COPELAND PARIAN FIGURE GROUP AFTERCOPELAND PARIAN FIGURE GROUP AFTER F.M. MILLER 'EMILY AND THE WHITE DOE' Impressed Copeland Copyright Reserved and F.M. Miller; 19 x 13 1/2 x 9 3/4 in.
Two Rosenthal white porcelain figuralTwo Rosenthal white porcelain figural groups: nymph and child with doe 1) nymph - modeled as classical crouching female nude stamped green mark 6 in. H.; 2) girl with doe - modeled as girl holding flowers away from deer green stamp mark 6 1/2 in. H. Estimate $ 150-250 Nymph - has nicotine stains; girl with doe - has grease pencil numbers underneath.
SARAH EMERSON, "DRIFT" WOLVES &SARAH EMERSON, "DRIFT" WOLVES & CROWS O/C 2010 Sarah Emerson (American b. 1974), "Drift", 2010, acrylic on canvas, depicting a wolf in the snowy forest surrounded by crows after killing a deer, apparently unsigned, unframed. Provenance: From the Private Collection of Ruth West, Atlanta, Georgia. Approx. h. 30", w. 24.125" (canvas).
Two Eskimo dolls dressed in animalTwo Eskimo dolls dressed in animal fur jackets with hoods and leather mittens. 17"h.
EMMI WHITEHORSE "FIELD OF BIRDS"EMMI WHITEHORSE "FIELD OF BIRDS" M/M ON CANVAS Emmi Whitehorse (American / New Mexico b. 1956), "Field of Birds" 1992, mixed media on paper laid on canvas, depicting abstract Native American imagery of birds in a field, signed, dated, and titled en verso. Note Accompanied by LewAllen Gallery Santa Fe, New Mexico receipt from 1992, and two artist's pamphlets. Approx. canvas h. 51.25", w. 78", d.
CAPONIGRO, PAUL (b. 1932) RunningCAPONIGRO, PAUL (b. 1932) Running White Deer, Wicklow, Ireland.
Estimate:$2,500-$3,500
A doll's pram painted whiteA doll's pram painted white
GLASS EYED HEUBACH GIRL WonderfulGLASS EYED HEUBACH GIRL Wonderful spun cotton girl on skis holding a lamb crepe paper pants blue coat with white scarf white hat with blue trim worn over wonderful rosy face bisque head with glass eyes. 5 1/2'' h. (Exc. Cond.)
A White Mink Coat.A White Mink Coat.
EMILY MARSHALL (US, 20TH C.) "WhiteEMILY MARSHALL (US, 20TH C.) "White Pines, 1960", oil on canvasboard, signed lower right, titled and dated verso, an abstract monochromatic depiction of a forest, in a pine cove form frame, OS: 34" x 25 3/4", SS: 29 1/2" x 21 1/2".
After H. White THE SIBERIAN RABBITAfter H. White THE SIBERIAN RABBIT Chromolithograph by F. Waller.
Estimate: $50 - $75
TWO JAMIE WYETH COLOR ETCHINGS,TWO JAMIE WYETH COLOR ETCHINGS, 1981 Two Jamie Wyeth (American b. 1946), color etchings in a folio, comprising 'S.O.S.' and 'White Leghorns', both editioned in pencil to lower left, Publishers Proof 3/3, both signed in pencil to lower right, both have an artist's copyright stamp en verso dated 1981. Approximate dimensions: 'White Leghorns', image h. 17.625", w. 21.625"; 'S.O.S.', image h. 15.75", w. 19.75"; paper h. 26.5", w. 30.125" (both)
Emilie Dorothy Willson (BritishEmilie Dorothy Willson (British 1867-1918)/Ducks at a Stream/signed and dated 1900/oil on board, 30cm x 42cm
TWO JAMIE WYETH PRINTER PROOF COLORTWO JAMIE WYETH PRINTER PROOF COLOR ETCHINGS Two Jamie Wyeth (American b. 1946), color etchings in a folio,comprising, 'S.O.S.' and 'White Leghorns' both editioned in pencil to lower left Printer Proof 4/4, both signed in pencil to lower right, both have an artist's copyright stamp en verso dated 1981. Approximate dimensions: 'White Leghorns', image h. 17.625", w. 21.625"; 'S.O.S.', image h. 15.75", w. 19.75"; paper h. 26.5", w. 30.125" (both)
American miniature watercolor onAmerican miniature watercolor on ivory portrait of a young woman inscribed verso Emma Anne Powel 1832 2 1/2" x 1 3/4". ?
White mink coat together with severalWhite mink coat together with several mink collars. ?
White mink stole together withWhite mink stole together with mink collars and other mink stoles. ?
2PC VINTAGE STUFFED ANIMALS, RABBITSTwo2PC VINTAGE STUFFED ANIMALS, RABBITSTwo perky synthetic fur rabbits. The largest with the bow tie is 10.5"H.
The Boyds bear is named Emily, wearing a Native American themed outfit. They both have moveable limbs.
Issued: 20th c.
Condition:
Age related wear.
After Walter Inglis Anderson (American/Mississippi,After Walter Inglis Anderson (American/Mississippi, 1903-1965) "Doe Rabbit", hand-colored woodblock print, sight 37-1/2" x 20", printed from the original block by Carolyn Anderson, colored by Adele Anderson Lawton, bears label en verso "Shearwater Prints/Doe Rabbit A-6/Walter I. Anderson/Printed from the original block by Carolyn Anderson/Painted by Adele Anderson Lawton". Glazed and framed.
PAUL CAPONIGRO "RUNNING WHITE DEER"PAUL CAPONIGRO "RUNNING WHITE DEER" PHOTOGRAPHPaul Caponigro (American, b. 1932). Silver gelatin print photograph titled "Running White Deer, County Wicklow, Ireland," depicting a blurred herd of albino deer running through a darkened pine tree landscape, 1967. Pencil signed along the lower right.
Sight; height: 7 1/4 in x width: 19 in. Framed; height: 17 in x width: 30 1/2 in.
Condition:
The photograph is in great condition with no visible tears, creases, or losses. The emulsion appears smooth. When inspected under UV light, there is no visible sign of restoration. The photograph has been affixed to a matboard and as such the verso cannot be inspected. Framed under plexiglass; very light wear to the frame. There is an inscription along the verso of the mat that is dated 2008. A pencil inscription along the mat (underneath the top mat and not visible in the photos) titles and dates (1967) the artwork.
Baby "Doe" in a brown pram, withBaby "Doe" in a brown pram, with tufted silk interior, handmade mattress, quilt, pillow and blanket. Baby has porcelain head/hands and stuffed soft body, no tag, pram marked "CYR" on bottom. Also included is a special "Toy Shoppe" shopping bag with a book of Rhymes by Richard Pope.
Baby: 8.5"h / Pram: 11.5"h x 12"l x 5.25"w
Condition: Good condition.
EMILY DE CANTEBRANA EDWARDS (TEXAS,EMILY DE CANTEBRANA EDWARDS (TEXAS, 1888-1980), STILL LIFE OF WHITE FRANGIPANI, 1929., WHITE-LINE COLOR WOODCUT PRINT ON JAPAN, 11" X 8.5". FRAMED 21.5" X 18.75".EMILY DE CANTEBRANA EDWARDS, Texas, 1888-1980, Still life of white frangipani, 1929. From a small edition. Signed and dated in pencil lower right. Dimensions: White-line color woodcut print on Japan, 11" x 8.5". Framed 21.5" x 18.75". Provenance: Notes:Emily Edwards, artist, art historian, teacher and co-founder of the San Antonio Conservation Society, was born in San Antonio on October 7, 1888, the third of five children of Frank Mudge and Lillian (Brockway) Edwards. Her mother died in 1895. From 1898 to 1902 Emily and her three sisters boarded at the Ursaline Academy, where her talents as an artist were first manifested in sketches she made at an early age. She subsequently attended the San Antonio Female Institute for two years and studied drawing with sculptor Pompeo Coppini.In 1905 she moved to Chicago, where she stayed with relatives and attended the Art Institute of Chicago; she studied with Enella Benedict, Ralph Clarkson, Harry Walcott and John Vanderpoel. In her second year there she began working at the institute to pay her tuition. She also taught volunteer classes at Hull House, the settlement house established by Jane Addams, and taught at several girls' schools. From 1915 to 1917 she taught at the Francis Parker School, where the approach to learning through experience influenced her own teaching methods.In 1917 Edwards returned to San Antonio to teach art at Brackenridge High School. In 1920 she taught at a mountain mission in Charles Town, West Virginia, then worked as a designer in a New York City theater for a short period of time. She subsequently made puppets and staged puppet shows in Provincetown, Massachusetts. She taught at Hull House again before returning to San Antonio in the early 1920s.In 1924 Edwards and Rena Maverick Green co-founded the San Antonio Conservation Society. As its first president (1924–26), Edwards led the society's crusade to prevent the river bend area from being paved over by the city. In 1926 she produced an annotated historical map of San Antonio to raise funds for the society and staged a puppet show for the city council based on a childhood fable, The Goose that Lays the Golden Eggs, in which the goose represented the unique character ("local peculiarities") of San Antonio, while its golden eggs symbolized missions, tourists, natural beauty and civic pride. The original script called for hand-crafted puppets that resembled the city commissioners, who mediated an argument between Mr. and Mrs. San Antonio regarding the goose. The show was a hit, and the river was saved for posterity (see San Antonio River Walk [Paseo del Rio]).During the summers of 1925 and 1926 Emily Edwards traveled with a friend to Mexico, where she met the muralist Diego Rivera, who became a life-long friend. Her studies with Rivera stimulated an interest in Mexican murals, and Edwards subsequently spent ten years in Mexico, sketching in small villages and conducting research for a book on Mexican mural painting from the pre-Columbian era to modern times. She published a pamphlet, "The Frescoes by Diego Rivera in Cuernavaca" (1932), and a tourist guide, "Modern Mexican Frescoes" (1934), which was accompanied by a map to frescoes in the center of Mexico City. In 1932 she published a map of Mexico City, which was later reprinted and in the 1990s was displayed for sale at the San Antonio Museum of Art.During the 1930s Edwards established a modest reputation as an artist, exhibiting watercolors and color block prints of landscapes, children and Mexican subjects in Texas and New York. One of her prints was included in an International Exhibition of Prints in London. During her years in Mexico she was married to Librado de Cantabrana, with whom she had a child who died in infancy. She was divorced by the late 1930s, when she moved to Chicago to head the art program at Hull House.
Sarah White 1800 needlework sampler,Sarah White 1800 needlework sampler, alphanumeric with verse reading "If you desire to worship God aright, first in the morning pray and last at night, Crave for his blessings on your labours (all) and in distress for his assistance call...", signed Sarah White, Her Work, July 29th 1800, with bird in tree, dogs, bouquet, butterfly and potted flowers in vine surround,in velvet trim, 12-5/8"H x 10-1/4"W sight, 16-1/2"H x 14"W framed
Morten Solberg
(American, b. 1935)
WhiteMorten Solberg
(American, b. 1935)
White Tailed Deer, 2007
acrylic on board
signed Morten E. Solberg (lower right)
7 x 15 inches
The Laumeister Collection from The Bennington Center for the Arts, Bennington, Vermont
DON BALKE (B. 1933) "WHITE-TAILEDDON BALKE (B. 1933) "WHITE-TAILED JACK RABBIT"Don Balke (North Carolina, B. 1933) "White-tailed Jack Rabbit and Elm" Signed lower left. Original Watercolor on Paper laid on Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This art was originally published in the limited edition collection of philatelic proofcards issued by Fleetwood and the National Audubon Society for the Wildlife of the 50 States.
This young White-tailed Jack Rabbit sits warily in the long grass amid the fallen leaves of North Dakota's state tree, the graceful American Elm. Heavily preyed upon by everyone from coyotes to man, Jack Rabbits have developed an extraordinary sense of danger. With their large ears twitching at the slightest sound, they peer cautiously over the tall grass. When the noise is resumed, Jack Rabbits take a few gentle hops. Suddenly, like kangaroos, these champion track stars execute a few high flying leaps with their long hind legs and rocket away from their enemies. Like Varying Hares, White-tailed Jack Rabbits also change their coats with the seasons for camouflage. In winter their fur becomes almost pure white, and in the summer a seasonal brown coat will become tinted with gray. In between these seasons, Jack Rabbits mate. Males actually stand toe to toe with one another and slug it out for the females. Once the winners of the bouts are determined, females begin making nests lined with fur from their bellies. Forty days later a litter, usually of four babies, is born. Within minutes, young Jack Rabbits begin hopping about, learning quickly to run and dodge enemies. Because these agile furry creatures retain such a high birth rate, overpopulation sometimes becomes a problem. But eventually, disease and starvation take their toll and the Jack Rabbit populations decline to normal levels.
Image Size: 12.25 x 13.75 in.
Overall Size: 20.25 x 23 in.
Unframed.
(B06388)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
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- All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings.
- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
- Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com
- We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly.
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- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
Kim Howie (American 20th century)Kim Howie (American 20th century) White Chocolate Rabbit 2001 oil on board signed Kimberly Howie and dated (lower right) 24 x 16 inches.
WHITE FAWN. NATIVE AMERICAN WOMANWHITE FAWN. NATIVE AMERICAN WOMAN CABINET CARD.White Fawn. Native American Woman Cabinet Card. New York: Eisenmann, ca. 1880. Sepia-toned cabinet card of White Fawn, apparently signed by the performer in dark ink in the margin. Light spotting on photograph and some chipping on card edge. 4 _ x 6 _". Good.
OIL ON CANVASca. 1840; two girlsOIL ON CANVASca. 1840; two girls with their sheep and white dove in a rosewood frame with yellow liner, no signature noted, 22"x 18 3/4" overall; Condition: professionally conserved on the old stretchers in an old frame, the painting has been lined and has scattered inpaint
White sheepskin carriage robe alongWhite sheepskin carriage robe along with a group of children's clothing including a christening dress some stains.
Young Girl with Sheep
(Dutch,Young Girl with Sheep
(Dutch, 1838-1888)
14 ¾ x 23 ¾ inches
EMMI WHITEHORSE (NATIVE AMERICANEMMI WHITEHORSE (NATIVE AMERICAN / DINE, B. 1957) "RINCON MARQUEZ", SERIES MAY 1987, #627 Mixed media on paper mounted on canvas. Signed (lower right). Signed and titled (on reverse).Artist BioEmmi Whitehorse (Native American /Dine, b. 1957)Emmi Whitehorse is a Native American painter and printmaker. She was born in Crownpoint, New Mexico and is a member of the Navajo Nation. Whitehorse’s paintings draw upon a personal iconography, based on her reflections of her natural surroundings. She brings together Navajo cosmological perspectives with abstraction in her work. She has described her work as having a sense of chaos and randomness.
EMMI WHITEHORSE, JACKSTRAW, 2000EmmiEMMI WHITEHORSE, JACKSTRAW, 2000Emmi Whitehorse, (Diné [Navajo], b. 1956) Jackstraw, 2000, lithograph, edition 14 of 75 editioned in graphite lower left: 14/75 signed in graphite lower right: E [illegible] it [illegible] Printed for The Women of the West Museum Expanded Visions Project involves four internationally renowned artists selected to work with master printer Bud Shark on a suite of original prints created exclusively for the museum. lithograph, edition 14 of 75 Dimensions: 22 x 30 in. (55.88 x 76.20 cm.), Frame: 31 1/2 x 39 1/4 in. (80.01 x 99.70 cm.) Provenance: Private Collection, Colorado
ENGLISH SCHOOL: MOTHER & DAUGHTERENGLISH SCHOOL: MOTHER & DAUGHTER FEEDING DUCKS Oil on canvas 12 x 16 in. signed "W.Bromley."
2PC ROYAL COPENHAGEN PORCELAIN2PC ROYAL COPENHAGEN PORCELAIN FIGURINE, EMMA AND FREDE...Pair of porcelain figurines from the Millennium series, these captivating pieces showcase Frederik sitting with a book in front of him, while the teddy bear is holding him tight. The figurine of Emma is sitting on her magic carpet with a white dove on her hand. The white dove is seen as a sign of and hope for peace on earth. Royal Copenhagen gold backstamp on bottom. Largest piece measures 3.75"L x 2.5"W x 3.25"H.
Artist: Sven Vestergaard
Issued: 2001
Manufacturer: Royal Copenhagen
Country of Origin: Denmark
Condition:
Age related wear.
DON BALKE (B. 1933) "WHITE-TAILEDDON BALKE (B. 1933) "WHITE-TAILED DEER"Don Balke (North Carolina, B. 1933) "White-tailed Deer" Signed lower left. Original Watercolor on Illustration Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This painting was originally published on the Fleetwood commemorative cover for Balke's Baby Wildlife of the 50 States, postmarked December 12, 1984.
In a dense thicket deep in the woods of Pennsylvania, a pair of reddish-brown fawns lie still, their white-dappled backs blending almost perfectly with the shadows and fallen leaves about them. Resting quietly in the forest, they are waiting patiently for their mother, a fully-grown White-tailed Deer, who has gone for food and drink. She must eat well, for when she returns, she will nurse her twins -- sometimes triplets -- with milk that contains three times the protein and fat found in cow's milk. On such hardy fare, the tender young fawns grow quickly. Their first few steps on long, thin, wobbly legs are quite a struggle -- often accompanied by some awkward splats on the ground -- as all four feet go out from under them. But determination and a little persistence pay off. For soon, these beautiful young fawns are gracefully frolicking through the shaded thicket, running and jumping about, and nuzzling their mother in a show of loving affection. She will suckle them until fall when it is time for her to mate again. In the meantime, they will acquire a taste for the lush, green grass, leaves, moss, tree bark and tender young buds that will make up their adult diet. Growing to a height of four feet at the shoulder and weighing about two hundred pounds, the White-tailed Deer can run more than thirty miles an hour, with an innate ability to jump obstacles up to eight feet high and leap crevices thirty feet wide. Both fawns and adults are enchanting beasts of the thick Pennsylvania woodlands.
Image Size: 11 x 12.5 in.
Overall Size: 19.25 x 21 in.
Unframed.
(B09210)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
- Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview.
- All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted.
- All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances.
- All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings.
- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
- Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com
- We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly.
- Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
Pair pastels folky subjects withPair pastels folky subjects with mice (and camel). Sight 21'' x 17'' each.