- Fran Barnum for Chilmark "Kennesaw Mountain"
Fran Barnum for Chilmark "Kennesaw Mountain" Civil War pewter & brass sculpture, 1992, 62/350, 9-3/4" h
- (3) Native American sculptures, c/o
(3) Native American sculptures, c/o 1991 Legends mixed media "American Horse Takes His Name" by Christopher Pardell 390/950 with COA (8" h), Premier Edition Legends mixed media "Defiant Comanche" by CA Pardell artists proof AP/950 with COA (14" h), 1992 Chilmark "To the Great Spirit" Collection "Shooting Star The Warrior's Offering" by T Sullivan 558/950 (12-1/4" h)
- (6) Chilmark pewter Wild West figurines,
(6) Chilmark pewter Wild West figurines, c/o (4) by Donald Polland, including 1983 "Too Many Aces" 580/2500 with COA, 1989 "Apache Birdman" #83 with COA, 1985 #83, 1991 "The Signal" #83 with COA, and (2) by Michael Arden Boyett, including 1981 "Shoshone - Eagle Catcher" #531 with COA, 1982 "Eagle Catcher" #155 (needs straightening)
- (5) Chilmark pewter Wild West figurines
(5) Chilmark pewter Wild West figurines by Donald Polland, c/o 1990 "Cochise" #1537 with COA signed on base, 1993 "Sacred Ground Reclaimed" signed on base, 1990 "Pequot War" 011/950 with COA, 1990 "Tecumseh's War", 1984 "Unit Colors"
- (5) Chilmark pewter Wild West figurines
(5) Chilmark pewter Wild West figurines by Donald Polland, c/o 1991 "Raven Dancer" with COA, 1991 "Buffalo Dancer" with COA, (3) untitled 2/600 signed on base
- REZ WILLIAMS (AMERICAN, CONTEMPORARY)
REZ WILLIAMS (AMERICAN, CONTEMPORARY) 38" x 56" "Gas Pump, North Road, Chilmark, MA", 1987. Oil on canvas, signature, title, and date on canvas verso, in a wooden frame, overall 39½" x 57". Provenance: from the art collection of an international corporation. Katherine R. Perlow Gallery, New York City label verso.
- CHILMARK FINE PEWTER SCULPTURE AMERICAN
CHILMARK FINE PEWTER SCULPTURE AMERICAN INDIAN, SIGNEDLimited edition on black marble base. Titled THUNDER CLOUD, A HUNTER'S THANKSGIVING. Finely detailed. Medium in MetalART. Artist signed, dated, edition number and edition size to base.
Gold plaque to bottom base marked TO THE GREAT SPIRIT COLLECTION with title.
Artist: Tim Sullivan
Issued: c. 1993
Dimensions: 14"H
Edition Number: 622 of 950 Manufacturer: Chillmark
Country of Origin: USA
- CHILMARK MICHAEL BOYETT PEWTER SCULPTURE,
CHILMARK MICHAEL BOYETT PEWTER SCULPTURE, THE CHALLENGE...Limited Edition 119 of 500. Pewter sculpture mounted on wood base. Features Native American warrior. Titled and numbered on base.
Artist: Michael A. Boyett
Issued: 1988
Dimensions: 8.5"H x 7.5"W
Manufacturer: Chilmark
Country of Origin: United States
- DONALD JACK POLLAND (AMERICAN, 1932-2003)
DONALD JACK POLLAND (AMERICAN, 1932-2003) PEWTER SCULPT...Limited edition pewter sculpture of two men Steer Wrestling with wood base.
This item has no reserve.
Artist: Donald Polland
Issued: 1978
Dimensions: 7" H
Edition Number: 95 of 2500 Manufacturer: Chilmark Foundry
Condition:
Age related wear.
- CHILMARK ''THE GENTLEMAN SOLDIER'' FRANCIS
CHILMARK ''THE GENTLEMAN SOLDIER'' FRANCIS BARNUM BRONZ...DESCRIPTION: A Chilmark bronze statue. Titled: "The Gentleman Soldier'' by Francis Barnum. Features a depiction of Confederate General Robert E. Lee sitting on his horse named "Traveler." Numbered 68 out of 75 with gold inlaid plaque. Mounted to a grey beveled marble base. Stamped at edge "Chilmark, 68/75, USA" Plaque mounted to bottom signed "The Confederates, The Gentleman Soldier, Chilmark, Bronze, 1993, USA" CIRCA: 1993 ORIGIN: USA DIMENSIONS: H: 9.5" x W: 4.5" x L: 9.5" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
- AMERICAN SCHOOL (20TH CENTURY), CHILDREN
AMERICAN SCHOOL (20TH CENTURY), CHILDREN WITH BALLOONS ...American School (20th Century), Children with Balloons at the Pier, oil on canvas, signed lower right "Chilmark", 24" x 36".
Condition:
All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
- ROMANO-EGYPTIAN CARTONNAGE MUMMY MASK,
ROMANO-EGYPTIAN CARTONNAGE MUMMY MASK, EX-CHRISTIE'SIt's not often we start a listing by stating the provenance, but in this case the pedigree is almost as impressive as the piece. Sold - Christies, December 1996; Ex Alan Dershowitz (legal and TV fame) / Carolyn Cohen collection, MA; published (Illustrated on the cover) in 2013 - Art of the Ancients, Aphrodite Ancient Art; featured - Pawn Stars, History Channel, August 14, 2017.
Egypt, Romano Egyptian Period, ca. 2nd century CE. A stunning mummy mask made from gesso-lined linen called cartonnage depicting the elegant visage of a youthful female. Presented in vibrant polychrome, the serene woman peers forward with almond eyes, elongated outer canthi, and sweeping brows lined with thick lashes, her head extending outwards and slightly downwards in a manner consistent with "Egyptian Group" masks. Full lips outlined with red pigment, a slender nose, and a rounded chin further emphasize her feminine grace, all beneath a headdress that rests low along the forehead. Dense decorations in traditional Egyptian stylization further embellish her timeless beauty. Size: 5.25" L x 13.625" W x 18.75" H (13.3 cm x 34.6 cm x 47.6 cm); 20.125" H (51.1 cm) on included custom stand.
The top of her head just in front of her diadem bears a red band containing a blue scarab flanked by a pair of segmented columns, 2 seated deities of unknown identity, an additional pair of columns, and 2 wadjet eyes. Beneath a curving brown band is a white-ground panel featuring a central sun disc with dangling triangular ornamentation - perhaps representing lotus blooms - flanked by the goddess sisters Isis and Nephthys as well as 2 papyrus columns and a pair of unidentified zoomorphic funerary deities holding their arms towards the sun. Outlining her head is a grand diadem bearing a plaited pattern above horizontal stripes in red and green, the midsections dotted with lotus buds, the terminals with recessed pink rosettes, and a pair of uraeus cobras emanating out from either side of a sun disc on the front. The upper corners show columns of polychrome panels, 2 panels containing a mummiform Osiris wearing an Atef crown and Horus or Ra in mummiform donning the Pschent crown. Stretching across the brow are 2 sphinxes atop column capitals as well as images of the ibis-headed god Thoth wearing an Atef crown, a left-facing human deity with a sun disc resting between a pair of horns; beneath this decorative register is a right-facing procession of royal uraei. Below the cobras are 2 windows each showing the sisters Isis and Nephthys anointing the body of the mummiform god Osiris beside sections of blue, pink, and white segmentation. Further below are 2 columns showing a rosette, a wadjet eye, and a recumbent Anubis jackal holding a pesesh-kef - a tool used during a ceremony known as the "opening of the mouth" - along with the body of the deceased resting atop a leonine-form embalming table and 2 sets of the 4 Sons of Horus wearing blue headdresses. An additional pair of sphinxes and a pair of Horus falcons with outstretched wings lie below the funerary fraternities, and an inverted T-shaped panel of triangles, petite floral beads, blue stripes, diagonal striations on a pink ground, checkerboarding, and additional painted beadwork completes the elaborate and visually dazzling composition. The verso of the mask shows the beige, khaki, and brown-hued linen framework that has been impregnated with bituminous material to solidify the linen as well as create a general likeness of the deceased that would hold for eons to come. One lower section even shows a plaster patch job that was included to perhaps fix a hole or abrasion made by the embalmer.
Given the size of both the sarcophagus mask itself as well as the interior head cavity, this was likely made for a young woman from a prominent, middle-to-upper-class family. While gilding was a popular decorative element for later Egyptian sarcophagi, embellishing with gold was reserved solely for those who could afford such luxuries. The lack of gilding on this example would perhaps indicate the somewhat lower status of this individual's family, however the artistry, polychrome pigments, and overall elevated craftsmanship suggests that perhaps the deceased was someone who favored substance rather than superficiality with their religious or spiritual ideals.
The use of cartonnage in the Ptolemaic and later Romano-Egyptian periods signified a transitional time in Egyptian funerary techniques from using a full, multi-part sarcophagus for the deceased to using fewer materials but with all the same decorative panache. These cartonnage masks, according to Egyptologists Dr. Salima Ikram and Dr. Aidan Dodson, "…are a reflection of a trend for the mummy to become free-standing, perhaps housed in a rectangular wooden sarcophagus, but without an intervening anthropoid coffin. This development came to fruition during the succeeding Roman Period which saw a range of outer treatments, some broadly maintaining earlier principles, while others diverged widely, although remaining true to basic concepts. The fundamental division is between mummies that conformed to a traditionally-derived 'Egyptian Group', and a 'Roman Group', which incorporated elements grounded in Classical art." They continue on to explain how, "The [Egyptian Group] continued with the use of separate cartonnage helmet-masks, together with other foot and body adornments in the same material. Distinctive points, however, are the head which was somewhat raised and angled forward…As time passed, masks took on a less 'Egyptian' look. A Hellenistic style prevailed in the area of the head and shoulders, while traditional Egyptian vignettes and ornamentation remained around the sides and crown of the head." (Ikram, Salima and Aidan Dodson. "The Mummy in Ancient Egypt: Equipping the Dead for Eternity." Thames & Hudson, London, 1998, pp. 187-188)
Published in "Art of the Ancients: A Selection of Ancient Art." Aphrodite Ancient Art, New York, Vol. 1, 2013, pp. 8-9 and front cover
Cf. Ikram, Salima and Aidan Dodson. "The Mummy in Ancient Egypt: Equipping the Dead for Eternity." Thames & Hudson, London, 1998, p. 187, fig. 218 and p. 188, figs. 220 & 221; The Walters Art Museum, accession number 78.3
A similar mask with gilding and fewer decorations from the 1st century CE hammered for $55,000 at Christie's, New York "Antiquities" auction (Live auction 1915, December 6, 2007, lot 35).
Provenance: ex-private Las Vegas, Nevada, USA collection; ex-Gold and Silver Pawn Store, Las Vegas, Nevada, USA, acquired 2016. As see on Pawn Stars, "If the Pawn Don't Fit" (History Channel, August 14, 2017, season 14, episode 28); ex-Aphrodite Ancient Art, New York, New York, USA, published in "Art of the Ancients: A Selection of Ancient Art," Vol. 1, 2013, pp. 8-9 and front cover; ex-collection of Alan Dershowitz and Carolyn Cohen, Chilmark, Massachusetts, USA; ex-Christie's, New York "Antiquities" auction (auction 8568, December 18, 1996, lot 82, hammered for $9,775, published in corresponding catalog)
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#170552
Condition:
Obverse gesso layer repaired from dozens of small pieces with restoration and new material to missing areas, and resurfacing with extensive overpainting across new material and break lines; the linen layer on the verso is intact albeit with some plaster patches placed in antiquity given the desiccated nature. Losses around most peripheral areas, with fading and heavy overpainting to pigment, with light abrasions, and softening to some finer raised details. Verso also shows some dark bituminous resin used to stabilize the form of the linens. Beautiful remains of original pigment, iconography, and facial details.
- ALLEN WHITING, (AMERICAN, B. 1946),
ALLEN WHITING, (AMERICAN, B. 1946), QUITSA, CHILMARK, 1996, OIL ON CANVAS, 36 X 48 IN., FRAME: 37 1/2 X 49 1/2 IN.ALLEN WHITING (American, b. 1946) Quitsa, Chilmark 1996, oil on canvas signed and dated Allen Whiting 96 lower left; titled, signed, and dated verso 36 x 48 in., frame: 37 1/2 x 49 1/2 in. 1996, oil on canvas Dimensions: 36 x 48 in., frame: 37 1/2 x 49 1/2 in. Provenance: Provenance: Chase Gallery, Boston; The Collection of a Williamstown, Massachusetts Gentleman. Grogan & Company is pleased to present five works by noted Martha's Vineyard artist Allen Whiting as a special section of The Spring Auction. In the introduction to the 2006 book Allen Whiting: A Painter at Sixty, fellow contemporary landscape artist Wolf Kahn (1927-2020) eloquently reflects on Whiting's method and style. "Allen and I shake hands; he is a companion in arms. We are both landscape painters. I have great respect for him as a person and as an artist. We met when I visited the Vineyard in the early '90's, and he gave me permission to paint on his land. We went out sketching and painting together, and a friendship began. Every time I go to the Vineyard, I try to look him up. I just like the way he lives--like him as a person, his attitude, and his slightly disorganized surroundings, somewhat left to themselves. I love his barn, for example, which looks like it takes care of itself. It doesn't feel as if he's a part of the gussying-up of the Vineyard. He's not trying to prove anything. He's very interested in shapes, interested in the shapes that the wind makes of the trees, and I think that's something unique to the Island. If you think of trying to translate the familiar, you're already in trouble. You have to have an innocence of spirit, and I believe Allen has that. I've said that unless your paintings have ten times as many things in them as you intended, you're not an artist. Allen has that ability. He is a fine painter. You can never tell what he is going to come up with next, because he's not trying to be Allen Whiting. He's being an artist and responding to the moment." Condition: Overall good condition.
- ALLEN WHITING, (AMERICAN, B. 1946),
ALLEN WHITING, (AMERICAN, B. 1946), YELLOW SUNSET, CHILMARK, 1993, OIL ON CANVAS, 16 X 20 IN., FRAME: 18 X 22 IN.ALLEN WHITING (American, b. 1946) Yellow Sunset, Chilmark 1993, oil on canvas signed and dated Allen Whiting 1993 lower right; titled, signed, and dated on stretcher 16 x 20 in., frame: 18 x 22 in. 1993, oil on canvas Dimensions: 16 x 20 in., frame: 18 x 22 in. Provenance: Provenance: Chase Gallery, Boston; The Collection of a Williamstown, Massachusetts Gentleman. Grogan & Company is pleased to present five works by noted Martha's Vineyard artist Allen Whiting as a special section of The Spring Auction. In the introduction to the 2006 book Allen Whiting: A Painter at Sixty, fellow contemporary landscape artist Wolf Kahn (1927-2020) eloquently reflects on Whiting's method and style. "Allen and I shake hands; he is a companion in arms. We are both landscape painters. I have great respect for him as a person and as an artist. We met when I visited the Vineyard in the early '90's, and he gave me permission to paint on his land. We went out sketching and painting together, and a friendship began. Every time I go to the Vineyard, I try to look him up. I just like the way he lives--like him as a person, his attitude, and his slightly disorganized surroundings, somewhat left to themselves. I love his barn, for example, which looks like it takes care of itself. It doesn't feel as if he's a part of the gussying-up of the Vineyard. He's not trying to prove anything. He's very interested in shapes, interested in the shapes that the wind makes of the trees, and I think that's something unique to the Island. If you think of trying to translate the familiar, you're already in trouble. You have to have an innocence of spirit, and I believe Allen has that. I've said that unless your paintings have ten times as many things in them as you intended, you're not an artist. Allen has that ability. He is a fine painter. You can never tell what he is going to come up with next, because he's not trying to be Allen Whiting. He's being an artist and responding to the moment." Condition: Overall good condition.
- ALLEN WHITING, (AMERICAN, B. 1946),
ALLEN WHITING, (AMERICAN, B. 1946), MOONRISE, CHILMARK, MA, 2011, OIL ON CANVAS, 18 X 24 IN., FRAME: 19 X 25 IN.ALLEN WHITING (American, b. 1946) Moonrise, Chilmark, MA 2011, oil on canvas signed and dated Allen Whiting 2011 lower left; titled, signed, and dated verso 18 x 24 in., frame: 19 x 25 in. 2011, oil on canvas Dimensions: 18 x 24 in., frame: 19 x 25 in. Condition: Overall good condition. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
- 5 BOUND BOOKS RELATED TO CAPE COD TO
5 BOUND BOOKS RELATED TO CAPE COD TO INCLUDEA VERY RARE EARLY COPY TITLED A COMPREHENSIVE HISTORY, ECCLESIASTICAL AND CIVIL OF EASTHAM, WELLFLEET AND ORLEANS, COUNTY OF BARNSTABLE, MASS. FROM 1644 TO 1844 BY REV. ENOCH PRATT OF BREWSTER. PUBLISHED BY W. S. FISHER & CO., YARMOUTH, 1844, OCTAVO, 180 PAGES, CLOTH BOARDS. SPINE HAS DETERIORATED OUTSIDE BUT BOOK IS TIGHT. MODERATE FOXING THROUGHOUT. THE NEXT BOOK TITLED TRURO - CAPE COD OR LAND MARKS AND SEA MARKS BY RICH SHEBNAH, SECOND EDITION, 1884, BOSTON, D. LOTHROP & CO. 580 PAGES, CLOTH BOUND WITH GILT LETTERING. OCTAVO, NUMEROUS PLATES. BOARD CORNERS AND SPINE ENDS ARE SCUFFED. CLEAN COPY WITH MINOR FOXING. SLIGHT CRACKING ON INSIDE OF FRONT SPINE. NEXT BOOK IS TITLED VITAL RECORDS OF TISBURY, MASS. TO THE YEAR 1850. PUBLISHED BY THE NEW ENGLAND HISTORICAL GENEALOGICAL SOCIETY, BOSTON, MA 1910. EDITOR F. APTHORP FOSTER. 244 PAGES, BROWN CLOTH, OCTAVO, TIGHT CLEAN COPY. NEXT BOOK TITLED VITAL RECORDS OF CHILMARK, MASS. TO THE YEAR 1850. PUBLISHED BY THE NEW ENGLAND HISTORIC GENEALOGICAL SOCIETY, BOSTON, MA, 1904. EDITOR ERNEST WOODS. BROWN CLOTH BOARDS, 96 PAGES, OCTAVO, VERY TIGHT CLEAN COPY. LAST BOOK TITLED THE FIRST RESIDENT DIRECTORY OF BARNSTABLE, YARMOUTH AND DENNIS, MASS., 1895. COMPLIED, COPYRIGHTED AND PUBLISHED BY THE J. H. HOGAN CO., QUINCY, MA, 1895. 291 PAGES. OCTAVO, CLOTH BOARDS WITH ADVERTISING, TIGHT CLEAN BINDING WITH CRACKING AT INTERIOR OF FRONT AND REAR BOARDS. ONE FOLDED CORNER. FROM IPPOLITO COLLECTION.
- LARGE COLLECTION OF APPROX. 257 VINTAGEpostcards,
LARGE COLLECTION OF APPROX. 257 VINTAGEpostcards, many by S. H. Hutchinson and Co. , New Bedford. Images include: whaleships, Nonquitt, Cuttyhunk, New bedford street scenes, New Bedford factories, whaling scenes, lighthouses, Fairhaven churches, Saint Luke's, residence of Henry Rogers, steamboat piers, firestation, Lincoln park, trolly cars Onset Line, Brooklawn park, Marion, Mattapoisett, Chilmark, Herring run, etc. In a bound album. Overall good condition, no notable issues.
- CHILMARK HORSE OF A DIFFERENT COLOR
CHILMARK HORSE OF A DIFFERENT COLOR SCULPTUREChilmark pewter sculpture titled "Horse of a Different Color" by artist Star Liana York, limited edition of 1500, 1984. Sculpture measures approx. 9" long x 6 1/2" x 5 3/4" tall, including base. shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
- CHILMARK SKEDADDLIN PEWTER SCULPTURE
CHILMARK SKEDADDLIN PEWTER SCULPTURE LOWELL DAVISChilmark pewter sculpture by Lowell Davis titled "Skedaddlin". 1993 Chilmark Limited edition #35/350. Sculpture measures approx. 16 1/4" long x 10" x 8" tall, including base. Weight approx. 25 lbs. shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
- (2) NATIVE AMERICAN INDIAN SCULPTURESTwo
(2) NATIVE AMERICAN INDIAN SCULPTURESTwo Indian sculptures. 1) 1992 Chilmark pewter sculpture titled "The Warriors Spirit of the Wolf" #582/1000 by Don Polland '96, signed on marble base, 13" tall. 2) 1992 Legends mixed media sculpture titled "Salmon Falls" #169/950 by Willy Whitten, signed on lower rear of sculpture, 5 3/4" marble base x 14" tall. shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
- CHILMARK BURNSIDE'S BRIDGE PEWTER SCULPTUREChilmark
CHILMARK BURNSIDE'S BRIDGE PEWTER SCULPTUREChilmark Civil War pewter sculpture by Francis Barnhum titled "Burnside's Bridge". 1989 Chilmark Limited edition #737/1500. Sculpture measures approx. 23" long x 13" x 8" tall, including base. Approx. 30 lbs. shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
- CHILMARK CITY SLICKER PEWTER SCULPTURE
CHILMARK CITY SLICKER PEWTER SCULPTURE L. DAVISChilmark pewter sculpture by Lowell Davis titled "City Slicker". 1993 Chilmark Limited edition #280/350. Sculpture measures approx. 17 1/2" long x 9 3/4" x 10 1/4" tall, including base. Weight approx. 29 lbs. shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
- 1977 CHILMARK DALL RAMS PEWTER STATUE1977
1977 CHILMARK DALL RAMS PEWTER STATUE1977 Dall Rams Sculpture by L.C. Hampton. Chilmark Fine Pewter limited edition but does not come with COA. Measures 12" x 9". shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
- CHILMARK NATIVE AMERICAN FIGURINESmall
CHILMARK NATIVE AMERICAN FIGURINESmall pewter figure titled The Vanishing American inspired Frederic Remington made by Chilmark, on wood base, overall measurements 6 x 4 1/2 x 4 1/2 inches
- GROUP OF 2 CHILMARK PEWTER SCULPTURES
GROUP OF 2 CHILMARK PEWTER SCULPTURES BY FRANCIS BARNUM GROUP OF 2 CHILMARK PEWTER SCULPTURES BY FRANCIS BARNUM INCLUDING "SAVING THE COLORS" AND "GAINE'S MILL"; TALLEST 7"H
- GROUP OF 3 CHILMARK PEWTER SCULPTURES
GROUP OF 3 CHILMARK PEWTER SCULPTURES BY FRANCIS BARNUM GROUP OF 3 CHILMARK PEWTER SCULPTURES BY FRANCIS BARNUM INCLUDING "BERDAN SHARPSHOOTER" "J.E.B.'S FAREWELL" AND "WHAT MUST BE DONE"; TALLEST 7"H
- LOOKOUT MOUNTAIN BY FRANCIS BARNUM LOOKOUT
LOOKOUT MOUNTAIN BY FRANCIS BARNUM LOOKOUT MOUNTAIN BY FRANCIS BARNUM FOR CHILMARK PEWTER SCULPTURE OF SOLDIERS LOADING BATTLE CANNON; 8"H 12"W 8"D
- FRANCIS BARNUM PEWTER BUST OF ROBERT
FRANCIS BARNUM PEWTER BUST OF ROBERT E. LEEChilmark 'Commander Series' limited-edition pewter bust, Robert E. Lee, signed F. J. Barnum (Francis J. Barnum, American, 20th c.), dated 1993, numbered 455/ 600, on marble base, approx 15"h, 6.5"w, 4.5"d, 18lbs
- THOMAS HART BENTON (1889-1975) TEMPERA
THOMAS HART BENTON (1889-1975) TEMPERA STUDY AND SKETCHThomas Hart Benton (1889-1975) (Circa 1920-1923)Two significant works from the artist's early, pivotal, Modernist period:1. A mixed media painting on board measuring 13.75 x 9.5 inches.2. A large (53 x 33 inch) sketch on linen in graphite or similar medium, partially embroidered in wool yarns.The smaller study was included in a traveling exhibition titledThomas Hart Benton: Drawing from Life, various museums beginning in 1990 - 1991, and published on page 87 of the associated hardback book Thomas Hart Benton: Drawing from Life. Henry Adams, New York: Abbeville Press, 1990.Around 1922, the year they were married, Tom and Rita Benton teamed up for an unusual artistic collaboration. Not the one where, under Rita's shrewd stewardship, Thomas Hart Benton became one of America's most important artists. Rather, this creative partnership was manifested by the two working together in paint and fiber. It began with Tom creating a preliminary study in tempera and watercolor on a repurposed hardback book cover (perhaps the methods of what Ken Burns referred to as an 'impoverished painter' when describing Benton in this early period, a time when, according to Rita in a Jan 24 1943 KC Star interview, they summered in a rented barn on Martha's Vineyard). He then repeated the composition, with its dynamic central figure, in graphite on a 54 x 36 inch linen panel for Rita to finish in needlework embroidery - which she did in some areas. But it appears the project was set aside for another day while the two embarked on that other collaboration for which they are best known.Around 1960, these two works by Thomas Hart Benton - the painting on board, and its much larger counterpart on linen - were acquired by the Bentons' close friend Ann Constable. Ann was more than just a friend and neighbor. She owned what turned out to be some of the artist's most valuable paintings and, following the artist's death, became an authority on Tom's work. She even represented the estate for a time. When household names from Hollywood came to town looking to acquire a major painting, it was Ann who showed them around the vaults. Rita had always wanted Ann to finish the needlework design. Instead, Ann displayed the works just as they were, side-by-side on the wall of her living room for nearly 40 years.In the early 1990s, Benton Family on South Beach, as the composition came to be known, was selected for the traveling museum exhibition Thomas Hart Benton: Drawing from Life, and published on page 87 of an associated book of the same name by Henry Adams. Of all the things Tom and Rita Benton would accomplish together, few artistic endeavors of this type between the two are known, making this, as Henry Adams described it, ''…clearly quite a unique and personally significant piece from a pivotal moment in Benton's artistic development.''Indeed, the importance of this lot extends beyond its unique genesis. The painting and large corresponding sketch serve as a valuable record of Thomas Hart Benton's early style iterations and artistic evolution from Modernism toward Regionalism. The composition design exhibits the influences of Benton's good friend Stanton Macdonald-Wright (1890-1973) and Synchronism, an art movement Benton experimented with early on; while it also anticipates where the artist was headed stylistically. During this same early period on Martha's Vineyard, other significant works exhibiting Modernist and Abstract influences through similar character studies include The Beach (circa 1920-21) and - more so - People of Chilmark (circa 1921-22) with its similar central muscular lifeguard figure, a mural now in the Hirshorn Museum.In his essay The Mechanics of Form Organization in Painting (Arts Magazine, 1927), Benton discusses the deployment of abstraction in building compositions, and backs it up with illustrations. The principles of diagrams 14 and 15 (re-created here) are, without a doubt, at work in the painting on board and sketch on linen up for bid in this auction lot; while the principles of diagram N2 are manifested quite clearly in The Beach and People of Chilmark.As for the artist creating designs to be finished in fiber and other mediums, Benton is known to have created a number of decorative designs in the 1920s which were then carried out by his mother and Rita. Shortly before her death, Jessie Benton donated a rug to the Martha's Vineyard Museum which was designed by her father but which she believed was made by Benton's mother.More importantly, in the exhibition catalog for Thomas Hart Benton: Mechanics of Form, the authors Surovek Gallery and Lester-Thompson Fine Art (Clay Surovek and Andrew and Kate Thompson) tell how, ''Benton joined a collective of artists, organized by Ralph Pearson, which designed decorative hooked rugs. Through his association with Pearson, and this collective, Benton secured the commission…consisting of a series of mural panels, a folding screen, hooked rugs and furniture for the den of Albert Briggs, an avid sportsman and big game fisherman.'' The most notable and enduring aspect of this commission would be the large, stylized, Modernist Phantasy Series mural panels, steeped in the elements of Synchronism and fully demonstrating the artist's artistic roots; along with an underlying architecture of Abstraction that would be found in so many works to come.The study measures 13.75 x 9.5, the frame is 19 x 15 inches. Sight size for the needlework is 53 x 33.5, the frame measures 58 x 38 inches.Study on Board; Very good untouched condition, no inpainting, damage or repair, with the exception of repair to the extreme lower right corner with reinforcement visible verso. Scattered light soiling and light rubs, stray border graphite markings.Sketch on Linen: Very good original condition, no damage, repair, alteration or touch-up, scattered areas of foxing, light stain upper right.Provenance: Acquired directly from the artist by Ann Constable, The Constable Family Collection.
- (VIEW) CAPE COD - MARTHA'S VINEYARD:
(VIEW) CAPE COD - MARTHA'S VINEYARD: 21 POSTCARDS EARLY TO MID-20TH CENTURY(VIEW) CAPE COD - MARTHA'S VINEYARD: 21 POSTCARDS, Early to Mid-20th Century, "Hilary's Choice". Real photo: Gibbs Family Reunion in Oak Bluffs, Oak Bluffs Campground with moving and parked roadsters, Lanes Block (Vineyard Haven), two Lighthouse printed photo views. Seven Chamberlains (publisher): The Narragansett, the post office at Cottage City, The New Greene Block, Oak Bluffs post office and "Sept. 27, The First Co. of 10 Young Men Left Oak Bluffs, Mass. for Camp Devens, Ayer, Mass.", "Battery B Band at Cottage City, Mass.". Also: Cross Rip Ship, "20th Century Limited" (Tichnor), "A Straw Ride Party", arrival of the band, Bowling Alleys and Dreamland, Light House (Robbins), U.S. Post office in Chilmark and two hand-colored street scenes (Main St. Vineyard Haven and Circuit Ave. Oak Bluffs).
- COLLECTION OF FOUR CAST METAL SCULPTURESCOLLECTION
COLLECTION OF FOUR CAST METAL SCULPTURESCOLLECTION OF FOUR CAST METAL SCULPTURES: FROM "The great American Spirit Collection" Shooting Star "The Warriors Offering" By Chilmark; Three sculptures by C.A. Pardell from the "Legends Series" Crazy Horse "Pursued" in fine pewter, Sitting Bull "Songs of Glory" and "Cliff Hanger". In sizes from 9 inches to 12 inches tall.
- THREE CHILMARK PEWTER NATIVE AMERICAN
THREE CHILMARK PEWTER NATIVE AMERICAN FIGURES Including "Blanket Signal", "Kiowa Princess", and "Attack".
- FOUR CHILMARK PEWTER NATIVE AMERICAN
FOUR CHILMARK PEWTER NATIVE AMERICAN FIGURES Including "Warrior", "Vigil", "Running Wolf", and "Eagle Dancer".
- FOUR CHILMARK PEWTER NATIVE AMERICAN
FOUR CHILMARK PEWTER NATIVE AMERICAN FIGURES Includes "Smoke Signal", "Geronimo", "Yellow Boy", and "Chief Joseph".
- FOUR CHILMARK MIXED METAL FIGURES Including
FOUR CHILMARK MIXED METAL FIGURES Including Gray Elk, 2 Eagles, Shooting Star, and Thunder Cloud.
- THREE CHILMARK PEWTER NATIVE AMERICAN
THREE CHILMARK PEWTER NATIVE AMERICAN FIGURES Includes "Sioux Proud Warrior Figure","Geronimo", and "Sitting Bowl". Tallest is 13 3/4 in. H.