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Click here to subscribeA pair of 19th Century amethyst glass apothecary's bottles and stoppers numbered 16 and 24 respectively, 30cm highI cannot see any cracks when shining a light on the bottles. One stopper is stuck in place and I have not tried to force it. The other stopper does not have a perfectly round dome, I am unsure if this is a design flaw or perhaps an attempt to grind out a chip.
A Kashmir paisley shawl North India, late 19th century, with a plain green central panel framed by boteh and palmette borders, 285cm x 135cm; together with another shawl with a plain grey central panel framed by striped panels in purple, grey and yellow, 20cm x 118cm (2) All over fair condition with inconsistent fading to green field. Some joined fabric sections loose and detaching as pictured. Ends a little frayed. smaller shawl with loss to one corner and several holes, plain field faded and with some light stains
Two Tekke rugs West Turkestan, one with a pale brick red field with three columns of ten quartered Tekke guls, framed by a compartmented lozenge motif border and hooked lozenge ends, 163cm x 104cm; the other with a wine red field of Quartered Tekke guls, 155cm x 103cm (2)Darker rug: with good full pile, Kilim ends intact, minor staining to Kilim ends selvedges good lighter rug: overall good pile with some evidence of old moth and small patches of pile loss, some fold wear to centre, ends and self edges good with Kilim ends intact, light facing to one end (not reweave)
A Caucasian design carpet Afghanistan, late 20th Century, the abrashed blue field with an all over design of geometric guls and leaves, framed by a strawberry red border of rosettes and scrolling vines, 301cm x 223cmGood condition with full pile. Very light signs of use. No foul odours or staining.
A French marble and bronze mantel clock garniture, striking movement by Japy Freres, numbered 3699, plinth case flanked by lion mask, drop handles surmounted by an urn cast with putti, 42cm high, with a pair of associated two light candelabra centred with storks, on fluted marble octagonal bases, 31cm high, the clock 42.5cm highMovement striking and ticking, case with chips to marble upper left and bottom right, dial and numerals in overall good condition, base of urn signed F Barbedienne, candelabra with wax deposits, pendulum and key
Austen (Jane) Works, London: Collins 1952-53, pocket edition in original slipcase; Farnol (Jeffrey) Works, London: Sampson Low, Pocket Edition, circa 1910, 16 volumes & Merriman (Henry Seton) Works, London: Smith, Elder & Co, Pocket Edition, 1914, 14 volumesAll not collated: Austen set with slipcase worn at edges and shelfwear under, blue tinted top edge lightly faded, a good clean set; Farnol & Merriman in good condition with gilt top edges, very light shelfwear and signs of use to head of spine, 1 volume Merriman 'The age of unrest' with dulled gilding to top edge and faded gilt tooling to spine.
A Leica camera, marked Ernst Leitz, Wetzlar, D.R.P, No 110624, in a leather outer case, together with a light meter of Sangamo Ilford Weston Ltd, model No S141/735 in a leather case, a Leica Hektor 7.3cm Hera Kup Lens in a case and a Voigtlander cameraOmbersley Court, WorcestershireHector has its hood and front cap
Warren MacKenzie (American, 1924-2018). Studio ceramic vase. Stoneware with a matte white oatmeal glaze and finger mark decoration. Stamped along the base.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: 10 in x diameter: 6 1/2 in.Condition:No chips, cracks, losses, or restorations. Very light wear to the footrim.
Lester Johnson (American, 1919-2010). Oil on canvas painting depicting silhouettes of figures in stark black and white, 1969. Signed and dated along the verso.Lester Johnson, a prominent American artist and educator known for his figurative expressionist style, was born in Minneapolis in 1919. He studied at the Minneapolis School of Art under Alexander Masley and later moved to New York City, where he became associated with the Second Generation of the New York School, sharing spaces with artists like Larry Rivers and Wolf Kahn. Johnson's career included teaching positions at Ohio State University and Yale, where he served as Director of Studies Graduate Painting from 1969 to 1974, before retiring in 1989.Unframed; height: 24 in x width: 30 in. Framed; height: 25 1/4 in x width: 31 1/4 in x depth: 1 1/2 in.Condition:The colors are bold and deep. There is craquelure throughout the painting; some of which may be original to the artistic process. There is light wear to the verso. Some light wear to the frame.
Henry Bosse (German/American, 1844-1903). Cyanotype photograph titled "Boatyard at Wabasha, Minn." depicting a riverfront landscape, 1890. From "Views on the Mississippi River." Titled and dated below the image.Provenance: Collection of Simon Lowinsky; from the Estate of Christopher Cardozo.(Sheet) Height: 14 1/2 in x width: 17 1/4 in. (Mat) Height: 20 in x width: 24 in.Condition:There are two small losses along the lower right corner. Toning throughout, more so along the extreme edge. Light blue discolorations throughout the sheet, possibly original to the artistic production. Pencil inscriptions along the verso. The work is not framed.
Jim Meyer (American, b. 1941). Woodblock print on paper titled "Southward" depicting a shore along Lake Superior, 1997. Pencil signed and dated along the lower right; titled along the lower center; editioned 13/28 along the lower left.Jim Meyer is an artist based in Hopkins, Minnesota. He studied at the University of Minnesota and Minneapolis College of Art and Design. Based on his artistic interest in the American landscape, much of the subject matter in his artistic practice is drawn from Minnesota's North Shore.Height: 14 in x width: 15 in.Condition:The colors are bold and bright. There are no major tears, losses, or restorations. There is a light crease along the upper right corner. Light wear along the lower deckled edge. The work is not framed.
Jim Meyer (American, b. 1941). Woodblock on paper print titled "The Lone Pine" depicting a singular pine tree overlooking Lake Superior. Pencil signed and sealed along the lower right; titled along the lower center; editioned 10/10 along the lower left.Jim Meyer is an artist based in Hopkins, Minnesota. He studied at the University of Minnesota and Minneapolis College of Art and Design. Based on his artistic interest in the American landscape, much of the subject matter in his artistic practice is drawn from Minnesota's North Shore.Height: 15 in x width: 20 in.Condition:The colors are bold and bright. There are no tears, creases, losses, or restorations. Light wear along the deckled edges. The work is not framed.
Gary Bowling (American, b. 1948). Oil on canvas landscape painting of a gentle stream in the midday sun. Signed along the lower right.Provenance: Distinguished Corporate Collection, Minnesota.Unframed; height: 48 in x width: 48 in. Framed; height: 55 3/4 in x width: 55 3/4 in x depth: 2 1/4 in.Condition:Colors are bold and deep. Surface is stable. There are no visible losses, tears, or signs of restoration. Light wear to the frame and stretcher.
Nicholas R. Brewer (American, 1857-1949). Oil on canvas portrait painting of Otto Bremer (German/American, 1867-1951). Signed along the lower left, painted ca. 1900.Otto Bremer was a prominent banker and philanthropist known for founding the Otto Bremer Trust in 1944. His significance to Minnesotan history lies in his establishment of the Bremer Bank, which played a crucial role in supporting local businesses and communities, particularly during times of economic hardship such as the Great Depression. Bremer's philanthropic efforts continue to impact Minnesota through the trust, which focuses on improving the quality of life for individuals and communities in the region.Unframed; height: 44 in x width: 34 in. Framed; height: 51 1/2 in x width: 41 1/4 in x depth: 2 in.Condition:The colors are bold and deep and the surface is stable. Under UV light, there are numerous areas of in-painting and restoration. These are mainly along the figure's face, right-most hand, the lower edge, and the negative space along the upper left quadrant. Several other larger areas fluoresce throughout. The surface of the painting is slightly dusty. There are some stretcher bar marks. Along the verso there are several small spots of wax infilling corresponding to areas of restoration. There is a large patch along the upper right edge, corresponding to a large area of restoration along the recto. A few small chips and signs of light wear to the frame.
Hand-colored map depicting Minnesota and the un-unified Dakota territories. Parts of Wisconsin and Iowa are seen in the margins. Surrounded by a border of floral vines and ribbons. Inscribed in the margin "Entered according to act of Congress in the year 1860 by S. Augustus Mitchell Jr. in the Clerks Office of the District Court of the U.S. for the Eastern District of Pennsylvania."Sight; height: 12 in x width: 14 1/2 in. Framed; height: 13 in x width: 15 1/2 in x depth: 1/2 in.Condition:There are no visible creases, tears, or losses. There is toning to the sheet. There are a few minute areas of discoloration, most notably halfway down the left margin. There a few minute areas of foxing throughout. There are no signs of restoration under UV light. Not examined out of frame. Framed under glass. Wear to the frame.
Archive of information and photographs of artworks regarding Minnesota artist John E. Anderson (American, 1923-1971). Compiled by the Walker Art Center. He taught at the Walker School of Art under Mac Le Sueur.(Shipping Dimensions) height: 11 1/2 in x width: 11 1/2 in x depth: 3 1/2 in.Condition:Some handling wear as expected of a compiled archive. Light wear to the binder.
Warren MacKenzie (American, 1924-2018). Studio ceramic pottery vase with applied handles. Stoneware with a shino glaze and with a natural wood ash decoration along the shoulder. Possibly fired in Randy Johnston's kiln. Stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 11 in x diameter: 8 in.Condition:There are no chips, losses, or cracks. There is wear to the footrim, consistent with age and use. No signs of restoration under UV light.
Elof Wedin (Swedish/American, 1901-1983). Oil on canvas painting depicting colorful slashes of yellow and red against a dark blue background, possibly depicting a harbor scene. Similar to the artist's depictions of harbors in Norway. Signed along the lower right.Lot Essay:Elof Wedin immigrated to the United States in 1919 from Swedin and settled in Minneapolis, Minnesota. In the early 1920s he began taking night classes at the Minneapolis Institute of Art and in 1926 he began studying under George Oberteuffer at the Art Institute of Chicago. After returning to Minneapolis he began to paint character studies and portraits that gradually began to take on a more modernist feel, resembling portraits by Italian artist Amedeo Modigliani.Throughout the 1930s and 1940s his landscape paintings began to take on a highly abstract geometric style. With their flattened space, lack of perspective, and angular shapes, he grew into the Abstract Expressionism movement of the late 1950s and into the mid-1970s.He had shows around the country including the Hudson Walker Gallery in New York, the Rockefeller Center in New York, the San Francisco World's Fair, the Minneapolis Institute of Art, the Walker Art Center in Minneapolis, and many more throughout Minnesota. His works are held in collections such as the Walker Art Center in Minneapolis, the Weisman Art Museum, the Minnesota Historical Society, and the Smithsonian Institute.Unframed; height: 38 1/2 in x width: 46 3/4 in. Framed; height: 41 1/2 in x width: 49 3/4 in x depth: 1 in.Condition:The colors are bold and bright and the surface is stable. No chips, losses, or restorations when viewed under UV light. Light wear to the frame.
Paul Granlund (American, 1925-2003). Cast bronze sculpture titled "Head of a Young Man" in the form of a man's head, 1964. Signed, dated, and numbered 1/3 along the edge of the bronze base. Affixed to a black marble base.Reference:William K. Freiert, "Paul T. Granlund: Spirit of Bronze Shape of Freedom," Primarius Limited Publishing (Minneapolis: 1991), pg. 90, plate 226.Kathryn Christenson and Kelvin W. Miller, "Granlund: The Sculptor and his Works," Gustavus Adolphus College (St. Peter, MN: 1978), pg. 221, plate 226.(Including marble base) height: 16 in x width: 8 1/2 in x depth: 8 in. Weight: 18 lbs 12 oz.Condition:The bronze is in good condition with no deep scratches or losses. Some light dirt/dust accumulated in the recessed areas. Light wear including a few small frits along the edges of the marble base.
Tom Blanck (American, 20th/21st c). Oil on canvas landscape painting depicting buildings. Blanke is an artist and philanthropist of the Minnesota arts community.Unframed; height: 24 in x width: 18 in. Framed; height: 29 1/2 in x width: 23 1/2 in x depth: 2 in.Condition:The colors are bold and deep and the surface is stable. There are at least two repaired tears along the upper right quadrant; the tears are visible along the verso. Due to a thick varnish it is difficult to discern if there are any further restorations. Some small yellow accretions throughout the surface of the painting. Light wear to the frame.
Warren MacKenzie (American, 1924-2018). Tall studio ceramic pot or vase. Stoneware with a dark Tenmoku glaze. Double stamped along the footrim.Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota.Height: 14 in x diameter 6 in.Condition:There are no chips, cracks, losses, or restorations. A few white accretions that are easily removed throughout the body. Very light wear to the underside.
Group of ephemera related to artist Barton Stone "B.S." Hays (American, 1826-1914) and his family. Including sketches and prints by his family, newspaper clippings, a yearbook, and ephemera related to the College of St. Catherine.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's "Uncle Tom's Cabin."(Shipping dimensions) height: 3 1/2 in x width: 9 1/2 in x depth: 13 1/4 in.Condition:The art is in overall good condition with no tears or losses. Most sheets are toned. Light wear to the ephemera as expected.
Group of ephemera related to artist Barton Stone "B.S." Hays (American, 1826-1914) and his family. Including sketches by his family members, sympathy cards, and a register or guest book.Although Hays initially gained popularity for his portraiture - such as his painting of then-governor of Indiana, William Henry Harrison - his focus shifted to still life paintings after his move to Minneapolis and it was these realistic paintings that were his most popular. He also created panorama paintings such as his painting depicting scenes from Harriet Beecher Stowe's "Uncle Tom's Cabin."(Shipping dimensions) height: 2 in x width: 9 in x depth: 10 1/4 in.Condition:Most sketches in good condition with no tears, losses, or restorations. Light wear including some handling marks along the edges. One sketch of a child floating a boat along a stream with creases along the corners. All sheets are toned. All are not framed. Light wear to the box containing the memorial guest register.
Warren MacKenzie (American, 1924-2018). Studio porcelain double-rim pinch pot, ca. 1960s-70s. With a white glaze and ovoid yonic opening. Not marked. MacKenzie only worked with porcelain for a short period of time in the 1960s and 1970s.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: 4 1/4 in.Condition:There are small areas of wear along both of the double rims including some light soiling and a few minute fleabite chips. Crazing to the glaze throughout. Light wear to the footrim. There are four felt tabs affixed to the underside. Dirt/debris accumulated along the interior.
Jack Youngquist (American, 1918-1993). Group of six prints and drawings including:Etching titled "Prone F/Tri-Sequence" depicting figures lying on their backs, 1975. Pencil numbered "Artist's Proof" 3/3 along the lower center.One graphite on paper drawing titled "Guardian" depicting a nude figure on their back with their head, depicted in several angles, resting in the lap of another, 1972. Signed and dated along the lower right; titled along the lower center. The verso with a gouache painting of a circus.One lithograph titled "The Burbank-Livingston-Griggs House" depicting a view of the historic Summit Avenue, St. Paul home, 1975. Signed and dated along the lower right; numbered 23/200 along the lower center; titled along the lower left.One lithograph titled "The Cutter House" depicting a historic Minneapolis home, 1975. Signed and dated along the lower right; numbered 43/200 along the lower center; titled along the lower left.One lithograph titled "The Alexander Ramsey House" depicting a historic home in St. Paul, Minnesota, 1975. Signed and dated along the lower right; numbered 84/200 along the lower center; titled along the lower left.One graphite on paper drawing depicting a gathering of five nudes.With two catalogs of shows featuring Jack Youngquist.Height ranges from 15 1/2 in to 21 in; width ranges from 18 in to 26 in.Condition:(Prone F/Tri-Sequence) There is a loss along the upper left corner. There is a 1-inch long tear along the lower center. Three small tears along the lower right. Some water exposure along the lower right. A few light creases. Some discoloration and toning throughout. Old tape affixed along the edges. The work is not framed. (Guardian) Some smudging/transfer of graphite throughout. There are small spots of water exposure throughout the left side of the work. Some toning and matburn visible. There are a couple of pinholes along the margin, likely original to the artistic production. Old tape affixed throughout the verso. The work is not framed. (Burbank-Livingston-Griggs House) The sheet is toned. There is some light wear along the edges. A few light creases/handling marks throughout the margins. Not framed. (Cutter House) The sheet is slightly toned. A few light handling marks/creases along the margins. Light wear to the edges. Not framed. (Alexander Ramsey House) The sheet is slightly toned. A few light handling marks/creases along the margins. Light wear to the edges. Not framed. (Five Nudes) There is wear throughout the sheet including some small tears, creases, and transferring/smudging of graphite. Not framed.
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