- French Gilt Metal Mounted Ivory Single
French Gilt Metal Mounted Ivory Single Draw Spy Glass, mid 19th century collapsed height 3 in — 7.6 cm
- French Gilt Metal Mounted Abalone Single
French Gilt Metal Mounted Abalone Single Draw Spy Glass, 19th century collapsed height 2.4 in — 6 cm, diameter 5.5 in — 14 cm
- ANTIQUE BRASS TELESCOPE ON TRIPOD J.
ANTIQUE BRASS TELESCOPE ON TRIPOD J. H. STEWARD Dublin .Telescope 25.5" extended 32". Body has several dents. Tripod has metal collar with "J. H. Steward Ltd / 406 Strand/ London". Tripod is 50" tall extended and 18.5" collapsed. Removable large brass lens cap. Condition: dents and tripod operates but wont stand
- BRASS-MOUNTED MAHOGANY CAMPAIGN STYLE
BRASS-MOUNTED MAHOGANY CAMPAIGN STYLE TRESTLE TABLE17 x 4 ft. 6 1/4 x 24 1/2 in.
Condition
Nice color. Marks and scuffs to the top. Rubbing to the brass edges. The trestle supports can collapse but the hooks attaching them to the top are stiff. Generally good condition. Structurally sound. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- LYDIA DONA (B. 1955): SUBSTANCES OF
LYDIA DONA (B. 1955): SUBSTANCES OF COLLAPSE AND THE FRAGMENTS ON THE AXISOil and acrylic on canvas, 1989, signed 'Lydia Dona' and dated on the reverse, with label from Tom Cugliani Gallery, NY.
68 x 72 in., unframed.
Condition
In excellent condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- JEWELRY. T&CO.14KT YELLOW GOLD MECHANICAL
JEWELRY. T&CO.14KT YELLOW GOLD MECHANICAL PENCIL A monogrammed Tiffany & Co.14kt yellow gold mechanical pencil. Stamped, "Tiffany & Co.14K". Total approx. weight is 11.3 dwt (gross). From a Mamaroneck, NY estate. Dimensions: extended pencil measures approx. 4.7" in length; collapsed pencil measures approx. 2.7" in length. Condition: Good, with light surface scratches and minor dings/dents.
- JEWELRY. T&CO. 14KT GOLD TELESCOPIC
JEWELRY. T&CO. 14KT GOLD TELESCOPIC MECHANICAL Propelling Pencil Ruler. An Engraved Tiffany & Co. 14kt yellow gold telescopic mechanical propelling pencil ruler. Stamped, "Tiffany & Co. 14K".Total approx. weight is 26 dwt (gross). From a Mamaroneck, NY estate. Dimensions: extended pencil measures approx. 4.7" in length; collapsed pencil measures approx. 13.25" in length. Condition: Good, with light surface scratches and minor dings/dents.
- OWEN J. GROMME (1896-1991)Wild Turkeys,
OWEN J. GROMME (1896-1991)Wild Turkeys, 1943
signed and dated "Owen Gromme 43" lower right
oil on canvas, 30 by 24 in.
The successful reintroduction of the wild turkey to nearly the entirety of its historical range of North America is one of the great conservation stories of the last century. The onslaught of this majestic bird began with the landing of the Pilgrims at Plymouth, Massachusetts, in 1620. The number of wild turkey at the time of their arrival was, by some estimations, as many as ten million birds. Clear-cutting, a common practice in the colonies, destroyed the forests where the turkey made its home. As a result of the loss of its habitat, by 1700 local bird populations had dwindled. Benjamin Franklin was an early admirer of the wild turkey and in a letter to his daughter in 1784, he pronounced his displeasure over the choice of the bald eagle as the national bird instead of the iridescent bronze game bird.
John James Audubon (1785-1851) reported seeing wild turkeys by the hundreds along the Upper Mississippi in 1810. By 1951 the entire population in North America was estimated at a little over 300,000 birds with a legal annual harvest in fifteen states of 47,000 birds. This clearly unsustainable quota placed the bird in dire straits. Due to the tireless effort of conservation groups and hunters around the country, by 1999 the wild turkey population had rebounded to over five million birds, present in forty-nine of the fifty United States.
This work, completed in 1943, was painted at a time when turkey stocks were at near collapse. The Spanish moss in the background places the work in the South, which due to its extensive habitat, was one of the wild turkey’s last bastions for the surviving population.
Owen Gromme was born in Wisconsin in 1896, and he spent much of his childhood hunting in the wetlands and forests near his home. Gromme made his career as the Curator of Birds and Mammals at the Milwaukee Public Museum, staying in this position for over four decades. In this capacity, he traveled across the United States, as well as to Africa, documenting the wildlife he encountered. Although he was a high-school dropout, by the time of his death in 1991 Owen Gromme had received five honorary doctorates, as well as published "Birds of Wisconsin," which he also illustrated. Known for his conservation activism, his paintings reflect his love of the outdoors.
Provenance: Private Collection, Georgia
Private Collection, Wisconsin, acquired from the Sporting Sale 2011, lot 24
Literature: James E. Cardoza, "The Wild Turkey: An Astonishing Success Story," MA, 2002.
- English Lacquered Brass Four Draw Marine
English Lacquered Brass Four Draw Marine Telescope, 19th/early 20th century with hide grip collapsed length 12.7 in — 32.3 cm; extended length 45.5 in — 115.6 cm
- Leitz 'Stand IV' Replica Lacquered Brass
Leitz 'Stand IV' Replica Lacquered Brass Microscope, Arthur Seibert, EMO-Optik, Wetzlar, West Germany, 1980 numbered 361/1000 and modelled after the 1899 original, complete with two eyepieces, two objectives and six sample slides, all in a fitted mahogany case with dated manual
instrument collapsed height 10.6 in — 27 cm; case 11 x 30 x 19 in — 27.9 x 76.2 x 48.3 cm
- Art Nouveau Brass and Slag Glass Extendable
Art Nouveau Brass and Slag Glass Extendable Book End Stand, early 20th Century unsigned collapsed 4.3 x 13 x 6.3 in — 11 x 33 x 16 cm; fully extended 4.3 x 24 x 6.3 in — 11 x 61 x 16 cm
- George E. Ohr. pitcher. 1897-1900, glazed
George E. Ohr. pitcher. 1897-1900, glazed earthenware. 7 h × 5 w × 4 d in. result: $10,625. estimate: $8,000–12,000. This work features a ribbon handle and collapsed rim with ochre, raspberry, blue, green, and gunmetal glazes. Impressed signature to underside ‘G. E. Ohr Biloxi, Miss.’. Provenance: Important Private Collection, New York
- THE FOLEY CHINA SMALL TUMBLER, THE OLD
THE FOLEY CHINA SMALL TUMBLER, THE OLD MAN OF THE MOUNT...Depicting the landmark and cultural icon of the state of New Hampshire. It collapsed in 2003.
The Foley China backstamp. Also printed on base "H.S. Knowles Bethlehem, N.H." #TheFoleyChina
Issued: 1894-1910
Dimensions: 3.75"H
Manufacturer: The Foley China
Country of Origin: England
Condition:
Age related wear.
- CONFEDERATE CSS SHENANDOAH DIARY AND
CONFEDERATE CSS SHENANDOAH DIARY AND ARCHIVEImportant 1865 Confederate CSS Shenandoah ship diary archive of Lieutenant Dabney Scales including 1865 diary journal (85 pages, 104 pages total), an ambrotype and CDV of Lt. Dabney Scales in uniform, a CDV of the Shenandoah, and an author signed book/pamplet titled, "Cruises of the Confederate States Steamers "Shenandoah" and "Nashville" by Captain William C. Whittle, 1910. Note - the Confederate ship, CSS Shenandoah, fired the last shot of the Civil War and marked the final surrender of Confederate forces on November 6, 1865. Given the orders to destroy the New England whaling fleet, the partially crewed Confederate ship circumnavigated the earth, capturing 38 vessels and taking over 1000 prisoners between 1864-65. Twenty five ships were captured after the Confederacy had collapsed. Biography of Dabney Scales - Dabney Minor Scales (1841-1920) of Memphis, TN was the son of Peter Scales, a planter originally from Virginia. Dabney was born and raised in Holly Springs, Mississippi, attended the US Naval Academy and joined the Confederate Navy at the outbreak of the Civil War. He served on the CSS Savannah, CSS Capital, CSS Arkansas, CSS Atlanta, and the CSS Shenandoah. In 1863-4, Scales was assigned to Europe and spent time in London and Paris regarding the outfitting and manning of Confederate ships constructed in England. Fearing he would be prosecuted as a pirate after the Civil War, Dabney Scales lived in Mexico for a short time, but was back in the States practicing law in Memphis by about 1869. He married Susan Winchester Powell (granddaughter of Gen. James Winchester) in Nashville circa 1885 and was elected to the Tennessee legislature and served in the Tennessee State Senate 1895-1896. He returned to active Naval duty in the Spanish American War, serving as a lieutenant despite his age. 1st item - CSS Shenandoah ship diary of Lieutenant Dabney Scales, 85 pages with some hand drawn illustrations. Complete diary has a total number of 104 pages and includes a partial journal by a different hand from May 1864 - December 1864 relating to the ship Edward of New Bedford - the first whaling vessel captured by the Shenandoah, and two pages of an 1870 entry by Dabney Scales. The log of the Shenandoah is titled "Confederate States Shenandoah cruising for Yankees". Scales retroactively records events back to February 13th, 1865 in Melbourne, Australia where the Shenandoah was dry docked for repairs. The diary goes into extensive detail on major events including the encounter with authorities in Melbourne and Liverpool, the capturing of vessels and crews for the year 1865, encounters with the natives, and interactions among Shenandoah officers. A June 22nd entry refers to the "Sophia Thorton" ship Lt. Scales boarded. The ship "made some show of escape by standing on through the ice, but a shot from one of the rifle guns brought her to." He continues, "out of these vessels we have heard the most disheartening news I have ever heard from our poor suffering country. The captures of Savannah, Charleston, ..Richmond together with the surrender of Lee, with an army of 22,000 men - with this also comes the tradgical death of the "Rail Splitter" by the hand of an assasin. This will, of course, make a hero of him --". His last entry on this day, "To the part of this news relating to the surrender of Lee's army + the disbanding of those not surrendered, I give no credence at all......I think however we should struggle on to the last, and if as the yankee papers say ---Davis crosses the Mississippi to establish a Confederacy there. I for one shall follow and join him rather than subject to Yankee rule." On August 3rd, Lt. Scales writes, "How shall I attempt to describe the change that has come over the officers and crew of this ship within the last twenty four hours. I can only write a few unintelligible words that may serve to recall to my mind what my own feelings were yesterday afternoon...we came in sight of a sail - the first seen since we left the Arctic... Barracouta (ship) - boarded her and brought off the news - My G.! What news it was for us.... I was therefore in a measure prepared for either good or bad news but not for such as was in store for me....The only words I caught were - "All over - President Davis and cabinet prisoners in New York - All organized armies surrendered..." Upon arriving at Liverpool in November 1865, Dabney Scales writes on November 6th - "The (British) pilot boarded us in the mid watch this morning. His news confirms that given us by the "Barracouta" - the downfall of the Southern Confederacy. The war, he said had been over so long that people had forgotten all about it." While many of these events have been published in previous books on the Shenandoah, this diary represents new primary source material previously unavailable. Regarding the partial journal of the whaling ship "Edward" starting May 5th 1864 and ending December 1st 1864 (17 pages), the author writes of Right whales sightings and discusses and event Nov. 29th where a whale was struck and capsized the boat. 2nd grouping - 1/4 plate ambrotype of Confederate Dabney Scales in uniform with hand tinted gold highlights, CDV of Lt. Dabney Scales taken in Melbourne, Austrailia. Marked verso "Johnstone & Co. Melbourne", 3 7/8_ x 2 1/2_, and a CDV of the ship, CSS Shenandoah, 3 3/4_ x 2 3/8_. Last item - Author signed book/pamplet titled, "Cruises of the Confederate States Steamers "Shenandoah" and "Nashville" by Captain William C. Whittle, 1910. Page 32 signed, "For D. M. Scales from Yours Sincerely Wm C Whittle March 31st 1910_. Cover is marked in black pen, "Dabney M. Scales compliments of the Author". Provenance - Direct descendant of Lt. Dabney Scales.
Condition:
1st item - Journal missing cover, binding loose and frayed, several pages separated, edges of several pages charred and worn. All pages appear to be legible. Diary page size 8 1/2" x 13 3/8". 2nd item - Ambrotype with cover unattached, Dabney Scales CDV with tape verso, Shenandoah CDV trimmed. and CDVs in verso. 3rd item - pamplet/book in overall very good condition with some browning to covers.
- CONFEDERATE NAVAL CDV ALBUM ARCHIVE
CONFEDERATE NAVAL CDV ALBUM ARCHIVE - CSS SHENANDOAH, F...Important Naval Photographic Archive CDV Album of Lieutenant Dabney Scales of the CSS Shenandoah including images of uniformed and non-uniformed Confederate Naval officers from the CSS Shenandoah, CSS Florida, and the CSS Alabama, a 1/4 plate ambrotype of Dabney Scales in uniform, and extracts from the log of the CSS Shenandoah from August 2-5, 1865 detailing the encounter with the British ship, Barracouta, and learning of the overthrow of the Confederate government. Note - the Confederate ship, CSS Shenandoah, fired the last shot of the Civil War and marked the final surrender of Confederate forces on November 6, 1865. Given the orders to destroy the New England whaling fleet, the partially crewed Confederate ship circumnavigated the earth, capturing 38 vessels and taking over 1000 prisoners between 1864-65. Twenty-five ships were captured after the Confederacy had collapsed. 1st grouping - CDV album of Dabney Scales dated July 15, 1863 Paris, France on inside cover and a second, smaller CDV album marked Havana June 1, 1863. Interior contains several CDVs of fellow Confederate Naval officers, women acquaintances, and European subject matter including works of art and famous Europeans. A couple of notable women with signed CDVs to Scales include Rosa Bonheur (realist painter, sculptor) and Lillie W. Hitchcock (Coit). Of the approximately 25 identified Confederate naval Officers, 15 are in uniform. An additional eight CDVs of males in formal attire are likely Confederate Naval officers but have yet to be identified. Identified Naval officers of the CSS Shenandoah include Lieutenant Dabney Scales (signed), William Breedlove Smith, Paymaster (signed), Dr. Fred McNulty, ship assistant surgeon (signed), Lt. John Grimball, Lt. William C. Whittle (signed Jack), William Breedlove Smith (w/out uniform), Edwin G. Booth (assistant surgeon?), Midshipman John T. Mason, and Chief Engineer Matthew O'Brien. Joe Scales (Confederate Army), Dabney's brother, is also pictured and signed en verso. Three formally attired gentleman with Liverpool marked CDVs are likely Shenandoah crew members. Uniformed Confederate Naval officers of the CSS Florida include Lt. Sardine G. Stone (signed), a CDV of the CSS Florida with small images of each crew member surrounding the Florida ship image (each officer identified), Lt. Midshipman R.S. Floyd, Lt. George Dwight Bryan (became mayor of Charleston after war), Lt. Sardine G. Stone pictured with another male, and Lt. James Lingard Hoole pictured with another male, CDV of non-uniformed male (possibly T.T. Hunter). Uniformed Confederate Naval officers of the CSS Alabama include Lt. Joseph D. "Fighting Joe" Wilson, Midshipman E. R. Anderson, Lt. Richard F. Armstrong, and Midshipman Eugene Anderson Maffit, and possibly Surgeon Galt. Other CDV s Confederate officers in the smaller album lot include P. T. Beauregard with an Augusta, GA label, an unidentified officer with a Louisville, KY label, and a CDV of Confederate General Joe Johnson. 2nd grouping - Extracts from the "Log of the C.S.S. Shenandoah on a cruise Aug 2-3-4 1865" with course headings, latitude and longitude for each day. August 2, 1865 reads, "Got Steam and stood in chase. Took in all sail except the head sails. At 4:15 came up with chase stopped the engine & sent a boat along side the English barque "Baracuta" from San Francisco bound to Liverpool. 13 days out -------- Having received by the barque Barracouta the sad intelligence of the overthrow of the Confederate Government. All attempts to destroy the shipping on property of the Northern States will cease from this date. In accordance with which the First Lieutentant W. C. Whittle Jr. received the order from the Commander to strike below the battery and disarm the ship & crew." 3rd item - 1/4 plate size ambrotype of Confederate Dabney Scales in an early Naval uniform. Hand tinted buttons and lapel highlighted in gold. Littlefield, Parsons & Co. case patented 1856 & 1857 with a beehive and farm implements pattern on front and back. Provenance: Direct descendant of Lt. Dabney Scales.
Condition:
1st grouping - larger album with spine and covers loose with losses. CDVs overall very good condition with a couple showing more foxing near the back of the larger album, some CDVs with edges trimmed. 2nd item - extract pages in overall very good condition with pages very legible. 3rd item - ambrotype image with scattered losses to the face area.
- 2 WERNER WILDNER GNOME DRAWINGSWerner
2 WERNER WILDNER GNOME DRAWINGSWerner Wildner (Nashville, Tennessee 1924-2004), two graphite drawings with watercolor, both signed lower left "W", matted and framed in matching narrow molded wood frames. One depicts a gnome holding a spear and dead game (6-3/4" x 6" sight, 15" x 13" framed). The other depicts a gnome ascending a hill with the aid of a walking stick; at the crest is a large daisy with butterfly circling overhead (7-3/4" x 10-3/4" sight, 14" x 17" framed). Biography (courtesy Askart: The Artists' Bluebook): Wildner was born in Germany but moved to Detroit with his family as a child and, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Mienzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Whimsical animals and fantastical, often grotesque creatures were a recurring theme of his work. Wildner met with critical and commercial success after a 1962 exhibit of his art (at what is now known as Cheekwood). However, the death of his parents and collapse of his marriage in the 1970s led him to become reclusive in the last two decades of his life. Provenance: the collection of Stephen and Lisa Steiner Small, Nashville, Tennessee.
Condition:
Drawings in excellent condition, some abrasions to second frame.
- CATHERINE WILEY, O/C LANDSCAPE W/ FIGUREAnna
CATHERINE WILEY, O/C LANDSCAPE W/ FIGUREAnna Catherine Wiley (TN, 1879-1958) oil on canvas landscape of an Autumn meadow with large tree and figure in the foreground, billowing clouds to the left sky area with a dark blue sky to the right. Signed lower right in red, "Wiley". Contemporary gilt wood frame. Sight 15 5/8" W x 11 3/4" H, 20 5/8" W x 16 3/4" H. Note - a larger composition of the same landscape titled, "Gathering in the Woods" depicting the Spring season is in the collection of the Tennessee State Museum, Nashville. Biography: Catherine Wiley is one of Tennessee's most important nationally recognized artists. She was one of the early female students at the University of Tennessee, and was later credited with establishing formal art instruction at the school. Wiley studied at the Art Students League in New York under Frank DuMond, and spent summers learning from major American impressionists such as Robert Reid, Jonas Lie, and Martha Walter. She won numerous prizes including two Gold Medals at the Appalachian Exposition in 1910 and her paintings were exhibited at prominent American venues including the National Academy of Design in New York and the Pennsylvania Academy of Fine Arts. Her thriving career was ended by a mental collapse which left her institutionalized until her death.
Condition:
Overall excellent condition, retains the original stretchers and canvas. One tiny spot less than 1/16" dia inpainted in foreground.
- 2 WERNER WILDNER GNOMES, UNFRAMEDWerner
2 WERNER WILDNER GNOMES, UNFRAMEDWerner Wildner (Nashville, Tennessee 1924-2004), two unframed works depicting gnomes. 1st item: Watercolor on cardstock landscape with a hat-wearing gnome, leaping in the air while smoking a pipe. Signed with monogram lower left. 9-7/8" x 7-1/2". 2nd item: Watercolor on cardstock landscape with a bearded, pipe-smoking gnome gazing up at the Man-in-the-Moon, while a raven perches on a fence in the background. 10-1/8" x 7-1/2". Biography (courtesy Askart: The Artists' Bluebook): Wildner was born in Germany but moved to Detroit with his family as a child and then, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Mienzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Whimsical animals and fantastical, often grotesque creatures were a recurring theme of his work. Wildner met with critical and commercial success after a 1962 exhibit of his art at the Nashville site now known as Cheekwood. However, the death of his parents and collapse of his marriage in the 1970's led him to become reclusive in the last two decades of his life. Provenance: Private Florida collection.
Condition:
Both items in excellent condition.
- TWO WERNER WILDNER WATERCOLORS, DOG
TWO WERNER WILDNER WATERCOLORS, DOG AND OWLWerner Wildner (Nashville, Tennessee, 1925-2004), two watercolor paintings. 1st item: Portrait of a standing Pekinese dog, 9" x 12". 2nd item: Portrait of an owl, wearing spectacles, sitting atop a stool and reading a newspaper. 14 1/2" x 11". Both on cardstock and signed with monogram signatures, lower left. Provenance: Florida collection, acquired directly from the artist. Biography (courtesy Askart: The Artists' Bluebook): Wildner was born in Germany but moved to Detroit with his family as a child and then, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Meinzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Whimsical animals and fantastical, often grotesque creatures were a recurring theme of his work. Wildner met with critical and commercial success after a 1962 exhibit of his art at the Nashville site now known as Cheekwood. However, the death of his parents and collapse of his marriage in the 1970's led him to become reclusive in the last two decades of his life. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Both in very good condition.
- TWO WERNER WILDNER WATERCOLORS, MATTEDWerner
TWO WERNER WILDNER WATERCOLORS, MATTEDWerner Wildner (Nashville, Tennessee, 1925-2004), two matted watercolor paintings, one of a gnome, standing on tiptoe, balancing a ball on lifted leg, a feather atop his hat, 10" x 7" sight, 15" x 12" matted; the other of a bird with back to the viewer and wearing a cloak and hat, carrying a walking stick. 10" x 8" sight, 14" x 12" matted. Both on cardstock and signed with monogram signature lower left. Biography (courtesy Askart: The Artists' Bluebook): Wildner was born in Germany but moved to Detroit with his family as a child and then, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Meinzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Whimsical animals and fantastical, often grotesque creatures were a recurring theme of his work. Wildner met with critical and commercial success after a 1962 exhibit of his art at the Nashville site now known as Cheekwood. However, the death of his parents and collapse of his marriage in the 1970's led him to become reclusive in the last two decades of his life. Provenance: Florida collection, acquired directly from the artist. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Both in very good condition.
- WERNER WILDNER SURREALIST PAINTINGWerner
WERNER WILDNER SURREALIST PAINTINGWerner Wildner (Nashville,Tennessee 1925-2004) watercolor on paper surrealist landscape painting depicting objects such as gnomes, unicorn on wheels, ball, spear, and arched doorway, with mountains in the background. Signed with monogram near center (on arch). 11 3/4" x 13 3/8" sight, 19" x 20 1/2" framed. Biography (courtesy Askart: The Artists' Bluebook): Wildner was born in Germany but moved to Detroit with his family as a child and then, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Meinzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Whimsical animals and fantastical, often grotesque creatures were a recurring theme of his work. Wildner met with critical and commercial success after a 1962 exhibit of his art at the Nashville site now known as Cheekwood. However, the death of his parents and collapse of his marriage in the 1970's led him to become reclusive in the last two decades of his life. Provenance: Nashville, Tennessee estate. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
1" line mark in upper right corner, otherwise excellent condition.
- 3 WERNER WILDNER SURREALIST WORKSWerner
3 WERNER WILDNER SURREALIST WORKSWerner Wildner (Nashville, Tennessee, 1925-2004), three works on cardstock paper. Includes a drawing with watercolor of an owl in a nightcap, 11 5/8" x 8"; a matted drawing with watercolor of an anthropomorphic mushroom, smoking a pipe (9" x 10 5/8" sheet, 12" x 11" matted); and a matted drawing with gouache of a pipe-smoking gnome, with drawing of an elf smoking a pipe on the reverse, 8 1/2" x 12 3/8" sheet, 14" x 11" matted. All are signed with monogram W. lower left except the drawing of the elf on the back of the third drawing. Biography (courtesy Askart: The Artists' Bluebook): Wildner was born in Germany but moved to Detroit with his family as a child and then, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Meinzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Whimsical animals and fantastical, often grotesque creatures were a recurring theme of his work. Wildner met with critical and commercial success after a 1962 exhibit of his art at the Nashville site now known as Cheekwood. However, the death of his parents and collapse of his marriage in the 1970's led him to become reclusive in the last two decades of his life. Provenance: Florida collection, acquired directly from the artist. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
3rd item has small light mark to mat. All images in excellent condition.
- 2 WERNER WILDNER WATERCOLORS, MOUSE
2 WERNER WILDNER WATERCOLORS, MOUSE & OWLWerner Wildner (Nashville, Tennessee, 1925-2004), two watercolor paintings. 1st item: Image of a mouse atop a table and nibbling a piece of Swiss cheese, with a match at his feet. Monogram signature lower left and lower right. Housed in a painted wooden frame with off white matte. Sight - 10 1/2" H x 6 3/4" W. Framed - 19 3/8" H x 15" W. 2nd item: Watercolor, gouache and pencil portrait of an owl. Monogram signature lower left. Housed in a wooden frame with grey matte. Image - 11 3/4" H x 8 3/4" W. Framed - 20 1/2" H x 17 3/8" W. Biography (courtesy Askart: The Artists' Bluebook): Wildner was born in Germany but moved to Detroit with his family as a child and then, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Meinzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Whimsical animals and fantastical, often grotesque creatures were a recurring theme of his work. Wildner met with critical and commercial success after a 1962 exhibit of his art at the Nashville site now known as Cheekwood. However, the death of his parents and collapse of his marriage in the 1970's led him to become reclusive in the last two decades of his life. Provenance: Private Nashville, TN collection. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Overall excellent condition.
- 2 WERNER WILDNER SURREALIST WORKSTwo
2 WERNER WILDNER SURREALIST WORKSTwo (2) Werner Wildner (Nashville, Tennessee, 1925-2004) works. 1st item: Graphite drawing with watercolor titled "Congratulations" depicting a gnome kneeling before a bird with an egg. Titled and signed with monogram signature, lower left and right. Housed in a contemporary metallic frame. Sight - 9 1/4" H x 8" W. Framed - 10 1/2" H x 9 3/8" W. 2nd item: Oil on board depicting an upside-down golden mushroom against a dark background. Unsigned. Housed in a contemporary wooden frame. Sight - 2 1/2" H x 2" W. Framed - 7 3/4" H x 5 5/8" W. Mid 20th century. Biography (courtesy Askart: The Artists' Bluebook): Wildner was born in Germany but moved to Detroit with his family as a child and then, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Meinzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Whimsical animals and fantastical, often grotesque creatures were a recurring theme of his work. Wildner met with critical and commercial success after a 1962 exhibit of his art at the Nashville site now known as Cheekwood. However, the death of his parents and collapse of his marriage in the 1970s led him to become reclusive in the last two decades of his life. Provenance: Collection of Charles and Ann Wells, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Both items: Overall excellent condition. Not examined out of frame.
- WERNER WILDNER STILL LIFE PAINTINGWerner
WERNER WILDNER STILL LIFE PAINTINGWerner Wildner (Tennessee, 1925-2004) tempera on panel still life with mushroom and bird's nest containing eggs and feathers. One egg sits outside the nest, broken. Signed "Wildner" lower right. Artist's address label and date 1988 en verso. New black frame with gilt highlights. 11 3/4" x 9 3/4" sight, 18 3/4" x 16 3/4" framed. Biography (courtesy Askart): Wildner was born in Germany but moved to Detroit with his family as a child and then, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Meinzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Wildner met with critical and commercial success after a 1962 exhibit of his art at the Nashville site now known as Cheekwood. However, the death of his parents and collapse of his marriage in the 1970s led him to become reclusive in the last two decades of his life. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Very good condition.
- 2 WERNER WILDNER SURREALIST DRAWINGSTwo
2 WERNER WILDNER SURREALIST DRAWINGSTwo (2) Werner Wildner (Nashville, Tennessee, 1925-2004) surrealist graphite and gouache on paper drawings, including one (1) depicting a gargoyle perched on a rooftop and one (1) depicting the profile of an alien head surmounted by a female bird laying an egg, an additional egg with a crack, lower right. Both signed with monogram "W." lower left. Both matted and housed under glass in wooden frames. Sights ranging in size from 10 1/2" H x 8" W to 11" H x 8 3/4" W. Frames ranging from 16 1/4" H x 13 1/4" W to 20 5/8" H x 16 3/4" W. Biography: Nashville painter Werner Wildner, known for his fantastical paintings and drawings of whimsical, sometimes grotesque creatures, was known to joke that he was "the reincarnation of Hieronymus Bosch." Wildner was born in Germany but emigrated to America with his family as a child and, as by his teenage years, was living in Nashville. He served in the Army in 1944 and studied art briefly at the Meinzinger Art School in Detroit. He practiced commercial art in Nashville for awhile, but by the mid-1950s had decided to pursue his own art career. A 1962 exhibit of his art at the Nashville art institution now known as Cheekwood led to greater renown as well as critical and commercial success. However, the death of his parents and collapse of his marriage in the 1970's led him to become reclusive in the last two decades of his life.
Condition:
Both items in overall good condition. Gargoyle drawing with slight waviness to paper, scattered foxing spots, horizontal line of damp staining to lower edge of sheet (does not affect image). Not examined outside of frames. Frames with minor abrasions.
- WERNER WILDNER OIL PAINTING, TROMPE
WERNER WILDNER OIL PAINTING, TROMPE L'OEIL STILL LIFE W...Werner Wildner (Nashville, Tennessee, 1925-2004) oil on panel trompe l'oeil still life painting depicting an egg-filled nest surrounded by feathers beside two mushrooms, all on a wooden table against a black background. Signed with a monogram "W" lower right. Housed and double-matted in a custom chrome frame. Sight: 4 1/2" H x 6 1/4" W. Framed: 17 3/4" H x 19 1/2" W. Biography: Werner Wildner was born in Germany but moved to Detroit with his family as a child and then, as a teenager, to Nashville. He served in the Army in 1944 and went on to study art briefly at the Meinzinger Art School in Detroit. He returned to Nashville to practice commercial art, but by the mid-1950s had decided to pursue his own art career. Whimsical animals and fantastical, often grotesque creatures were a recurring theme of his work. Wildner met with critical and commercial success after a 1962 exhibit of his art at the Nashville site now known as Cheekwood. However, the death of his parents and the collapse of his marriage in the 1970s led him to become reclusive in the last two decades of his life.
Condition:
Overall very good condition. Not examined outside of frame.
- TWO RETURN OF THE JEDI PROMOTIONAL ITEMS.Two
TWO RETURN OF THE JEDI PROMOTIONAL ITEMS.Two Return of the Jedi Promotional Items. Lucasfilm, 1983. Including a Darth Vader figural bank (Adam Joseph Industries), and a portfolio of twenty prints of production paintings from the film by Ralph McQuarrie (Ballantine). Bank packaging collapsed at top and torn elsewhere.
- WOOD CARVED COLLAPSIBLE LANDSCAPE SCULPTUREVery
WOOD CARVED COLLAPSIBLE LANDSCAPE SCULPTUREVery interesting and unique wooden sculpture of a mountainside village; in collapsed form, the sculpture appears to merely be a rough piece of wood but when the inner blocks are pushed up, the sculpture is transformed into an architectural and landscape depiction; labeled to bottom "C" and "Weide"; measures approximately 5" tall, 9-7/8" wide, and 3-3/8" deep; in Good condition.
- VERSA TABLE PROTOTYPE.Versa Table prototype.
VERSA TABLE PROTOTYPE.Versa Table prototype. Oakland: Jeff Busby Magic, Inc., ca. 1993. Finely made portable table crafted of quarter-sawn oak with expandable baize-covered tabletop and hidden servante. Working surface expands or collapses to accommodate various performing circumstances. Legs unscrew and are transported in internal compartment. 30" high. With substantial foam-lined road case. The first model of this table manufactured by Busby and slightly heavier than those he offered for sale.
- AN RCA POLYDIRECTIONAL TYPE 77-D MI-4045-E
AN RCA POLYDIRECTIONAL TYPE 77-D MI-4045-E BROADCAST MI...AN RCA POLYDIRECTIONAL TYPE 77-D MI-4045-E BROADCAST MICROPHONE, 1945-1955, a high-fidelity microphone of the ribbon type on Art Deco stand. Height: 12 1/2" Diameter: 7" Provenance: A Private Photography Collection, Houston, Texas.
Condition:
Some collapse of interior mesh, scratches, surface wear, patina spots and age spots on chromed areas, losses of original paint and enamels, darkening of red enamel in logo, surface scratches, dents, dings and apparent wear from use, wear commensurate with age and use; overall in good condition. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
- A BELLE ÉPOQUE "FROLICKING PUTTI" PATINATED
A BELLE ÉPOQUE "FROLICKING PUTTI" PATINATED METAL LIDDE...A BELLE ÉPOQUE "FROLICKING PUTTI" PATINATED METAL LIDDED URN, FRENCH, LATE 19TH CENTURY, nicely cast throughout and with a domed lid modeled as a sparsely robed and inebriated putto clutching his cup as he collapses on a wine-filled bladder, over a cavetto border of undulating grape leaf and cluster entwined with blossoming vines, fitting on a leaf tip-and-berry rim above a cylindrical neck centering a frieze of mischievous putti amusing themselves with floral garlands and grape clusters in relief, over a tapering lobed body flanked by twisted gnarly vine handles alternating Bacchanalian bearded satyr masks, wearing fruiting diadems above wicked expressions and suspending flowering festoons, ending before a bloom and foliage detailed ring knob and raised on a vasiform stem, encircled by plump putti figures of a boy and girl playing hide-and-seek above a central harvested grapes filled basket, reversing to a classical musical trophy of cymbals, bagpipes, a five cane pipe instrument, and a thyrsus staff, within an acanthus leaf tip detailed border. Height: 19 3/4" Width: 10 1/2" Depth: 9 1/4"
Condition:
Expected light surface wear with rubbed patination on some edges, minor scratches, and buildup in crevices throughout, two broken/missing sections of vine garland, one of the two missing sections of vine garland is present for repair. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- HEINTZ STERLING ON BRONZE METALWARE
HEINTZ STERLING ON BRONZE METALWARE ITEMSGroup of three American Arts and Crafts bronze metalware items including a pair of Heintz Art Metal Shop bookends with original finish, marked with the Heintz Art Metal Shop mark, "Sterling on Bronze Pat.Aug.27.12.," and numbered "7166 D" along the base; and one four piece smoking set, marked with the Heintz Art Metal Shop mark, "Sterling on Bronze Pat.Aug.2.," and numbered "337H" along the base; and one humidor, monogrammed along the lid with a foliate decoration along the edge of the lid. (Humidor) Height: 5 in x diameter: 4 in. (Bookends) Height: 4 3/4 in x width: 3 in x depth: 4 in. (Smoking Set, Collapsed) Height: 4 in x diameter: 4 in.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
- 19TH C. CHINESE QING DYNASTY BRASS &
19TH C. CHINESE QING DYNASTY BRASS & BONE SCALE W/ CASE...East Asia, China, Qing Dynasty, ca. 1850s CE. A simple bovine bone and brass scale with the original wooden case. The scale is comprised of a bone balance bar with black stippling to indicate measurements, a brass balance weight, and a shallow brass pan. Both brass pieces are suspended from the bone beam with cords. The scale can collapse and fits inside of the paddle shaped case, which is hand carved from wood and swings open on a rivet. Westerners may think of this as an "opium scale" but these scales were used for weighing many different precious items, such as gold or medicinal herbs. Size of case: 14.5" L x 3.5" W (36.8 cm x 8.9 cm); bone beam: 10.5" L (26.7 cm); pan: 3" Diameter (7.6 cm)
Provenance: private Glorieta, New Mexico, USA collection, acquired before 2009
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.
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#161816
Condition:
Fraying and tearing to cords. Natural ossification of the bone on one tip. Scuffs, chips, abrasions to wooden case, and missing part of metal latch. Mineral deposits and patina on brass areas.
- GROUP OF THREE FLY RODS, VON LENGERKEbamboo
GROUP OF THREE FLY RODS, VON LENGERKEbamboo body with cork grip, one marked "VON LENGERKE/&/DETMOLD/N.Y.", other two not marked or marks effaced from wear, when collapsed 38 in. length; two with bundle cloths
Provenance: Private Collection
Condition:
good overall, cork grips with some rubbing, eyelets rusted or broken, tip top section of one rod broken but present; bundle cloth with distress and tears
- EASTER ISLAND FIGURE, MOAI KAVAKAVA
EASTER
EASTER ISLAND FIGURE, MOAI KAVAKAVA
EASTER ISLAND carved wood and obsidian, with a forward tilted torso and head turned to the side, the body flanked by the two slender arms, the figure is typically emaciated, accentuated by the prominent ribcage and protruding vertebrae carved along the backbone, perforated at the back of the neck, the long elongated face with inset obsidian eyes, broad nose and grimacing mouth with bared teeth, the ears shown with plugs in the traditional manner, raised on a bespoke wooden mount37.5cm tallAuction Atrium, 10th November 2010, acquired for £21,612Note:The skeletal, wooden figures (known as moai kavakava) produced by the Rapa Nui of Easter Island are amongst the most iconic representations of the human form in all of world art. Their name derives from the famous stone monoliths that dot the island (moai) and the prominent ribcage (kavakava). This emaciated character, whereby not only the ribcage; but the spine, hips and cheekbones are prominently exposed, led to considerable debate as to the meaning behind these enigmatic carvings. It was once thought that they represented starving ancestors, making reference to the islands well known history of ecological and societal collapse in the 18th – 19th century. It is now thought more likely that they represent the bodies of deceased ancestors, manipulated in secondary burial rites.With its perforation to the back of the neck, the present piece was intended to be worn as a large pendant. Accounts from western visitors to Easter Island from the middle of the 19th century onwards record moai kavakava being worn during important ceremonies and dances by both men and women. Indeed, some accounts witnessed as many as twenty figures worn around the body of one individual at a time. When not in use, the figures were kept wrapped in cloth within the home, possibly as protective talismans.Into the 20th century, the dreamlike characteristics of Oceanic art generally, and rapa sculpture specifically, greatly influenced the Surrealist movement of the early 1920s. The German Expressionist Max Ernst was greatly inspired by the moai kavakava, with the heads of the moai featured in the Thursday section of Max Ernst’s collage novel Une Semaine de Bonte. Whilst Andre Breton began collecting Easter Island moai kavakava from the age of fifteen and had amassed a major collection by the time of his death.