early 1940s. Stoneware with a handsome "tobacco rust" colored haresfur glaze. Incised Saxbo maker's mark, "Denmark," and the artist's "E.S T.N" signature; numbered 35.Height: 5 1/2 in x diameter: 4 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Dust and debris gathered along the interior
Warren MacKenzie (American, 1924-2018) and Alix MacKenzie (American, 1922-1962). Group of two studio pottery cups or chawan (tea bowls), 20th century. Stoneware, one cup with navy tenmoku glaze, rendered by Alix MacKenzie; the second cup with a mottled gray sodium carbide glaze. Each stamped along the footrim with an early Warren MacKenzie stamp.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.(Blue) height: 3 1/2 in x diameter: 3 1/4 in. (Gray) height: 3 1/2 in x diameter: 3 1/2 in.Condition: There are no visible cracks, losses, or restorations. Faint crazing along the interior of the bowl. Light wear to the footrim.
Ermanno Nason (Italian, 1928-2013). Hand-blown smoked Murano glass sculpture in the form of a woman's face, 1948. Etched signature and date along the underside.Height: 6 1/2 in x width: 8 in x depth: 2 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Eva Englund (Swedish, 1937-1998) for Orrefors, Sweden. Small "graal" glass bowl of a vibrant magenta hue depicting foliate motifs, ca. 1970s. Etched "Orrefors," "Graal.No.V.130/76," and "Eva Englund" along the underside.Eva Englund was a modernist designer and artist renowned for her work with “graal†glass at Orrefors, where she has earned recognition as one of Sweden’s finest glass artists. She developed a complex engraving technique that adds luminous layers of dimension to her pieces. In addition to her work at Pukeberg and Orrefors, she has continuously explored the possibilities of glass art through her own studio.Height: 2 1/2 in x diameter: 5 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Four felt tabs affixed to the underside.
Chinese Ming dynasty ceramic hu vase. With two small handles extending from the upper rim to the high shoulder. With an iron-rich ash glaze, iron-clay body, and fired in a wood kiln. With a National Museum of the Philippines label affixed to the underside.Height: 6 1/4 in x width: 4 1/4 in.Condition: There are no major visible cracks, losses, or restorations. There are several minute firing flaws throughout the body of the vase, primarily along the lower third. Light wear along the footrim. Light dust gathered along the interior.
Tatsuzo Shimaoka (Japanese, 1919-2007). Group of ten studio ceramic chawan tea bowls or yunomi cups, 20th century. Stoneware of an iron-saturate, Mashiko clay body. With an iron-free ash celadon glaze and white slip over a textured, rope-pressed inlay surface.Height ranges from 3 in to 4 in; diameter ranges from 3 in to 3 1/2 in.Condition: All are free from chips and restorations. The smallest cup with a hairline crack extending downwards from the upper rim to the footrim. Light wear to the footrims throughout.
Warren MacKenzie (American, 1924-2018). Set of two studio ceramic plates. Each stoneware plate is with a shino glaze and concentric circular slip trailed designs. One of the plates is stamped along the foot rim.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 1/2 in x diameter: 7 in.Condition: No visible cracks, chips, or losses. There is minute wear to the footrim, as expected from age and use. There are no signs of restoration under UV light.
Sascha Brastoff (American, 1918-1993). Group of four vintage resin animal figures: one in the form of a wren or similar bird, a second depicting an owl, and a two portraying pelicans, ca. 1960s-1970s. Each with an etched signature along the underside.Height ranges from 4 1/4 to 15 in; width ranges from 4 in to 10 in; depth ranges from 3 1/2 in to 5 1/4 in.Condition: Most without any major losses, cracks, or restorations. The small red bird with several chips to the underside of the feet and some accretions to the chest. Each figure, with exception to the white pelican, has three felt tabs affixed to the underside. The white pelican is with three areas of adhesive residue where tabs were once affixed to the underside. All with light wear to the underside.
Carl-Harry Stalhane (Swedish, 1920-1990) for Rorstrand, Sweden. Stoneware pottery vase with a lovely variegated brown-grey glaze and delicately textured exterior, 20th century. Initialed "Ch-Se" and incised "Atelje," first quality Rorstrand maker's mark, and "Sweden" along the underside.Carl-Harry Stalhane is one of the most celebrated figures of 20th-century Swedish ceramic design. He is best known for his role as the artistic leader at Rorstrand during the 1960s. His name has become synonymous with exceptional ceramic quality, stunning creative design, and outstanding craftsmanship. Stalhane's work is represented in the Swedish National Museum of Art and Design.Height: 8 1/2 in x width: 6 in x depth: 5 in.Condition: There are no chips, cracks, losses, or restorations. There is a minute firing flaw along the upper third of one side. Light wear to the footrim. Spot of adhesive residue/old label affixed to the underside.
Yabu Meizan (Japanese, 1853-1934). Meiji era Japanese satsuma ceramic trumpet or ikebana vase, late 19th century. With enamel and gilt along the exterior depicting profuse millefleur floral motifs throughout, especially along the flared neck. The lower half of the stem portrays a seaside village landscape with a torii gate in the distance, and cartouches bearing figural village scenes and immortals revolve along the circumference of the flared footrim. Marked along the underside with a Yabu Meizan seal.Height: 5 1/4 in x diameter: 3 in.Condition: There are no visible cracks, losses, or restorations. Crazing throughout the glaze. Light wear along the footrim. Dust gathered throughout the recessed areas.
Bertil Vallien (Swedish, b. 1938) for Kosta Boda, Sweden. Large and unique or "unik" bowl depicting the story of Icarus with additional mythical motifs in purple and gold blasted glass, ca. 1960s-70s. Etched "Kosta," "Unik," and signature along the underside; numbered "47/5" or possibly "4715."The innovative fusion of light and color make Bertil Vallien's sculptures among the most celebrated in Europe. Raised in Sweden, Vallien was drawn to the creative freedom of art and inspired by the textural possibilities of clay. He studied ceramics at the Konstfack School of Arts, Crafts, and Design and then spent time in Los Angeles, where his glass art won a prize in the Young Americans competition for his stoneware entry Family on Whale. After returning to Sweden, a fascination with maximizing glass’s ability to absorb light became his passion. He’s known best for his boat forms, faces, and heads. Bertil Vallien's sculptures and vessels are part of important museum collections and have garnered prestigious awards, including the Visionary Award from New York's Museum of Arts and Design.Height: 8 3/4 in x diameter: 14 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Elaborately carved Chinese jadeite sculpture depicting two women standing atop cresting waves. Well-formed from a black to white stone. With a carved wooden stand.(Without stand) Height: 6 in x width: 7 1/2 in x depth: 2 1/4. Weight: 339.1 g.Condition: There are no major visible cracks, losses, or restorations. There are natural lines, fissures, and variegations in color visible throughout. Light calcifications throughout. Some debris gathered along the recessed areas. Wear along the wooden stand.
Nils Lundstrom (Swedish, 1865-1960) for Rorstrand, Sweden. Beautifully painted Art Nouveau ceramic vase depicting a serene shoreline and lake scene landscape with birds flying overhead, early 20th century. Stoneware with a recessed neck. Stamped Rorstrand maker's mark and initials along the underside.Height: 11 1/4 in x diameter: 6 1/4 in.Condition: There are no major losses or restorations. Light wear to the footrim. Four firing flaws along the side and pinholes throughout, likely original to the firing process. Minute chip to the footrim. Three felt tabs affixed to the underside.
Group of three original gelatin silver print photographs depicting airships or dirigibles ca. 1920s-1930s. All published by Underwood & Underwood with press information along the verso. Including:One photograph titled "Rival Air Monsters -- 'Graf Zeppelin' Makes Peaceful 'Raid' on England and Meets the 'R-100'". One airship is docked to a mooring mast while another flies past in the distance.One photograph titled "Thousands Flock to St. Hubert Airport in Canada to View Great British Dirigible, R-100." Depicting the titular airship docked to a mooring mast with a crowd of onlookers.One photograph titled "Japanese Navy Loses Its Only Dirigible When The N--3 Explodes At Sea." The photo depicts the titular airship before it met is end docked in an aircraft hanger. Printed November 25, 1927.Each, height: 8 1/4 in x width: 10 1/4 in.Condition: There are handling marks and light creases throughout. Several small tears or creases. Stamps and marks along the verso. Light wear consistent with press photography. None are framed.
Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Ceramic mid-century modern "ARL" model "alphabet" vase, ca. 1950s. Stoneware pottery of a handled pitcher form with a rare mottled green and cream glaze. Incised initials, first quality Rorstrand maker's mark, model "ARL," and "Sweden" along the underside.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s and his iconic "alphabet" vases were produced in limited editions making them rare, important, and highly sought after. Nylund's work is represented in the Swedish National Museum of Art and Design.Height: 8 in x width: 3 1/4 in x depth: 3 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Dust gathered along the interior.
Bertil Vallien (Swedish, b. 1938) for Kosta Boda, Sweden. Large and unique or "unik" vase or bowl depicting surreal figures and mystical motifs in purple, black, and gold blasted glass, ca. 1970s. Of a rounded form with a slightly flared rim. Etched "Kosta," "Unik," "B.340," "305870340," and signature along the underside.The innovative fusion of light and color make Bertil Vallien's sculptures among the most celebrated in Europe. Raised in Sweden, Vallien was drawn to the creative freedom of art and inspired by the textural possibilities of clay. He studied ceramics at the Konstfack School of Arts, Crafts, and Design and then spent time in Los Angeles, where his glass art won a prize in the Young Americans competition for his stoneware entry Family on Whale. After returning to Sweden, a fascination with maximizing glass’s ability to absorb light became his passion. He’s known best for his boat forms, faces, and heads. Bertil Vallien's sculptures and vessels are part of important museum collections and have garnered prestigious awards, including the Visionary Award from New York's Museum of Arts and Design.Height: 8 1/2 in x width: 8 3/4 in x depth: 11 in.Condition: There are no chips, cracks, losses, or restorations. Some light accretions throughout. Light wear to the footrim. Four felt tabs affixed to the underside.
Large vintage philately group or collection of American and international stamps, 19th-20th century. This lot includes a variety of loose stamps from various regions around the globe, sheets of unposted mint stamps with gum intact, and several partially complete collector's albums of early American stamps. These albums include titles such as "Cancelled U.S. Commemoratives and Regular Issues," containing an array of U.S. postage, parcel post stamps, and special postal delivery postage from 1847-1939 and "Scott's Minuteman Album for United States and United Nations Stamps."(Shipping Dimension) Height: 10 in x width: 25 in x depth: 12 in.Condition: Some stamps have been posted. Light wear to the collection throughout.
Catherine Steinmann (American, 20th/21st c). Gelatin silver print photograph titled "Montmartre on Time" depicting the famous Parisian neighborhood as seen through the clock in the Musee d'Orsay, 1998. Editioned 4/30.Sight; height: 14 1/2 in x width: 17 3/4 in. Framed; height: 21 1/4 in x width: 24 1/4 in x depth: 1 1/2 in.Condition: The colors are bold and deep. There are no visible tears, losses or restorations. There is a small crease along the upper left edge. There is undulation throughout. Housed under a nonacidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Bode Willumsen (Danish, 1895-1987) for Royal Copenhagen, Denmark. Ceramic lidded bowl vase vessel with finial in the form of a mythical beast, early 20th century. Stoneware pottery with oxblood glaze. Stamped Royal Copenhagen blue wave maker's mark and signed by Willumsen along the underside; stamped 38 over 20127 below the maker's mark and incised 20127 along the footrim.Height: 7 1/4 in x diameter: 5 1/2 in.Condition: There are no chips, cracks, losses, or restorations. Some light wear where the lid meets the body of the vase. Some pooling of the glaze along the interior and the lid, where a small spot appears as a firing flaw or fleabite chip. Light wear to the footrim.
Late 19th century albumen photograph print depicting a large group of figures posing in front of the Great Sphinx and the Great Pyramid of Giza. Illegibly inscribed along the lower right.Lot Essay:These 1855-1900s albumen photographs of "The Rediscovery of Egypt" represent the earliest days of the successful use of commercial photography. For the first time photographic images could be produced from glass plate negatives allowing European travelers to return home with actual images of Egypt's great treasures. Photographers include Felice Beato (Italian/British, 1832-1909), Antonio Beato (Italian/British, ca. 1832-1906), Adelphoi Zangaki (Greece), Jean Pascal Sebah (Syrian/Armenian, 1872-1947), and Maison Bonfils (France).Many of the images offered in this sale capture ruins and artifacts that have since collapsed, moved to museums or, in some cases, are under water. The remarkable series of photographs of the Great Sphinx of Giza show it in various states of revelation - from seeing only its head to its excavation and re-excavation, until the now well-known lion's paws were finally revealed. There are additionally many photographs of hieroglyphics, temple ruins, and the Great Pyramid.Sight; height: 7 3/4 in x width: 10 in. Matted; height: 14 1/8 in x width: 17 1/8 in.Condition: There are no visible tears, losses, or restorations. The colors are slightly faded. Light to moderate creases throughout. Housed between two non-acidic mats. With plastic sleeve wrapped around and affixed to the verso of the matboard. Not inspected out of matting.
Stig Lindberg (Swedish, 1916-1982) for Gustavsberg, Sweden. Rare and monumental Stig Lindberg vase. Tooled surface with a rich brown, iron saturate glaze. Incised Gustavsberg maker's mark and signature along the underside.Stig Lindberg is one of the most celebrated figures of illustrious 20th-century Swedish ceramic design. Renowned for his continuous creativity and remarkable eye for shapes, proportions, and patterns, Larson worked at the Gustavsberg factory from 1937 to 1980. His work is represented in the Swedish National Museum of Art and Design.Height: 17 1/2 in x diameter: 8 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Arne Bang (Danish, 1901-1983). Small ceramic vase or bowl of a fluted, undulating form, mid-20th century. Stoneware with a mottled brown glaze, featuring incised vertical grooves and a ribbed texture. Inscribed initials and numbered 109 along the underside.Height: 2 1/4 in x diameter: 4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Possibly Hiroshi Ogawa (Japanese-American, 20th/21st century). Contemporary studio ceramic sculpture depicting three tubular columns of varying heights that are surmounted by wide, oval form rings, 20th to 21st century. Stoneware with a matte white glaze along the raised vertical details of the cylindrical forms and along the interior of the ovals. Incised "HO" along the lower third of the medium sized column; further incised "HO" along the underside.Height: 11 in x diameter: 7 in.Condition: There are no visible breaks, losses, or restorations. Light wear and many felt tabs affixed to the underside. Light dust gathered along the recessed areas.
Chinese carved jade depicting a figure reclining along the length of a leaf. The body is of a pale green coloration and the foliage is skillfully carved from a russet inclusion.Height: 1 in x width: 2 3/4 in x depth: 1 1/4 in. Weight: 29.5 g.Condition: There are no major chips or cracks. Light wear throughout.
Harry Bertoia (Italian/American, 1915-1978) for Knoll, United States. Mid-century modern "Bird" model lounge chair, 20th century. With black metal frame and dark aubergine purple fabric upholstery.Lot Essay:Born in 1915 in San Lorenzo, Italy, Bertoia moved to the United States in 1930 to stay with his older brother in Detroit. He enrolled in Cass Technical High School, where he studied jewelry making, and was immediately taken with the technical and artistic aspects of the craft. Following his high school graduation, he enrolled in the Art School of the Detroit Society of Arts and Crafts. After one year of study there, he received a scholarship to the Cranbrook Academy of Art.At Cranbrook, he helped reopen the school’s metal shop, and became friends with many influential designers of the day, including Ray and Charles Eames, Eero Saarinen, and Florence Knoll. These friendships helped Bertoia to break into a successful design career, creating furniture with the Eameses and Knolls for their successful companies. He began studying welding during this period, a skill that soon would become a cornerstone of his artistic practice.Following professional success as a designer, he turned to sculpture full-time. Putting the metalworking skills gained earlier in his career to good use, he created massive metal constructions, using welded pieces to create dazzling forests of abstract forms. These works soon gained recognition throughout the art world, and he received many commissions for museums and public buildings.Height: 36 on x width: 38 in x depth: 37 in.Condition: The chair is structurally sound and stable. There are no visible breaks, losses, or restorations to the frame or the upholstery. Light pilling throughout the upholstery. Light tarnishing to the metal components and fastenings. Dust and debris gathered throughout the recessed areas.
Signature of 18th President Ulysses S. Grant framed with an etching portrait of the President. The etching with "B.W. Smith N.Y." in print below bust. The ink signature on a sheet of paper with the heading "Head-Quarters Armies of the United States...186."(Signature, sight) height: 2 in x width: 4 in. (Etching, sight) height: 4 in x width: 3 1/2 in. (Framed) height: 9 1/2 in x width: 6 1/4 in x depth: 1/2 in.Condition: Thee are no visible tears, creases, losses, or repairs. Both sheets are housed under an acidic mat. Mat burn and toning to both. Framed under glass; light wear to the frame. Not inspected out of frame.
Nils Emil Lundstrom (Swedish, 1865-1960) for Rorstrand, Sweden. Large Art Nouveau porcelain baluster vase depicting crowned cranes wading in shallow water, early 20th century. Stamped Rorstrand maker's mark and initialed "NEL" along the underside.Height: 16 1/2 in x diameter: 7 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Minute accretions to the exterior throughout. Some dust and debris gathered along the interior.
Group of 16 early British protectorate and colonial stamps including Australia, New Zealand, North Borneo and Labuan, Basutoland, and Bechuanaland.From New Zealand: one ca. 1900 red- or pale-rose 6-pence kiwi stamp; one ca. 1935 green 1/2d fantail stamp.From Basutoland: one green ca. 1933-34 1/2d stamp with an alligator and a profile design of King George V.From Bechuanaland: one green ca. 1932 1/2d stamp with a heard of cows and a portrait of King George V.From North Borneo: one green two-cent deer stamp with "Labuan" overprint; one red ca. 1901 4-cent stamp with a monkey and "British Protectorate" in green overprint.From Australia: one 1940 red armed forces 2d stamp; one claret brown ca. 1934 6d kookaburra stamp; one 1941 green one-shilling male lyrebird stamp; one 1913 red 1d kangaroo stamp; one 1913 pale green one-shilling kangaroo stamp; one ca. 1890s green one-shilling Western Australia swan stamp; one ca. 1910 green half-penny Western Australia swan stamp; one red three-halfpence King George stamp; one red two-pence King George stamp; one green one-penny King George stamp.Height ranges from 1 in to 1 1/2 in; width ranges from 7/8 in to 1 in.Condition: Most of the stamps appear to have been posted. All in overall good condition with signs of light wear.
Gunnar Nylund (Swedish, 1904-1997) for Rorstrand, Sweden. Unique Art Deco ceramic urn vase vessel, ca. 1930s. Decorated by Dahl in the tradition of the "Three Graces", this "unik" image depicts three neoclassical female musicians against a mottled beige ground. Stoneware pottery of Nylund's signature "flambe" style, with several glazes and details defined by using a Sgraffito etching technique. Stamped along the underside "Flambe" with "Modell" and "Nylund" on either side of an "ALP" Rorstrand mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: O. Dahl," and "Unik"; numbered 2017.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 1/2 in x width: 10 in x depth: 6 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim. Four felt tabs affixed to the underside.
Gunnar Nylund (Swedish, 1904-1997) and Oskar Dahl (Swedish, 1902-1966) for Rorstrand, Sweden. Unique or "unik" Art Deco ceramic urn vase vessel depicting a neoclassical archer presenting a goose, ca. 1930s. Stoneware pottery of Nylund's signature "flambe" style, with several glazes, including copper-rich blue, and details defined by using a Sgraffito etching technique. Stamped along the underside "Flambe Rorstrand" with "Modell" and "Nylund" on either side of an "ALP" mark. Below this, the stamp continues "Lidkoping, Sweden," "Dekor: O. Dahl," and "Unik"; numbered 7470.Gunnar Nylund is a prominent figure in illustrious 20th-century Swedish ceramic design. He served as the artistic leader at the Rorstrand factory during the 1940s and 1950s. His work is represented in the Swedish National Museum of Art and Design.Height: 9 1/2 in x width: 10 in x depth: 6 1/4 in.Condition: There are no chips, cracks, losses, or restorations. Light wear to the footrim.
Original gelatin silver print press photograph depicting the Hindenburg disaster in May of 1937. Published by Underwood & Underwood. Inkstamps and other press information along the verso.Height: 7 3/4 in x width: 9 3/4 in.Condition: There are light handling marks and creases throughout. A few small nicks along the edges. Crease along the upper left corner. Foxing throughout. Wear consistent with press photography including annotations and handling.
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