- DAVE DALTON, "RANCHO SAN MIGUEL, 1991",
DAVE DALTON, "RANCHO SAN MIGUEL, 1991", OIL ON CANVASDave Dalton, "Rancho San Miguel, 1991", oil on canvas, signed lower right. Signed, titled and dated on reverse. 24" x 36"; Frame: 32 1/2" x 44 1/2". Very good condition.
- 5 BOTANICAL PRINTS & ENGRAVINGS SMITH
5 BOTANICAL PRINTS & ENGRAVINGS SMITH & REDOUTE5 botanicals. 2 prints after PJ Redoute and Abbe Auguste Barthelemy Langlois, Rosa Eglanteria and Rosa Redutea glauca, each 14" x 10" (with frames 20 5/8" x 16 3/8"); 3 engravings Edwin Dalton Smith, published by Ridgway 1828-1829, plates 68, 40 and 24, each plate 7 3/4" x 4 3/4" (with frames 15 5/8" x 12 3/8").
- AGNES MARTIN (AMERICAN, 1912–2004).
AGNES MARTIN (AMERICAN, 1912–2004). "Praise" from the Rubber Stamp Portfolio (1976). Color rubber stamp on Dalton Natural Bond paper. Stamped signature and title lower right. Pencil number 224 at lower right corner, from an edition of 1000. Published by Parasol Press, New York. With accompanying justification envelope. From a private collection. Dimensions: Image: 8" x 8". Sheet: 11" x 11" (full margins). Condition: Good. Unframed. In the original envelope. (Envelope with light discoloration).
- ALICE DALTON BROWN (AMERICAN, B. 1939).
ALICE DALTON BROWN (AMERICAN, B. 1939). "Four Evening Columns #1", 1986. Oil on canvas. Signed and dated lower right. Signed, titled, and dated to verso. With Springfield Art Museum, Springfield Missouri, "Alice Dalton Brown: Interior Spaces - Exterior Light", 1999 exhibition sticker on verso. From a Palisades, NY estate. Dimensions: 36" h x 24" w. Condition: Good. Light craquelure to top and lower left corners.
- Cork black duck decoy with wood head,
Cork black duck decoy with wood head, attributed to Chuck Kirby S. Burlington VT, 17”L. Painted wood decoy, signed on bottom, John Dalton 2008, 18”L. Condition: cork with detatchable head, wear CT Transfer Fee $20
- A 19th C. oil on canvas, profile portrait
A 19th C. oil on canvas, profile portrait of a horse, signed lower right T. Beaumont (Thomas Dalton Beaumont (Born 1869) was active/lived in California.) Canvas 18” x 22.25” Overall 23.75” x 27.75” Condition: two patches upper right, craquelure CT Transfer Fee $20
- BOTANICAL PRINTS (lot of 4) After Edwin
BOTANICAL PRINTS (lot of 4) After Edwin Dalton Smith (British, 1800-1883), "Zephyranthes Carinata," "Rhododendron Pulchrum," and "Erythronium Dens Canis," copper engravings with hand coloring, from Robert Sweet's "The British Flower Garden," and After Sydenham Teak Edwards (British, 18th/19th century), "Rhododendron Ponticum," copper engraving with hand coloring, from William Curtis' "Botanical Magazine, 1802," largest overall (with frame): 16"h x 12.5"w
- ARTS & CRAFTS STYLE TOOLED LEATHER PURSE
ARTS & CRAFTS STYLE TOOLED LEATHER PURSE USED FOR AMMUNITION Arts & Crafts style tooled leather purse used for ammunition, marked "The Daltons" 10"h x 10"w
- BASEBALL THEMED BOOK, GLORY OF THEIR
BASEBALL THEMED BOOK, GLORY OF THEIR TIMESBaseball themed book titled "The Glory of Their Times: The Story Of The Early Days Of Baseball Told By The Men Who Played It", compiled and edited by Lawrence Ritter. Book recalls the personal stories of baseball players from the early 20th century. Front and back of book with numerous player autographs (Late 1950's & Early 1960's) from the Pittsburgh Pirates and Detroit Tigers including: Dock Ellis, Bob Oliver, Andre Rodgers, Bill Knock, Woodie Fryman, Alex Grammis, Jim Price, Harry Walker, Bill Mazeraski, Bob Robertson, Joe Schultz, Jesse Gandler, Roberto Clemente, Dick Schofield, Bill Landis, Dalton Jones, Sal Maglie, Reggie Smith, Curt Flood, Joe Foy, Lee Stange, Jose Tartabull, Darrell Brandon, Al Lehner, George Scott, Dave Ricketts, Roger Maris, Steve Blass, Vernon Law, Manny Mota, and Larry Shepard. Several ink inscriptions list Japanese baseball players (Part of the Tokyo Yomirui Giants team). Also included with this lot is a Tokyo Yomiuri Giants 1971 Coca Cola Spring Training roster, and numerous baseball related newspaper clippings from the late 1960's and early 1970's.
Condition:
Book retains original dustcover and is in very good condition.
- 2 THEODORE ROOSEVELT SIGNED APPOINTMENT
2 THEODORE ROOSEVELT SIGNED APPOINTMENT DOCUMENTSTwo Theodore Roosevelt signed appointments related to Fred Dennett, 32nd Commissioner of the General Land Office, 1908-1913. 1st item: Presidential appointment document signed by both Theodore Roosevelt and Secretary of the Interior James Rudolph Garfield in black ink, dated March 18th, 1907, conferring the position of Assistant Commissioner of the General Land Office to Fred Dennett of Milton, North Dakota, "By transfer from Special Agent of the General Land Office @ $1800". Crane & Co Dalton Mass 1901 Parchment Deed No. 44 watermark, across top, center, and bottom of sheet. 17 1/8" H x 22" W. 2nd item: Presidential appointment document signed by both Theodore Roosevelt and Secretary of the Interior James Rudolph Garfield in black ink, dated December 12th, 1907, conferring the position of Assistant Commissioner of the General Land Office to Fred Dennett of Milton, North Dakota, "...to have and to hold the said Office with all rights and emoluments thereunto legally appertaining unto him, the said Fred Dennett during the pleasure of the President of the United States of America for the time being". Crane & Co Dalton Mass 1905 Parchment Deed No. 44 watermark, across top, center, and bottom of sheet. 17 1/8" H x 22" W. Both items early 20th century. Note: see other lots related to Fred Dennett in this auction. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
1st item: Black scuffs, largest 3 1/2", edges of surface of sheet. Bends, edges of sheet. Black scuffs, largest 4", en verso. Light brown stains, largest 3/4", en verso. 2nd item: Black scuffs, largest 1/4", edges of surface of sheet. Bends, edges of sheet. Black scuffs, largest 6", en verso.
- THEO. ROOSEVELT SIGNED DOCUMENT, PRINTS
THEO. ROOSEVELT SIGNED DOCUMENT, PRINTS - 3 PCS1st item: Presidential appointment document signed by both Theodore Roosevelt and Secretary of the Interior James Rudolph Garfield in black ink, dated January 14th, 1908, conferring the position of Commissioner of the General Land Office to Fred Dennett of Milton, North Dakota, "...to have and to hold the said Office with all rights and emoluments thereunto legally appertaining unto him, the said Fred Dennett during the pleasure of the President of the United States of America for the time being". Crane & Co Dalton Mass 1905 Parchment Deed No. 44 watermark, across top, center, and bottom of sheet. 17 1/4" H x 22" W. 2nd item: Letter with Theodore Roosevelt signature (probably secretarial or by his son), reading "My dear Mr. Dennett: That's mighty nice of you. I thank you and deeply appreciate your courtesy. Faithfully yours, Theodore Roosevelt", framed with an etched, bust length portrait of Roosevelt by Stuart Morris (American, late 19th/early 20th century) after a photograph by [Ian Pirie] MacDonald (American, 1867-1942). Arlington Hotel label en verso reading "Autographed and presented to Hon Fred Dennett, Commissioner of the United States General Land Office, under President Roosevelt, later Hon Fred Dennett was Commissioner of the U.S. Land Office under President Wm. Howard Taft". Housed in a contemporary wooden frame. Sight - 8 1/2" H x 7 3/8" W. Framed - 9 5/8" H x 8 1/2 W. 4th item: Stuart Morris etching titled "Into a Far Country" depicting Theodore Roosevelt on a horse with his hat in his right hand. Titled, top left above image, signed, in the stone, lower right, dated 1919 and copyrighted with notation "Theodore Roosevelt 1858-1919", in the image, lower right. Label en verso reading "Presented to Hon Fred Dennett while Commissioner of the U.S. Land Office by President Roosevelt, while he was President" . All items early 20th century. By descent from Fred Dennett, 32nd Commissioner of the General Land Office, 1908-1913. See other related lots in this auction. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
1st item: Creases, edges of sheet. Scuff marks, largest 1", en verso. 2nd item: Foxing, largest spot 1", scattered on surface of sheet. Not examined out of frame. 3rd item: Overall good condition. Not examined out of frame.
- LOT OF OVER 50 BOOKS AND PERIODICALS
LOT OF OVER 50 BOOKS AND PERIODICALS ON BLACKJACK STRAT...Lot of Over 50 Books and Periodicals on Blackjack Strategy. 1970s – 1990s. Including Blackjack Essays by Mason Malmuth, Shuffle Tracking For Dummies (spiral binding detaching) by “George C.”, two editions of Playing Blackjack As A Business (hardcover, alongside uncommon spiral-bound copy) by Lawrence Revere, Blackjack by Richard Albert Canfield, Turning the Tables on Las Vegas by Ian Andersen, The Archer Method of Winning at 21 (spine breaking from hardcover) by John Archer, 21 issues of Michael Dalton’s Blackjack Review (out of 23 published) and 12 issues Blackjack Confidential, among others. Sizes and bindings vary. Condition: generally very good, except where noted.
- RUFINO TAMAYO MIXED MEDIA ON CANVAS
RUFINO TAMAYO MIXED MEDIA ON CANVAS BOARDRufino Tamayo (New York/Mexico, 1899 - 1991) colorful mixed media abstract portrait on canvas board, signed to upper right "Tamayo 0-81". Unframed, measures 20" in height with width of 16". In overall good condition. Provenance: from the estate of a prominent Texas collector.
Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man withFlower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
- RUFINO TAMAYO "ESTUDIO" GRAPHITE ON
RUFINO TAMAYO "ESTUDIO" GRAPHITE ON PAPERRufino Tamayo (New York/Mexico, 1899 -1991) unframed portrait portrayal of two ladies, signed to lower right "R. Tamayo" & measuring 20" in height with width of 16". Comes complete with Certificate of Authenticity (see photographs), & is in overall good condition. All measurements are approximate. Provenance: from the estate of a prominent Texas collector.
Rufino Tamayo was a Mexican painter of Zapotec heritage, born in Oaxaca de Juarez, Mexico. Following the death of his parents, he moved to Mexico City to live with his aunt, where he later (1917) enrolled in the Escuela Nacional de Artes Plasticas at San Carlos to study art. As a student, he experimented with & was influenced by Cubism, Impressionism, & Fauvism, but with a distinctly Mexican feel. He was later appointed the head designer of the department of ethnographic drawings at the National Museum of Archaeology in Mexico City. There he was surrounded by pre-Colombian objects, an aesthetic inspiration that would play a pivotal role in his life. In his own work, Tamayo integrated the forms and tones of pre-Columbian ceramics into his early still lives and portraits of Mexican men and women. In the early 1920s he also taught art classes in Mexico City's public schools. Despite his involvement in Mexican history, he did not subscribe to the idea of art as nationalistic propaganda. Modern Mexican art at that time was dominated by 'The Three Great Ones' : Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueros, but Tamayo began to be noted as someone 'new' and different' for his blending of the aesthetics of post Revolutionary Mexico with the vanguard artists of Europe and the United States. After the Mexican Revolution, he focused on creating his own identity in his work, expressing what he thought was the traditional Mexico, and refusing to follow the political trends of his contemporary artists. This caused some to see him as a 'traitor' to the political cause, and he felt it difficult to freely express himself in his art. As a result, he decided to leave Mexico in 1926 and move to New York, along with his friend, the composer Carlos Chavez. The first exhibition of Tamayo's work in the United States was held at the Weyhe Gallery, New York, in that same year. The show was successful, and Tamayo was praised for his 'authentic' status as a Mexican of 'indigenous heritage', and for his internationally appealing Modernist aesthetic. (Santa Barbara Museum of Art). Throughout the late thirties and early forties New York's Valentine Gallery gave him shows. For nine years, beginning in 1938, he taught at the Dalton School in New York. In 1929, some health problems led him to return to Mexico for treatment. While there he took a series of teaching jobs. During this period he became romantically involved with the artist Maria Izquierdo, with whom he lived and worked for several years. In 1933 he completed his first successful mural commission, a series of wall paintings for the Escuela Nacional de Musica (National School of Music). While working on this project, he met Olga Flores Rivas, a piano student at the school. Soon he separated from Izquierdo, and began a romance with Olga. The two were married in 1934. Although Olga was talented and had a budding performance career, she abandoned her musical pursuits to devote herself to promoting Tamayo's work. She was a lifelong muse to the artist, and over his seventy year career, he drew and painted many portraits of her. They moved to New York in 1937, and he began to exhibit his work internationally. From 1937 to 1949, Tamayo and Olga lived there, and he became widely recognized for his signature form of abstract figuration. Some of his most valuable works were created during that time. In 1943 Tamayo painted his first mural in the United States at the Hillyer Art Library at Smith College. Vogue magazine's 1946 issue referred to him as 'the best of young painters'. Look magazine also named him 'a fixed star in the New York art world'. (Santa Barbara Museum of Art) He was an elegant and media-savvy man, often photographed in his Upper East Side studio, with its wall of windows facing out onto Manhattan's fashionable townhouses. The 1940s were however not without problems for the couple. Olga suffered from health problems, leading to several miscarriages, and the marriage was strained. Tamayo dedicated his work to her by adding an extra 'O' to his signature. His fame was growing in Mexico. In 1948 his first major retrospective was held at the Palacio de Bellas Artes in Mexico City, and while he was still controversial, his popularity was high. He enjoyed broad commercial and critical success, but remained uncomfortable with the political differences and controversy, and so Tamayo and Olga moved to Paris in 1949. There he was welcomed by the artists and intellectuals of Europe. The French government named him Chevalier and Officier de la Légion d'Honneur in 1956 and 1969, respectively, and he was the recipient of numerous other honors and awards. Tamayo was among the first Mexican artists to be included in the Venice Biennale. He remained in Paris for 10 years, after which the couple returned permanently to Mexico. His work was exhibited internationally in group and solo shows. Important Tamayo retrospectives took place at the São Paulo Bienal in 1977 and the Solomon R. Guggenheim Museum, New York, in 1979. From 1933 to 1980, Tamayo painted 21 murals for an array of universities, libraries, museums, civic and corporate clients, hotels and an ocean liner. He was also an influential printmaker, and, in the latter part of his life embarked on the creation of sculpture. Tamayo eschewed the highly politicized themes explored within the works of his peers, and favored lyrical imagery and incorporated elements of Cubism, Surrealism and Expressionism. Mexican folklore and his Indian origins provided a constant source of inspiration for him. Through his 70s and 80s he continued to be a prolific artist, teacher, and collector. Critics have extolled his bold and saturated use of color as his most significant contribution to Modern art. He was elected an honorary member of the American Academy and National Institute of Arts and Letters in 1961. Rufino and Olga Tamayo donated the Museum of Pre-Hispanic Mexican Art to their native State of Oaxaca in 1974. Their personal holdings of more than 1,000 pieces of ceramics and sculpture formed the cornerstone of the collection. The Rufino Tamayo Museum of International Contemporary Art opened in Mexico in 1981, and it displays many of the artist's works, as well as paintings, sculpture and drawings from his private collection. At the time, it was the first major museum not run by the Government. An interesting sidelight regarding Tamayo's work has to do with a theft. Tamayo's 1970 painting 'Tres Personajes' was bought by a Texan as a gift for his wife in 1977, then stolen from their storage locker during a move in 1987. In 2003, a woman, Elizabeth Gibson, found the painting in the trash on a New York City curb. She knew little about modern art, but felt the painting "had power" and took it without knowing its origin or market value. She spent four years trying to learn about the work, eventually learning it had been featured on an episode of Antiques Roadshow. Ultimately, Gibson and the former owner arranged to sell the painting at a Sotheby's auction. In November, 2007 Gibson received a $15,000 reward plus a portion of the $1,049,000 auction sales price. Tamayo painted his last painting in 1989, at the age of 90, 'Hombre Con Flor' (Man with Flower), a self-portrait. Rufino Tamayo died in 1991 at the age of 92 in Mexico City. Olga passed away two and a half years later.
- ALICE DALTON BROWN (AMERICAN B. 1939)
ALICE DALTON BROWN (AMERICAN B. 1939) A PAINTING, "WAVE...ALICE DALTON BROWN (American b. 1939) A PAINTING, "Waves," 2007, oil on canvas, signed L/R, "ADB 07," verso a paper label, "Fischbach Gallery, New York." 22" x 28" Provenance: Property from a Private Art Collection, Houston, Texas
Condition:
In very good condition, wear commensurate with age. 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.
- ALICE DALTON BROWN (AMERICAN B. 1939)
ALICE DALTON BROWN (AMERICAN B. 1939) A PAINTING, "WEST...ALICE DALTON BROWN (American b. 1939) A PAINTING, "Westfield Painting," 1980, oil on canvas, signed L/R, "Alice Dalton Brown," verso titled and a gallery label on stretcher; 53 1/2" x 137 1/2", framed 56 1/4" x 140". Note: Width: 11' 8" Provenance: A.M. Sachs Gallery, New York, New York
Condition:
No visible damage or sign of 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.”
- ALICE DALTON BROWN (AMERICAN B. 1939)
ALICE DALTON BROWN (AMERICAN B. 1939) A PAINTING, "CHAN...ALICE DALTON BROWN (American b. 1939) A PAINTING, "Chandelier in Window," 1984, oil on canvas, signed and dated L/R, "Alice Dalton Brown © '84," 50" x 72", framed, 51 1/4" x 73 3/4".
Condition:
Some abrasive surface scratches intermittently throughout, a pencil/graphite mark in the foreground and some stains, 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."
- PAMELA DALTON PAPER CUTOUT "TEA PARTY"Pamela
PAMELA DALTON PAPER CUTOUT "TEA PARTY"Pamela Dalton Paper Cutout "Tea Party" , signed
Approximately 5 in. x 12 in.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
- THREE CONTEMPORARY POTTERY JARS20th/21st
THREE CONTEMPORARY POTTERY JARS20th/21st century, comprising: large ovoid jar with underglaze gray, white, green and brown, with abstract design featuring gestural lines and imprints, two knob handles near top, lid in matching design with loop handle, base signed "Dalton", 10-3/8 in.; urn shaped jar with underglaze yellow, beige, white, brown and blue, abstract floral design with imprints and raised effects, two loop handles near top, lid in matching design, four legged base signed illegibly, 8-3/8 in.; large jar with underglaze blue, red, brown and white, abstract drip design, two knob handles near top, large lid with pull handle, underside of lid features swirl design, base signed illegibly, 9-1/2 in.
Provenance: Private North Carolina Collection
Condition:
anomalies as made, wear to rims and bases
- FIORENZO TOMEA(Italian, 1910-1960)
Neve
FIORENZO TOMEA(Italian, 1910-1960)
Neve (Snow), signed lower right "Tomea", signed and titled verso, oil on Masonite, 7-7/8 x 11-7/8 in.; gilt wood frame, 12-1/4 x 16-1/8 in.
Note:
Exhibited: Weatherspoon Gallery, University of North Carolina, Greensboro, Dalton Collection , September 13- October 10, 1965 (labels verso)
Provenance: Mary and Harry L. Dalton, Charlotte, North Carolina (label verso); Private Collection, North Carolina
Condition:
surface dirt, some accretion (yellowed varnish?) at edges, slight warp to board; frame with abrasions
- ORNATE 8TH C. JAVANESE GOLD LEAF MASK
ORNATE 8TH C. JAVANESE GOLD LEAF MASK OF KALASoutheast Asia, Indonesia, East Java, Classic Period, ca. 8th to 11th century CE. Stunningly detailed and brimming with sophistication, an ornate funerary mask made from 60.83% to 67.04% gold leaf (equivalent to 14K+ to 15K+) containing between 30.42% and 37.43% silver content as well. The ovoid vizard depicts the characteristic face of Kala, the Javanese god of death and the underworld, who peers outwards with enormous, bulging eyes beneath deeply furrowed and flame-licked brows. His bared teeth, wavy lip, rounded and cupped ears imbue the countenance with an intimidating presentation, and the luster of the gold leaf provides a wondrous opulence. The use of masks like this example started around the 6th century CE and were perhaps status symbols for the dead in the afterlife so they could differentiate themselves from amongst the throngs of deceased commoners. Size: 6.125" W x 6.8" H (15.6 cm x 17.3 cm); 8.6" H (21.8 cm) on included custom stand; gold quality: 60.83% to 67.04% (equivalent to 14K+ to 15K+); silver quality: 30.42% to 37.43%; weight: 70.8 grams
Cf. earlier examples in the Yale University Art Gallery, accession number 2008.21.90 and The Museum of Fine Arts, Houston, object number 2004.2231; a 14th century example can be seen at The Metropolitan Museum of Art, accession number 1995.569.2
Provenance: private Hawaii, USA collection, purchased in June 2008; ex-Dalton-Somare African and Asian Art, Milan, Italy
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#170948
Condition:
Stabilization to both orbitals, nose, right cheek, teeth on right side, and upper forehead with thick putty visible along verso. Losses to several areas around peripheries, teeth, nose, and left side of face as shown. Over 2 dozen petite perforations around composition, with minor bending to some interior and peripheral areas, several stable fissures and tears to gold leaf, softening and abrasions to finer details, smooth encrustations within many recessed areas, and several petite indentations.
- Y RARE AND IMPORTANT FRENCH GOTHIC IVORY
Y RARE AND IMPORTANT FRENCH GOTHIC IVORY COMPOSITE CASKET
CIRCA 1330 the panels intricately carved in bas-relief to include scenes from the Medieval tales Queste del Saint Graal and Tristan & Isolde, with later brass brackets, straps and handle25cm wide, 11cm high, 13cm deepProvenance: Property from Tornaveen House, AberdeenshireCurrently only eight other complete secular ivory coffrets like the present one are known. These so-called composite caskets are mostly in important museum collections around the world.[1] With all panels intricately carved in bas-relief, the high quality of the workmanship is immediately visible, while a closer look reveals the richness of the motifs. It gives us a beautiful insight into the medieval fascination with the concept of courtly love.The present example likely originated in a workshop in Paris around 1330, due to the similarities with the existing ones. The exact meaning behind the iconological programs of these caskets has long been a subject for discussion between scholars.One thing the panels on all these caskets have in common is the link to medieval courtly literature, tales of love usually between knights and noble ladies emphasising nobility and chivalry, popular in Europe since around the time of the First Crusade in 1099. On this coffret, the two main tales the panels relate to are most likely Tristan and Isolde, and the Queste del saint grail.[2]The two panels on the right side probably refer to the famous medieval romance, Tristan and Isolde. This tale, based on a Celtic legend, centres around the young knight Tristan, who travels to Ireland to ask for the hand of princess Isolde on behalf of his uncle King Mark of Cornwall. After slaying a dragon there, the princess agrees to marry King Mark. On the journey back Tristan and Isolde drink the love potion prepared by the queen for her daughter and King Mark and fall for each other. The main part of the romance is focussed on King Mark trying to prove their secret love affair and punishing them.Although this legend has been retold many times, one of the most popular ones is the version by Béroul, a Norman or Breton poet of the 12th century. According to his account, King Mark asks King Arthur to try his wife Isolde at court for her unfaithfulness. To have Isolde exonerated from the charges, she and Tristan concoct a clever ruse. Tristan disguises himself convincingly as a poor leper, begging for alms on the banks of the river Malpas. When the royal party arrives, he carries her across the river, so Isolde can truthfully swear in front of the court that “no man ever came between my thighs except the leper who carried me on his back across the ford and my husband, King Mark”. This oath was seemingly so convincing, that everyone hearing it applauded it, and King Arthur made Mark promise to never slander her again.The front left panel shows Tristan carrying Isolde across the river, her headdress clearly indicating she is a married woman. After Isolde is safe, Tristan dresses up as the Black Knight and joins the jousting, a scene represented on the left end panel of the casket.The carvings on the front right and right end panel allude to another preeminent story, the Queste del saint grail, the story of the fabled Holy Grail, part of the Arthurian Legend. It begins at King Arthur’s court with a gathering of the well-known Knights of the Round Table. Just before dinner a sword in a stone appears miraculously floating in the river below the castle. Lancelot’s claims that whoever tries to remove the weapon will be gravely wounded does not deter his companions eager for adventure. Only the recently arrived Galahad can withdraw the sword, which he uses to achieve the quest for the grail.The carving next to the lock on the right of a man presenting his arm with severed hand to a king and queen probably relates to this, he having failed to retrieve the sword and receiving this grisly injury in trying so. The sword over the altar on the right end panel possibly refers to the divine and miraculous nature of the weapon Galahad obtained. The scene on the right end could either show the appearance of the grail just after Arthur, Galahad, and the knights of the Round Table sit down to eat, or when Galahad and his companions finally encounter the grail at the end of the story, or a conflation of the two. That the figure in the middle of the right end panel lacks a crown suggests that he is Galahad and not Arthur. The lions shown on the lid support this identification, as the grail castle was guarded by lions and surrounded by water.The wild men presented in intricate detail fighting to conquer a castle on the lid, and again defeated and in chains on the back panel, are a very popular motif in medieval imagery, ubiquitously represented in art of the highest quality from the early 14th century and continuing well into the sixteenth century[3]. Wild men represented the opposite of accepted standards of society, subliminally implying chaos, insanity and ungodliness. Especially in the 14th century the wild men seem to take on an erotic role, seen storming the Castle of Love in several artworks, one of the most common allegorical scenes in which the winning of a lady’s heart is depicted as the siege of a castle[4]. The carving on this coffret actually is reminiscent of the so-called Academy Casket (see image 1), now lost.[5]Unusual on this panel is the wild man wearing a crown. There are some wild men wearing crowns in 15th century German tapestries (image 2), but we don’t have an explanation why the carver added one in this case.The overall iconography of this casket seems to confirm the general notion that they were made as courting or wedding gifts for noble ladies, personalised to the commissioner’s preferences, as all the panels include notions of love and chivalry, to perhaps represent wishes for the future relationship especially important to the suitor. These very personal meanings have been lost to time, yet make this coffret extraordinarily intriguing.Another element making this casket so significant is the impeccable provenance. We can trace it all the way back to the beginning of the 17th century, as it is mentioned in the family genealogy of the Baird family of Auchmedden[6] in relation to Thomas Baird[7]. According to this text, he became a friar of a monastery in Besançon, Burgundy, in 1615. Letters from his uncle Andrew, who was staying close by in France, to his father Gilbert mention him to be hard of learning and ‘incapable of any of the sciences’. His saving grace was said to being excellent at mechanics, having made ‘an oblong, small chest of ivory 10 inches long, 5 broad, and 4 high, delicately carved in bas-relief, with the chisel, upon the top and sides into figures of knight-errants, distrest [sic] damsels, and enchanted castles, taken from some of the old romances which were so much in vogue in that age’.None of the letters later on in the genealogy indicate as to why the author thinks the casket was made by Thomas Baird, and not just sent over to his family as a gift. We don’t know if it was Thomas himself trying to make up for his shortcomings as a scholar by telling his family he was the talented maker, or if this is down to family lore evolving over the centuries. The casket would have already been nearly 300 years old at the time of Thomas’ acquisition.A footnote in the genealogy places the casket in the editor W. N. Fraser’s possession in 1870, which gives us the firm link to the present-day vendors, who are descendants by marriage of the Baird family.[1] Metropolitan Museum of Art, New York, 17.190.173, 1988, 16; British Museum, London, Dalton 386; Victoria and Albert Museum, London, 146.1866; Walters Museum, Baltimore, 71.264; Barber Institute of Fine Arts, Birmingham; Bargello, Florence, 123 c.; Cathedral Treasury, Krakow; Winnipeg Art Gallery[2] Thanks to Paula Mae Carns for identifying the various iconography[3] Timothy Husband, Metropolitan Museum of Art, Gloria Gilmore-HouseMetropolitan Museum of Art, 1980, p. 4[4] Timothy Husband, Metropolitan Museum of Art, Gloria Gilmore-HouseMetropolitan Museum of Art, 1980, p. 73[5] The location of all panels from this dismantled casket is unknown, apart from the back panel which is now in the Metropolitan Museum of Art in New York (2003.131.2). This casket is known from an eighteenth- century engraving (see Lévesque de Ravalière).[6] Genealogical collections concerning the sir-name of Baird, and the families of Auchmedden, Newbyth, and Sauchton Hall in particular : with copies of old letters and papers worth preserving, and account of several transactions in this country during the last two centuries: Baird, William, 1700 or 1701-1777, edited by W. N. F. Fraser, London 1870, page 21[7] The exact dates for Thomas Baird are unknown, however he is known to be the third son of Gilbert Baird (1551-1620), and he resided in France from at least 1609.Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
- GEORGE W NICHOLSON BAY OF NAPLES OIL
GEORGE W NICHOLSON BAY OF NAPLES OIL ON WOOD PANELGeorge W Nicholson ( American, NJ 1832-1912). Bay of Naples oil on wood panel. Merchants on the street with the bay in the background. Signed in the lower left, signature partially obscured by frame. Gilt wood frame. Sight: 30 1/2" x 24". Frame: 43 3/4" x 37 1/2". Minor crazing throughout. Inscribed 'Bay of Naples For Mr Dalton" on verso in chalk.
- BEAUMONT, Thomas Dalton, (Canadian,
BEAUMONT, Thomas Dalton, (Canadian, b. 1869): 2 Hunting Dogs, (Setters) in a Landscape, Oil/Canvas, 24.25'' x 36.25'', carved and gilded period frame, 31.5'' x 43''.
CONDITION: Craquelure throughout, puncture upper left with patch verso, needs cleaning.
- BEAUMONT, Thomas Dalton, (Canadian,
BEAUMONT, Thomas Dalton, (Canadian, b. 1869): Title in CUS, Oil/Canvas, 24'' x 36'', signed lower right, period gilded and carved frame, 31.75'' x 43.5''.
CONDITION: Needs cleaning and re-stretching, several scattered flecks of loss.
- BEAUMONT, Thomas Dalton, (Canadian,
BEAUMONT, Thomas Dalton, (Canadian, b. 1869): 2 Hunting Dogs (Setters) in a Landscape, Oil/Canvas, 24.25'' x 36.25'', carved and gilded period frame, 31.5'' x 43''.
CONDITION: Craquelure throughout, puncture upper left with patch verso, needs cleaning.
- Edwin Dalton Smith (1800-1883)/George
Edwin Dalton Smith (1800-1883)/George Arthur Knightly Little (1823-1829)/His father The Rev George Ernest Housman Little (1797-1878)/both signed and dated 1853/oval, watercolour, 36cm x 29cm
- EIGHT ROBERT LINZELER SILVER PLATES,
EIGHT ROBERT LINZELER SILVER PLATES, CA. 1910Eight Robert Linzeler Silver Plates, ca. 1910, Paris; monogrammed; diameter: 11 3/8 in.; 169 ozt. Provenance: Crane Washburn families, Dalton, MA and NY Condition: (EWC-Elizabeth Crane Washburn) 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.
- TIFFANY & CO. SILVER FIVE PIECE COFFEE
TIFFANY & CO. SILVER FIVE PIECE COFFEE & TEA SERVICETiffany & Co. Silver Five Piece Coffee & Tea Service, New York; with a complementary silver plated tray, dated 1883; height of coffee pot: 9 in.; tray: 22 x 22 in.; 97 ozt. Provenance: Crane Family, Dalton, Massachusetts by descent. Condition: tray has a curved branch with flowering vines in the form of the monogram C for Crane, an engraved crane above the date, Jan 17th 1883 and the names Clara spelled in a trailing ribbon. 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.
- TIFFANY & CO. FIVE PIECE SILVER COFFEE
TIFFANY & CO. FIVE PIECE SILVER COFFEE AND TEA SERVICETiffany & Co. Five Piece Silver Coffee and Tea Service, New York; ca. 1907-1938; comprising: tea pot, coffee pot, waste bowl, creamer, and covered sugar bowl; height of coffee pot: 10 1/2 in.; 74 ozt. Provenance: Crane family, Dalton, MA. Condition: (EWC-Elizabeth Crane Washburn) 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.
- TIFFANY & CO. SILVER TWO HANDLED TRAYTiffany
TIFFANY & CO. SILVER TWO HANDLED TRAYTiffany & Co. Silver Two Handled Tray, New York; inscribed 1883 November 15th 1908; monogrammed; signed on bottom; lg. 28 1/2 in.; 123 ozt. Provenance: Crane Family, Dalton, Massachusetts; by descent. Condition: engraved with JAC CKC Kittredge (for James A. Crane and Clara Kittredge Crane), 25th Wedding Anniversary 1908; 125.4 ozt; monogrammed, 1/2 inch dent and several scratches to surface; 7 inch deep scratch on underside; 1/4 inch dent underside of one handle; scratches to underside of same handle. 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.
- TERRY DALTON, UNTITLED (ABSTRACT), 2002Terry
TERRY DALTON, UNTITLED (ABSTRACT), 2002Terry Dalton, (b. 1965) Untitled (Abstract), 2002, pastel on paper signed and dated lower right on matte: Tr Dan '02 inscribed verso: by / Terry Dalton / 2002 pastel on paper Dimensions: 6 7/8 x 10 in. (17.46 x 25.40 cm.), Frame: 14 x 16 7/8 x 2 in. (35.56 x 42.86 x 5.08 cm.) Provenance: The Collection of Joseph Hoffman and John Day. All proceeds from this sale of this artwork will benefit the Santa Fe Opera.
- 007 THE LIVING DAYLIGHTS 1987 ONE SHEET
007 THE LIVING DAYLIGHTS 1987 ONE SHEET POSTER Albert R. Broccoli presents Timothy Dalton as Ian Fleming's James Bond 007 The Living Daylights. #870004
- THE MONSTER THAT CHALLENGED THE WORLD
THE MONSTER THAT CHALLENGED THE WORLD 1957 POSTER A one sheet movie poster. Starring Tim Holt, Audrey Dalton, and Hans Conried. #57/387, #7790
- MAPPIN & WEBB TOP & YELLOW GLASS COCKTAIL
MAPPIN & WEBB TOP & YELLOW GLASS COCKTAIL SHAKER Mappin & Webb (English), first quarter 20th century. Czechoslovakian yellow glass cocktail shaker with silverplate top and Royal Dalton style stagecoach painted enameled scene. Top marked with maker's mark, PAT No 257821 and under glass
- Nine Advertising Tins and Boxes
includes
Nine Advertising Tins and Boxes
includes boxes for Hadacol Dietary Supplement, Dalton's Nerve Tonic and tins for Pure Gold Coffee, Planters Salted Peanuts, Ivins Biscuits, Edgemont Crackers, Buffalo Salted Peanuts, Hoyt's Carbolic Salve, and Carnrick's Soluable Food.
Height of largest 9 3/4 x diameter 8 1/2 inches.
Property from the Collection of Dr. James Dawson, Manchester, Kentucky