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Lot 7
Rocket Lamp - A retro 1960s Space Age teak wood and acrylic floor standing lamp / standard light. the lamp comprising of bulb fitted centre, cylindrical acrylic shade / diffuser in an orange colourway and raised on shaped teak wood legs. Sold as untested. Measures approx. 112cm x 22cm diameter.
Lot 105
A 19th/20th-century Chinese zitan wood opium pipe with a white jade mouthpiece, paktong saddle and bronze bowl bearing an inscription, regarding the suppression of a rebellion in the South (1911?) and the abundance of military resources. 55 cm long.A private estateWhite and verdigris deposits in the bottom of the copper bowl now filling the pin-size hole, but light can still pass through (see images). The bowl is not filled with a white deposit. One jade end with chips, metalware slightly worn commensurate with age.
Lot 52
Charles Low (1840 - 1906), The Village Ford, Eashing, Surrey, signed, oil on canvas, 32.5 x 49 cm, framed 44.5 x 61 cmEton Gallery, Windsor and Cambridge Fine ArtCanvas has been lined. Some signs of previous cracking in the sky and some slight retouching to the sky above the trees evident under UV. Painting is in good presentational order, but might benefit from a light cleaning.
Lot 175
The Beatles: an original black and white signed postcard, early 1960s, with dedication verso in John Lennon's hand, 'Best Wishes to Buddy & Regents', with the signatures of Ringo Starr, George Harrison, Paul McCartney and John Lennon (each in different ink), 14 cm x 9 cm. The card was given to Buddy Britten (born Geoffrey Glover Wright), singer with 'Buddy Britten & The Regents', by John Lennon who he got to know quite well. The Beatles covered two of their songs in their early sets at The Cavern. The lot is being sold by a relative of Glover Wright, having been left in a drawer and forgotten about for many years.https://forgottenbands.blogspot.com/2009/10/buddy-britten-regents.html No tears or pin holes. Some minor scuffs to corners, with evidence of being handled over the years. Gloss finish, so reflects the light depending on the angle held. No overwriting of signatures. No folds or water damage. The side with the signatures has a mottled colour, but this is not water stains or damage. The card has been well looked after, in an envelope and away from natural light for many years.
Lot 11
Tamas Konok (1930-2020) Hungarian, 'Next Time', monotype, signed and dated 1971, 30 cm x 41 cm.Donated to the Bertrand Russell Peace Foundation by the artist in 1972 for The Bertrand Russell Centenary Art Exhibition and Sale of Works, Rotunda Gallery, London (December 1972 - January 1973)Monotype has been printed onto wove paper and bodycolour applied. The work has then been mounted onto board, making it impossible to view the back of the paper. Work has been covered in clear plastic for protection. Some light staining and finger marks to the paper.
Lot 55
William Luker (1828 - 1905), Landscape with cattle by a river, signed indistinctly 'W. Luker' (lower right), oil on board, 52 x 102 cm, framed 65 x 115 cmSmall area of paint loss to canvas (on the body of a seated cow). Some wear to the edges where it meets the frame, and small spots visible on close inspection to lighter coloured areas. No apparent repair to the vancas, howver the reverse side is sealed behind a board, so unable to confirm. Light wear to frame, with scuffs, but structurally sound.
Lot 45
Jack Spurling (British, 1871-1933), the clipper "Port Jackson" running along a coastline with topsails reefed, signed and dated 1923, watercolour and gouache, 36 x 51 cm, framed and glazed 57.5 x 71.5 cmDesigned by Alexander Duthie, the clipper 'Port Jackson' was a four-masted iron ship built in Aberdeen in 1882. It was torpedoed on April 28th 1917 by a German U-boat and sank with the loss of 14 crew. From a Private Collection Not inspected out of the frame - signs of discolouring of the paper, particularly in the clouds and sails. Also signs of some light foxing in the sky. The frame is discoloured commensurate with age and the glass requires cleaning. In our opinion, this is a watercolour and gouache by Jack Spurling and is signed by the artist.
Lot 16
Paul Henry RHA (1877-1958) The Bog (1911) Oil on canvas, 51 x 76cm (20 x30") SignedProvenance: Lancelot Studholm, acquired from 1912 London Exhibition; With Oriel Gallery, Dublin; With Hillsboro Fine Art label verso; Private Collection.Exhibited: 1911 Dublin, Leinster Hall, Paintings by Mrs Frances Baker, Grace Henry, Paul Henry, Casimir Dunin-Markiewicz and George Russell(AE); 1912 London, Allied Artists Association, Paintings of Co. Mayo, Ireland (Synge’s Country) by Mr and Mrs Paul Henry; 1913 Belfast, Pollock’s Gallery, Pictures by Mr and Mrs Paul Henry; 1922 Dublin, Dublin Painters Society, Exhibition of Pictures by Paul and Grace Henry; 1978 Dublin, Oriel Gallery, Paul Henry (cat. addenda no.11, as Achill, repr. in colour).Literature: Paul Henry - Paintings, Drawings, Illustrations, by S.B. Kennedy, Yale University Press, 2007, p.164, cat.no.348.S.B Kennedy locates the setting of this work as almost certainly Achill and it is described as such in Dublin 1978 exhibition catalogue. Henry visited the island for the first time in 1910 and while his initial Achill paintings focused on the people of the island community, this work, made a year later, reflects a movement towards pure landscape. He had developed his painting style in London, exploring the city on foot, often making sketches that would later become fully fledged paintings. His move to Achill would signal the shift away from the London art scene and for the rest of his career he focused on exclusively Irish scenes.An earlier example Landscape with Turf Stacks c.1910 (S.B Kennedy, p.158, cat. no.315), illustrates on a smaller scale, the workings of the same subject matter. In this present work the composition is much grander and expansive. The influence of impressionism is evident in the handling of the paint, applied in varying directions. He uses quick upright strokes for the marshy grasses of the bogland and in these areas it is thinly applied, with the grain of the canvas visible underneath. The fine lines of paint captures the linear pattern of the turf stacks, piled on top of one another. While as we move into the background there are longer and thicker brushstrokes as the hills and turf stacks become less defined.The same gleaming pool of water is seen in both works, with Henry using touches of white paint to illuminate it. It flows along deep channels dug into the ground, running through the mid-line of the composition, pooling on the left-hand side before disappearing out of view. The turf stacks are not as stark against the background as can be seen in later examples, when they are drawn in an inky black. In this instance they are more in harmony with surrounding landscape, balanced against the green and brown tones of the fields. The sky is a muted white, painted with short strokes, in varying directions, giving the impression of an overcast day, light almost breaking through the clouds.Niamh Corcoran, February 2024
Lot 126
Evie Hone HRHA (1894-1955) The Descent of the Holy Spirit - a sketch for the East Window in Tara Church, Co. Meath Watercolour, 82 x 45cm (32¼ x 17¾") Signed This unusually large sketch is the final design for the two-light east window by Evie Hone in the historic Church of St. Patrick on the Hill of Tara in Co. Meath. It was her first important commission after officially joining An Túr Gloine in 1935, but from where she had been working since 1933. As a loose, quickly painted sketch it is remarkably close, in terms of design and colouring, to the final window. It was only Hone’s third window and a departure from her earlier work in glass which reflects more directly An Túr Gloine’s house style of rich decorative effects and narrative detail.At Tara, Hone portrays the story of The Descent of the Holy Spirit as a frieze of monumental apostolic figures receiving divine instruction through red tongues of fire carried on rays of golden light that pierce billowing silvery blue clouds set against a patchwork of abstract geometric shapes. The window is regarded as Hone’s first mature work. She believed it was one of her best windows and is known to have visited it not long before she died. She exhibited the sketch widely and it was included in her first major solo show at the Dawson Gallery in November 1941. The cartoons were included in the posthumous retrospective held in Dublin in 1958. Only one other sketch is known to survive, an earlier, much smaller design housed in Church of Ireland Theological Institute (formerly the Divinity Hostel) in Dublin, which also holds the final cartoons. The window cost £250, was fixed on the 28 May 1936 and unveiled and dedicated on Whitsun Sunday just three days later.Joseph McBrinn, February 2024
Lot 53
Daniel O'Neill (1920 - 1974) Solitude , Lough Neagh Oil on board, 25.4 x 35.56cm (10 x 14'') SignedProvenance: Collection of Robert Jackson, Belfast. Bequeathed to the present owner, c. 1990.This work is very similar in subject matter and style to another painting by the artist titled Sunday and sold in these rooms in 2022, which also had a pair of female figures at the centre of the composition. These works are looser in their handling of the paint, and in this instance, he is using quick and broad sweeps of colour to indicate the dresses of the two standing figures. He has used an artist sponge to create texture for the leaves of the trees in the background, while other areas have very light touches of paint, with multiple layers of colour visible. Solitude is a vivid and arresting landscape scene which sees O’Neill using a bright tonal palette, somewhat uncharacteristic for him as an artist.Two figures stand with their backs to us, unclear if they are stopping to admire the view across the water to the mountains in the distance. We are not sure if they have noticed the reclining figure to the left-hand side of composition. She is depicted in the position of a reclining classical nude, her head resting on one hand and the other holding what appears to be book. As has been noted with many of O’Neill’s works there is a strangeness or enigma to them. He does not give us much in way of narrative content and the title of work, may reflect the solitary nature of the reading figure, but her relaxed pose feels also at odds in relation to the two other women within this empty landscape. Brian Fallon remarked of Daniel O’Neill, ‘he is an excellent Landscapist. But in the Yeatsian way - there is more imagination than topography’ and concluded that O’Neill’s best works ‘are charged with that mysterious and unquantifiable quality which gives Art its purpose.’Niamh Corcoran, February 2024
Lot 365
Antique Doulton Hand-Painted Ewer Pitcher: Aesthetic Movement, Victorian style. Featuring dark and light pink roses with gold accents, blue and yellow flowers on a cream/ivory background with gold dots. Chintz flowers on a brown/bronze spout, gold highlights on handle and foot rim. Impressed Doulton mark and crown over Doulton Burslem. Issued: 1886-1891Dimensions: 5.25"L x 4.5"W x 10.75"HManufacturer: Doulton BurslemCountry of Origin: EnglandCondition: Age related wear.
Lot 416
Striking bone china figural of a lady in a pale yellow and light violet dress standing next to a peacock with its tail feathers expanded. Part of the Myths and Maidens series. Royal Doulton backstamp. Issued: 1983Dimensions: 11.75"L x 9"W x 11.5"HEdition Number: 182 of 300 Manufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 470
Dressed in white with light brown hair. Part of the International Collector's Club. Royal Doulton backstamp. This item has its original box: 5"L x 5"W x 7.5"H. Artist: Nada PedleyIssued: 1997Dimensions: 3"L x 2.5"W x 5.5"HManufacturer: Royal DoultonCountry of Origin: EnglandCondition: Age related wear.
Lot 602
Jost Amman (Swiss/German, 1539-1591). Etching depicting the goddess Diana sitting on a stag holding an arrow, 1578. An illustration to "Enchiridion Artis" Kunstbuchlein published by Sigmund Feierabend and printed by Peter Fabricius.Height: 6 in x width: 4 3/4 in.Condition:There are no visible tears or losses. There are minute creases along the left and right margins. The sheet is yellowed and there is foxing throughout. The lower right quadrant is soiled. There are no signs of restoration under UV light. Not in frame.
Lot 425
Dorothy Funster (Navajo, 20th c). Yei wool rug or tapestry depicting deity figures standing in a row. Handwoven textile in a variety of bright colors with a spirit line woven in the upper right corner. With the original purchase tag affixed to the verso.Sight; height: 33 in x width 53 in. Framed; height: 39 in x width: 59 1/4 in x depth: 1 1/2 in.Condition:No major tears, losses, or stains visible. The textile is floated in frame. Framed under glass; not inspected out of frame. Light wear to the frame; some worm holes in the wood.
Lot 397
Kano Tessai (Japanese, 1845-1925). A carved and polychromed Noh mask of Okina, Meiji or Taisho era, 19th to early 20th century. Carved wood with a hinged jar, painted with pigment over gesso and applied cotton eyebrows. With a long horse hair beard. Signed Tessai and with the artist's kao. With a silk brocade storage bag and wooden tomobako box.Provenance: the Collection of Drs. Edmund and Julia Lewis; Bonham's, New York, "Edo Sparkle and Tokyo Splendor," 18th June, 2021, Lot 31; Private Minnesota Collection.(Incl beard) Height: 24 in x width: 5 in x depth: 3 1/2 in.Condition:No splits, cracks, chips, losses, or repairs. Some light areas of rubbing/pigment loss along the front of the mask. Light wear consistent with age and use. Some water exposure to the box that does not seem to effect the mask.
Lot 412
Japanese Kyoto Kyo-Yaki chawan ceramic tea bowl with floral decoration along the side and a wooden Tomobako box. With a Kintsugi repair along the rim.(Bowl) height: 2 1/2 in x diameter: 4 3/4 in. (Box) height: 4 3/4 in x width: 6 1/4 in x depth: 6 1/4 in.Condition:There is a small crack which has been repaired and gilt (kintsugi) along the upper rim. No chips, other cracks, or losses. Crazing to the glaze. Light wear to the box.
Lot 406
Early Japanese Mizusashi tea ceremony water jar with a black lacquered wood cover and a spout, Taisho period.Height: 5 in x width: 9 1/4 in x diameter: 8 1/4 in.Condition:No major cracks, chips, losses, or restorations. There are a couple of minute fleabite chips along the interior rim of the bowl. Light wear throughout.
Lot 548
Jean-Charles Cazin (French, 1840-1901). Oil on canvas landscape painting depicting an idyllic countryside with a small cottage. Signed along the lower left.Unframed; height: 28 3/4 in x width: 36 1/2 in. Framed; height: 36 in x width: 44 in x depth: 2 1/2 in.Condition:The colors are bold and bright and the surface is stable. There is craquelure throughout. No visible losses or restorations. Light wear to the frame.
Lot 573
Arthur Fitzwilliam Tait (American/British, 1819-1905) for Currier and Ives, United States. Hand-colored lithograph on paper titled "Life on the Prairie: The Trappers Defence, 'Fire Fight Fire'" depicting three men racing to battle a raging prairie fire, 1862. One man calms the scared horses while the other two build a backfire.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 3797, page 404.Provenance: Distinguished Corporate Collection, Ohio.Currier and Ives was founded by Nathaniel Currier (American, 1813-1888) in 1835 as "the Grand Central Depot for Cheap and Popular Prints," but changed its name with the addition of James Merritt Ives (American, 1824-1895) in 1857. The company created over 7000 popular lithographs depicting American life until 1907.Image; height: 18 1/2 in x width: 27 1/8 in. Margins; top: 2 1/8 in x bottom: 3 in x left: 2 1/4 in x right: 2 1/4 in. Sheet; height: 23 3/4 in x width: 31 3/4 in.Condition:The sheet is toned. There are some areas of wear along the extreme edges. Some slight creases and handling marks along the margins. There is an approx. 1-inch long tear along the upper left edge. Small area of skimming along the lower center edge. Along the verso there is toning and foxing throughout. Some tape residue along the upper center edge along the verso. Four pieces of tape affixed to the verso along the upper left and right corners. No signs of restoration when viewed under UV light. The work is not framed.
Lot 590
Illuminated manuscript page with blocks of text on either side. With notes in the margins throughout. There are a few marginalia drawings including pointing hands and a face.Sight; height: 17 1/2 in x width: 10 3/4 in. Framed; height: 24 in x width: 17 1/4 in x depth: 1 1/4 in.Condition:There are no major creases or tears. There are small losses throughout; there are a few small holes throughout, likely from insect activity. There is undulation throughout. There are faint creases throughout the lower right quadrant. There is toning and soiling throughout. No signs of restoration under UV light. Not examined out of frame. Framed under plexiglass. Wear to the frame.
Lot 480
2009 fifty dollar 1 troy oz American buffalo 99.99% gold proof coin, from the West Point mint, with original leather and wood box and packaging. One side with a profile representation of a Native American and the other with an American bison.Coin diameter: 32.7 mm. Weight: 1 troy oz (31.1035 g). Box; height: 4 1/4 in x width: 5 in x depth: 2 in.Condition:The coin appears to be in original mint state with very little to no wear. Light wear to the packaging. This coin has not been professionally graded. The coin likely has signs of wear or use associated with circulated currencies that are not mentioned in this report as we are not professional coin graders. We strongly suggest inspecting this coin prior to purchase.
Lot 510
Denby, England. Set of 27 "Regency" ceramic stoneware and stainless steel flatware. The handles with a ribbed texture and with a lime green glaze. Including three serving spoons, eight spoons, six lunch forks, ten dinner forks. Also included are two Lauffer, Holland stainless steel spoons. Total of 29 pieces of cutlery.Length ranges from 6 1/2 in to 9 1/2 in.Condition:To the stainless steel there are light scratches, discolorations, and signs of use commensurate with age and use. One handle of a dinner fork is slightly loose. To one of the spoons there is a network of cracks and a small chip which appear to have been repaired. To one lunch fork there is a chip which appears to have been repaired. To one lunch fork there is a small chip. No other notable chips, cracks, losses, or repairs.
Lot 315
19th century Chinese bronze censer with four applied mask handles and four shou symbols. The body very thin and the underside bearing a well-carved seal mark.Height: 3 1/4 in x diameter: 4 3/4 in. Weight: 1,368.4 grams.Condition:No visible cracks, losses, or signs of restoration under UV light. No major dents; minute dents throughout the item as expected. Light discoloration throughout as shown in the listing image. Dust collected along the recessed areas. Along the interior, there is heavy discoloration and oxidation. Along the underside, there is oxidation and wear, consistent with age and use.
Lot 407
Japanese Bizen ware Mizusashi tea ceremony water jar, of Hitoe-Guchi form with two handles at differing heights and a lid. Marked along the underside.Height: 5 1/4 in x width: 7 in x diameter: 4 3/4 in.Condition:No major chips, cracks, losses, or restorations. Very light wear throughout, mostly along the underside.
Lot 392
Group of two Japanese calligraphy scrolls. Each with a red seal along the upper right and two red seals along the lower left. One seal with a wooden storage box.(Small) Huaxin; height: 52 1/2 in x width: 13 1/4 in. Scroll; height: 78 1/2 in x width: 19 in. (Large) Huaxin; height: 50 1/2 in x width: 23 3/4 in. Scroll; height: 78 in x width: 29 1/2 in.Condition:Both scrolls are in overall good condition with no tears, losses, or restorations. One scroll is toned with light creases throughout. Some areas of foxing. The other scroll with a few spots of light soiling to the surface. Wear to the wooden storage box.
Lot 343
Late 18th to early 19th century Chinese blue and white porcelain baluster vase. Decorated with floral motifs interspersed with cartouches depicting figures. The underside with a four character mark.Height: 17 in x diameter: 9 in.Condition:There are no major chips or cracks. There are small losses around the exterior rim of the lid and the finial. There is repair to the edge of the lid, measuring approximately 4 inches wide; there are three metal 'staples' along the repair. There are firing flaws throughout the body. There is wear to the footrim, top rim, and lid, as expected from age and use. There are no restorations under UV light.
Lot 616
Frederic-Auguste Laguillermie (French, 1841-1934) after Maria Josep Maria Bernat Fortuny i Marsal "Mariano Fortuny" or "Maria Fortuny" (Spanish, 1838-1874). Etching on laid paper titled "The Door of the Seraglio" depicting a man leaning against an open doorway. Signature in plate along the lower left; artist's signature reproduced along the lower right. After a work by Fortuny. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 17 3/4 in x width: 12 1/2 in.Condition:There are no tears, losses, or restorations. The sheet is toned. Some wear along the edges. There is a light crease along the upper left corner. The number 10 is written in graphite along the upper right. The work is not framed.
Lot 373
Mughal miniature painting on paper depicting Mount Meru with Vishnu and Lakshmi. There are eight kneeling attendants, each labeled, on the shore viewing the deities. Mount Meru, also known as Sumeru, Sineru, or Mahameru, is the sacred five-peaked mountain in Hindu, Jain, and Buddhist cosmology.Sight; height: 8 1/4 in x width: 10 in. Framed; height: 16 in x width: 17 1/2 in x depth: 1/2 in.Condition:There are some tears and areas on in-painting throughout. Small paint losses and areas of wear throughout the surface of the work. There are a few networks of soiling, especially along the upper half of the work. Housed under an acidic mat. Extreme edges and verso not inspected; not inspected out of frame. Framed under glass; light wear to the frame.
Lot 399
Japanese lacquered boxwood Natsume tea caddy, 19th century, Edo to Meiji period. With an inlaid decoration of bamboo shoots. With a box.(Caddy) height: 2 1/2 in x diameter: 2 1/2 in. (Box) height: 4 1/2 in x width: 3 1/4 in x depth: 3 1/4 in.Condition:The caddy is in good condition with no chips, cracks, splits, losses, or restoration. Light wear to the box.
Lot 348
Pair of Chinese sang de boeuf flambe ceramic vases. With unglazed footrims. High shoulders with a flared rim.Height: 20 in x diameter: 7 in.Condition:There is a small crack in the base of one of the vases. No other chips, large cracks, or restorations. Light wear to the footrim. Some dirt/dust gathered in the interior of the vases.
Lot 362
Group of two Thai Tukatha figurines, ca. 15th century. The female figure is nursing an infant and has a prominent bulge in one cheek. This bulge likely refers to a betel quid which was used for a mild narcotic effect. Sangkhalok ceramic ware with a celadon glaze.(Each) Height: 3 1/2 in x width: 2 in x depth: 2 in.Condition:Both figures with a repaired break along the neck. The male figure with a loss to the top of the head and a loss to the top of the vessel he holds. Light wear throughout both.
Lot 404
Japanese un-ryu cloud dragon tsurigama hanging kettle. Iron, with one side depicting a dragon clutching a flaming pearl and the other side showing rain descending from its body. With a wooden Tomobako box.(Kettle) height: 6 3/4 in x diameter: 5 1/2 in. (Box) height: 8 1/2 in x width: 6 1/2 in x depth: 6 1/2 in.Condition:There are no major breaks, bends, dents, or losses. Discoloration to the metal throughout. Light wear to the box.
Lot 575
Currier and Ives, United States. Handcolored lithograph titled "Bear Hunting: Close Quarters" depicting a bear attacking a man while surrounded by hunting dogs in the foreground and a hunter taking aim in the background.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 0497, page 62.Provenance: Distinguished Corporate Collection, Ohio.Currier and Ives was founded by Nathaniel Currier (American, 1813-1888) in 1835 as "the Grand Central Depot for Cheap and Popular Prints," but changed its name with the addition of James Merritt Ives (American, 1824-1895) in 1857. The company created over 7000 popular lithographs depicting American life until 1907.Image; height: 8 3/8 in x width: 12 1/2 in. Margins; top: 1 3/4 in x bottom: 1 3/4 in x left: 1 5/8 in x right: 1 5/8 in. Sheet; height: 12 in x width: 15 3/4 in.Condition:The sheet is toned. There is some wear and deeper toning to the edges. There is a small tideline along the upper left corner. Some foxing throughout. Soiling the verso which does not affect the recto. There are four pieces of tape affixed to the verso along the upper right and left corners. No signs of restoration when viewed under UV light. The work is not framed.
Lot 528
Pair of bronze or copper bookends in the form of elephants climbing a rocky outcropping. Early to mid-20th century.(Each) Height: 5 1/2 in x width: 4 in x depth: 5 1/2 in.Condition:Patination throughout. Some areas where the patination has been worn away to reveal a shiny surface. Some light wear throughout consistent with age and display. Felt affixed to the underside.
Lot 574
Currier and Ives, United States. Hand-colored lithograph titled "Sunrise on Lake Saranac" depicting an idyllic mountain landscape with two deer in a lake and a flock of waterfowl against a beautiful yellow sunrise, 1860.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 2: O-Z (Gale Research Company: Detroit, 1984). Number 6361, page 646.Provenance: Distinguished Corporate Collection, Ohio.Currier and Ives was founded by Nathaniel Currier (American, 1813-1888) in 1835 as "the Grand Central Depot for Cheap and Popular Prints," but changed its name with the addition of James Merritt Ives (American, 1824-1895) in 1857. The company created over 7000 popular lithographs depicting American life until 1907.Image; height; 18 1/2 in x width: 27 1/8 in. Margins; top: 1 1/4 in x bottom: 1 7/8 in x left: 1 3/8 in x right: 1 3/8 in. Sheet; height: 22 in x width: 30 in.Condition:The sheet is toned. There are some uneven discolorations throughout. Some light wear along the edges. Restorations evident under UV light and from the verso along the lower left corner. Toning to the verso. There are two pieces of tape affixed to the verso along the upper left and right corners. The print is not framed.
Lot 554
Louis Nicolas Adolphe Rinck "Adolph D. Rinck" (French, 1802-1895). Oil on canvas painting depicting a portrait of a gentleman, 1841. Signed and dated along the upper left.Unframed; height: 28 3/4 in x width: 23 1/2 in. Framed; height: 35 in x width: 29 1/2 in x depth: 2 3/4 in.Condition:There is craquelure throughout the work. There are two lines of inpainting that stretch from the top edge down towards the gentleman's head, visible under UV light. There are five patches along the verso corresponding to areas of restoration and inpainting along the recto. Due to a thick varnish, it is difficult to discern the extent of the damage and repair work done. A cardboard piece affixed to the verso has been removed to allow for inspection of the painting. All stretcher keys present; discoloration and wear to the stretcher and verso. Light wear to the frame.
Lot 524
After Stickley, United States. Arts & Crafts Prairie School style table lamp. Wooden base with caramel and green slag glass shade.Height: 17 in x width: 18 1/2 in x depth: 11 1/2 in.Condition:Turns on when tested. Not tested for prolonged use. Overall, the pieces of the lamp are slightly loose and could use some light reinforcement. Wear including small losses to the stain, light scuffs and scratches, and areas of rubbing to the wood throughout. To one of the side triangular pieces of glass there are several cracks; they are held together with a piece of tape along the interior and exterior. No other cracks.
Lot 605
Georg Andreas Bockler (German, d. 1698). Group of two etchings depicting fountain designs from Architectura Curiosa Nova, ca. 1664. One depicting a fountain with a dog design. One depicting a fountain topped by Poseidon holding a trident with a dolphin.(Each) Height: 13 3/4 in x width: 8 1/2 in.Condition:Both sheets are toned. Both sheets have several small tears are chips along the edges - more so along the left edge. A few light creases along the lower edges. Some soiling throughout the versos and rectos. Both sheets are not framed.
Lot 402
Group of two Japanese lacquerware boxes decorated with crustaceans, ca. early 20th century Taisho to Showa period. One bento box decorated with a lobster; consisting of four pieces - three boxes and a lid. One circular box depicting two shrimp.(Bento Box) height: 7 3/4 in x width: 6 1/4 in x depth: 5 1/2 in. (Box) height: 3 1/2 in x diameter: 6 1/4 in.Condition:There is a split to the bottom of the first shelf of the bento box. There is a line of paint loss to the bottom of the bento box. No other splits, cracks, losses, or restorations to either box. Very light wear to both boxes.
Lot 610
Charles L. Courtry (French, 1846-1897) after Eugene Delacroix (French, 1798-1863). Etching on laid paper titled "Christ on the Cross" depicting the crucifixion of Christ, 1846. Signatures in plate along the lower right. After an 1835 painting of the same name by Delacroix in the collection of the Musee de la Cohue. The print is from Albert Wolff "Cent Chefs-d'Oeuvre: The Choice of French Private Galleries." Paris: Georges Petit and Ludovic Bashet, 1883. Distributed by Knoedler & Co., New York.Height: 17 3/4 in x width: 12 1/2 in.Condition:No tears, losses, or restorations. Some light wear/creasing along the edges, possibly original to the paper. Some light wear along the edges throughout. A few small spots of foxing. The number 4 is written in graphite along the upper right. A few small spots of soiling to the verso. The work is not framed.
Lot 587
Anders Zorn (Swedish, 1860-1920). Etching on paper titled "Dance at Gopsmor" depicting a fiddler playing a violin in a dark room with a suggestion of other figures presumably dancing on the left side, 1906. 2nd state of printing. Pencil signed along the lower right.References:Karl Asplund, "Zorn's Engraved Work, Vol. 2" (Alan Wofsy Fine Arts: San Francisco, 1990), page 306, plate 197.Loys Delteil, "Anders Zorn" (Le Peintre-Graveur Illustre, Paris, 1909), plate 192.Image; height: 11 3/4 in x width: 7 3/4 in. Sight; height: 12 1/2 in x width: 8 1/4 in. Framed; height: 19 in x width: 14 1/4 in x depth: 1/2 in.Condition:The sheet is toned. There are no visible tears, losses, or restorations. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 557
Frank Albert Rinehart (American, 1861-1928) and Adolph F. Muhr (American, 1860-1913). Platinum print photograph titled "Peatwy Tuck - Sac and Fox" depicting a portrait of a Native American man, 1898. Signed and dated in negative along the lower left; titled in negative along the lower center; inscribed "No. 1013" in negative along the lower right.Sheet; height: 9 1/4 in x width: 7 1/4 in. Matted; height: 18 in x width: 14 in.Condition:There are no creases, tears, or losses. There is yellowing to the sheet. There is very faint, minute foxing along the top left extreme corner. Faint scuff to surface along lower right quadrant. There are no signs of restoration under UV light. Not in frame.
Lot 570
Louis Maurer (German/American, 1832-1932). for Nathaniel Currier, United States. Hand-colored lithograph titled "American Winter Sports: Deer Shooting 'On the Shattagee' (Northern New York)" depicting a scene of two hunters taking aim at a herd of deer just across a frozen river.Provenance: Distinguished Corporate Collection, Ohio.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 0223, page 27.Currier and Ives was founded by Nathaniel Currier (American, 1813-1888) in 1835 as "the Grand Central Depot for Cheap and Popular Prints," but changed its name with the addition of James Merritt Ives (American, 1824-1895) in 1857. The company created over 7000 popular lithographs depicting American life until 1907.Image; height: 17 5/8 in x width: 25 3/4 in. Margins; top: 1 1/4 in x bottom: 2 in x left: 1 1/4 in x right: 1 1/4 in. Sheet; height: 21 in x width: 28 1/4 in.Condition:The sheet is toned. There is a small tear along the lower left corner; it is repaired with tape affixed to the verso. There is a tear along the upper center edge. Some wear along the edges. Uneven toning to the verso. Some areas of soiling. There are two spots of tape affixed to the verso along the upper left and right corners. No signs of restoration when viewed under UV light. The work is not framed.
Lot 403
Japanese netsuke carved in the form of a figure carrying a large fish. Possibly of ebonized walnut. With a mark carved along the back of the figure's skirt.Height: 2 in x width: 1 in x depth: 1 in.Condition:There are no cracks. There is a small chip along the edge of the fish's fin. There is a small loss to the right foot. Dust and debris accrued in the recessed areas. No signs of restoration under UV light.
Lot 345
Chinese late Qing Dynasty porcelain bowl with a high foot. Decorated in green and red with scrolling floral and foliate motifs.Height: 4 1/2 in x diameter: 5 1/4 in.Condition:There is one small chip along the upper rim. Some fading to the pigment throughout. Areas with crazing to the clear overglaze. A few small chips along the footrim. Light wear throughout as expected with age and use.
Lot 455
American Watch Co., United States. One William Ellery pocket watch in a yellow gold hunter case with engraved designs and fluted edges. White dial marked "Elgin" with Roman numeral hour markers and sub-seconds dial in the 6 o'clock position with Arabic numerals. Serial number 980281. Key wind (key included). Front case inside marked with crown and lion passant and 49155, back case inside marked the same, inner case inside with M script. Gold content unmarked, tested 14k. Case diameter: 42.35 mm. Gross weight: 61.6 grams (excluding key).Condition:Runs, not tested for time. Very faint hairline cracks to dial, one hand loose light wear to the case.
Lot 562
Jean Carlu (French, 1900-1997). Lithograph poster print titled "Pepa Bonafe" depicting the famous French actress in Art Deco style. Printed by Marcel Picard in 1928, this print became one of Carlu's most famous designs.Sight; height: 21 3/4 in x width: 14 1/2 in. Framed; height: 29 1/2 in x width: 21 1/2 in x depth: 1/2 in.Condition:There are no visible tears or losses. There are a network of creases throughout, in a grid pattern. The sheet is slightly yellowed. There are minute spots of discoloration throughout. There are minute spots of undulation throughout. Framed under glass. Not examined out of frame. No signs of restoration under UV light. Wear to the frame.
Lot 384
Kiyoshi Saito (Japanese, 1907-1997). Woodblock print titled "Winter in Aizu" depicting a snowy city landscape with figures. Pencil signed along the lower right; titled along the lower center. With a stamp along the verso.Height: 11 1/4 in x width: 17 in.Condition:There are no visible tears, losses, or creases. There are small, light spots of soiling along the margins, in particular in the lower right corner of the margin. There are a few faint spots of soiling along the top margin. There is faint soiling around the artist's signature in the lower right corner. There is a crease along the lower right corner measuring approximately 1 1/2 inches. There are no signs of restoration under UV light.
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