LEROY NEIMAN, ALI VS. FRAZIER, 1971LEROY NEIMAN, ALI VS. FRAZIER, 1971 (5)LeRoy Neiman(American, 1921-2012)Ali vs. Frazier, 1971 (5)etching in sepia ink on wove paperall numbered 127/150 and signed in pencil to the lower right, from the suite of 15.15 x 11 1/2in (38 x 29cm)
LEROY NEIMAN, ALI VS. FRAZIER, 1971LeRoyLEROY NEIMAN, ALI VS. FRAZIER, 1971LeRoy Neiman (American, 1921-2012)Ali vs. Frazier, 1971. six etchingsetchings in sepia ink on wove papersix etchings from the 1971 suite of fifteen etchings; all numbered 127/150 and signed in pencil
LUKE FRAZIER (1970- ), QUIET TIME Title:LUKE FRAZIER (1970- ), QUIET TIME Title: Luke Frazier (1970- ), Quiet Time Medium: oil on board Dimensions: 7 3/8 x 10 Framed dimensions: 12 1/2 x 14 7/8 x 1 3/4
LUKE FRAZIER (1970- ), DEEP IN THE WOODSLUKE FRAZIER (1970- ), DEEP IN THE WOODS Title: Luke Frazier (1970- ), Deep in the Woods Medium: oil on panel Dimensions: 24 x 20 Framed dimensions: 32 3/8 x 28 3/8 x 1 5/8
SHARON FRAZIER, MISSISSIPPI DELTA, WATERCOLORPropertySHARON FRAZIER, MISSISSIPPI DELTA, WATERCOLORProperty of a Private Collection, Savannah, GA (American, 20th/21st C), signed bottom right and dated. Frame size: 33 3/4 in. x 45 3/4 in. Sheet size: H. 29 in. x W. 41 1/2 in.
LOT OF 50 SIGNED BOOKS WITH MANY FIRSTLOT OF 50 SIGNED BOOKS WITH MANY FIRST EDITIONS Lot of 50 contemporary novels and non-fiction books, all signed by their author, containing various authors including Ian Frazier, Ann Patchett, Charles Frazier, Susanna Clarke and many others. Approximate Dimensions:Various, mostly octavo.
ERNEST FRAZIER "HOMAGE TO FORM" COLLAGEERNEST FRAZIER "HOMAGE TO FORM" COLLAGE Ernest Frazier (American, XX - XXI), "Homage to Form," 1979, paper collage featuring an abstract composition with sheet music, possibly depicting a guitar, signed lower right and dated "5-79," label and handwriting with artist's name and title to frame reverse. Image: 30" H x 20" W; frame: 37" H x 27" W x 1.25" D. Some toning to extreme edges, waviness to paper. Provenance: Removed from the Financial District estate of a collector.
CHARLES H. REYNOLDS (1902-1963) OILCHARLES H. REYNOLDS (1902-1963) OIL ON PANELCharles Henry Reynolds (1902-1963)Frazier Mountain (Circa 1950)Signed lower right.Wooden panel measures 12 x 16, frame size 17.5 x 21.5 inches.Very good condition.
AC. JAMES FRAZIER (B.1944/46) 'AZALEAAC. JAMES FRAZIER (B.1944/46) 'AZALEA REFLECTIONS'Framed oil painting on canvas, "Azalea Reflections," signed lower right C. Frazier (C. James Frazier, Texas, Vermont, b.1944/46), titled and dated 1987 verso, retaining tag for Altermann Art Gallery, Dallas, TX, sight: approx 7.5"h, 9.5"w, overall: approx 16"h, 18"w, 3.75lbs
MARK FRAZIER CARVED AVACERATOPS LAMMERSI.MARK FRAZIER CARVED AVACERATOPS LAMMERSI. Very well executed in strong glass and wood base show case. From a Long Island NY estate. Dimensions: 15" x 15" x 26" Condition: Good.
LUKE FRAZIER (B. 1970)Circle of Warmth
signedLUKE FRAZIER (B. 1970)Circle of Warmth
signed "l. frazier" lower right
oil on board, 12 by 16 in.
Luke Frazier is one of the West's top wildlife artists. Born and raised in the mountains of northern Utah, Frazier spent much of his youth hunting and fishing. His early forays into nature inspired a passion for the outdoors. As a child, Frazier spent countless hours sketching and sculpting wildlife, demonstrating not only a passionate interest, but also an instinctive ability. Later, he received his formal art training at Utah State University, where he earned a bachelor of fine arts degree in painting and a master of fine arts degree in illustration. Frazier cites the influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work. This bright and charming fox nestles into powdery snow.
BLACK-BELLIED PLOVERHarry V. ShourdsBLACK-BELLIED PLOVERHarry V. Shourds (1861-1920)
Tuckerton, NJ, c. 1900
10 in. long
Mackey's inked inscription on the underside reads "Tuckerton NJ, Shourdes [sic]." Though attributed to the work of Nate Frazier at times, James Doherty, in his "Classic New Jersey Decoys," also makes a case for this being the work of Shourds.
Original paint with moderate gunning wear, touch-up to reset neck cracks.
Provenance: William J. Mackey Collection
Wade and Sharon Wander Collection
Literature: James R. Doherty, "Classic New Jersey Decoys," Louisville, KY, 2011, p. 66, pl. 111 and 114, related examples illustrated.
LUKE FRAZIER (B. 1970)The Quickening,LUKE FRAZIER (B. 1970)The Quickening, 2022
signed "l. frazier" lower right
oil on board, 24 by 36 in.
Luke Frazier is one of the West's top wildlife artists. Born and raised in the mountains of northern Utah, Frazier spent much of his youth hunting and fishing. His early forays into nature inspired a passion for the outdoors. As a child, Frazier spent countless hours sketching and sculpting wildlife, demonstrating not only a passionate interest, but also an instinctive ability. Later, he received his formal art training at Utah State University, where he earned a bachelor of fine arts degree in painting and a master of fine arts degree in illustration. Frazier cites the influence of Winslow Homer, Edgar Payne, Bruno Liljefors, Carl Rungius, and Bob Kuhn in his work.
In "The Quickening," Frazier beautifully captures the anticipation and poised readiness of the two setters with his expressive brushstrokes and atmospheric light.
FRANK FRAZIER UNTITLED (1992 MIXED MEDIAFRANK FRAZIER UNTITLED (1992 MIXED MEDIA COLLAGE)Frank Frazier
(New York/ Texas, b. 1943)
Untitled , 1992
Mixed media collage (mixed fibers, African textiles, painted figures, and marker and paint on artists board)
24 1/2" x 12 1/2"
Signed and dated. Nicely presented in a glossy black shadowbox with beveled front edge.
Frank Frazier is an acclaimed contemporary artist and Purple Heart decorated veteran. Through his multidisciplinary work, Frazier shares his uniquely considered perspective on historical and current events, seen through the lens of Black American experience and culture.
Condition
Very good condition.
LUKE FRAZIER (1970- ), FATHER'S RETURN,LUKE FRAZIER (1970- ), FATHER'S RETURN, 2022 Fine Art
LUKE FRAZIER (1970- ), THE GREAT HERDLUKE FRAZIER (1970- ), THE GREAT HERD AT THE WESTERN GATE OF YELLOWSTONE Fine Art
LUKE FRAZIER (1970- ), THROUGH THE CHUTELUKE FRAZIER (1970- ), THROUGH THE CHUTE Fine Art
LUKE FRAZIER (1970- ), HOOKIN' A TRAILORLUKE FRAZIER (1970- ), HOOKIN' A TRAILOR Fine Art
LUKE FRAZIER (1970- ), THE ALLURE OFLUKE FRAZIER (1970- ), THE ALLURE OF ALPINE Fine Art
LUKE FRAZIER (1970-), TUBBY Title: LukeLUKE FRAZIER (1970-), TUBBY Title: Luke Frazier (1970-), Tubby Medium: oil on board Dimensions: 9 1/4 x 7 3/4 Frame dimensions: 21 1/4 x 19 1/2 x 1
VINTAGE ALI VS. FRAZIER COLLECTABLEVINTAGE ALI VS. FRAZIER COLLECTABLE FIGURESDESCRIPTION: Vintage Starting Lineup & Timeless Legends Ali vs. Frazier Boxing Figures In Original Packaging. CIRCA:20th Ct. ORIGIN:China DIMENSIONS:H:13.25" x L:12.5" x W:4.75" CONDITION: Good condition, box has marks and wear. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
JOE FRAZIER & MUHAMMAD ALI SIGNED 8"JOE FRAZIER & MUHAMMAD ALI SIGNED 8" X 10" PHOTOJoe Frazier and Muhammad Ali autographed 8" x 10' photograph. Includes Classic Sports Collectibles, LLC certificate of authenticity. Mounted in frame.
Condition:
All lots are sold as is and where is. Elite Auctioneers, LLC provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Elite Auctioneers, LLC does not give refunds based on condition. Elite Auctioneers, LLC does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.
MYNDERS & QUINTARD TN PHOTOS, LETTER1stMYNDERS & QUINTARD TN PHOTOS, LETTER1st item: CDV of Seymour A. Mynders (1861-1913), approximate age 18, in his Tennessee National Guard Uniform. Mynders organized and commanded National Guard Company C in his hometown of Knoxville. His fellow UT classmate, James Frazier, became Governor of Tennessee and appointed him State Superintendent of Public Education; Mynders later helped create and served as Principal of the West Tennessee Normal School (which later became the University of Memphis). 4" x 2-1/2"; small dark mark in upper right hand corner. 2nd -5th items: Charles T. Quintard (1824-1898) letter, signed, along with two cabinet card photographs of Quintard and a pamphet authored by him. Quintard served as chaplain and field surgeon of the 1st Tennessee Regiment in the Civil War, and saw action at Murfreesboro, Chickamauga, Atlanta, and Franklin. He later became the second Bishop of Tennessee and the first Vice-Chancellor of the University of the South at Sewanee. The letter, dated Nov. 20, 1883 and written on Park Avenue Hotel stationery, contains travel arrangements and ads "I am so constantaly on a tramp... I am longing to get back to Tennessee." First cabinet card is from C.C. Krutch, Knoxville, and signed in Quintard's hand: "With God's blessing from C.T. Quintard Bp of Tenn" (losses to bottom edge). Second cabinet card is from Sarony New York and is not signed; both measure 6-1/2" x 4" overall. Also included is "Help for a Holy Lent", a pamphlet by The Rt. Rev. C.T. Quintard D.D. Bishop of Tennessee, published by James Pott, New York, 1881. 6-3/4" x 4-3/4" (foxing/staining throughout, losses to upper right corners of several pages).
Condition:
All items with overall toning; also see item descriptions.
CSA CHAPLAIN WITHERSPOON DIARY, AUTOBIOGRAPHY1862CSA CHAPLAIN WITHERSPOON DIARY, AUTOBIOGRAPHY1862 Confederate diary of T. D. Witherspoon, Chaplain of the 2nd and 42nd Mississippi Regiment, starting July 7th, 1862-Dec. 31, 1862, together with an 1875 autobiography penned by Chaplain Witherspoon. Chaplain Thomas Dwight Witherspoon was born in Greensborough, Alabama in 1836. He graduated from the University of Mississippi in 1856 and became pastor of the Presbyterian church at Oxford, Mississippi. He became a chaplain in the Confederate army and served for the duration of the Civil War. After the war, he was awarded a Doctorate of Divinity from University of Mississippi in 1868 and an Honorary Doctorate in 1884. For most of the war, Witherspoon served as part of the 42nd Mississippi Infantry, Davis' Brigade, Heth's Division, A. P. Hill Corps, Army of Northern Virginia. At the Battle of Gettysburg, Witherspoon was captured on Sunday, July 5th, 1863 while conducting a service for the wounded in a hospital tent. Chaplain Witherspoon was imprisoned at Fort McHenry, Baltimore, and paroled in 1863. He returned to the Confederate army until the surrender at Appomattox Court House, Virginia. Witherspoon was an influential and outspoken Chaplain in the Confederate Army (ref. "Pastor Witherspoon Goes to War", Ronald Coddington, New York Times, April 09, 2011). 1st item - Diary starting July 7th, 1862 and concluding December 31st, 1862 (222 pages total). A large portion of the diary covers Chaplain Witherspoon's period in Richmond and the battle of Fredericksburg, VA. On 7/22/62, Witherspoon writes of visits to the battlefield of Seven Pines, "The first thing that attracted our notice was the immense swarm of flies which blackened the ground, and which having tasted blood of decaying flesh were perfectly rabid in their attacks upon our horses.." On page 65 titled "Frazier's Farm", Witherspoon's group came upon a "free negro whose house is perforated with hundreds of balls, says the victory was very complete on our side but our loss was fully as great as the enemy's he thinks even greater...the Yankees carried off great numbers of their dead while ours was all buried in the field." 7/28/62 - Witherspoon applies for a furlough to visit hospitals in Lynchburg at General Hood's office. He overhears General Hood say, "Grant it, of course...Let chaplains go to see the sick and wounded or anywhere else they want to go. I don't care, sir, where they go or how long they stay". Witherspoon wonders if this is an insult or compliment. On 8/28/62 - He is called to conduct a funeral service for a fallen officer. He goes to the hospital 'death house' with a group to retrieve the body and finds that during the night, "rats have eaten the face (of the deceased) so as to disfigure it most shockingly". 9/18/62 - Witherspoon goes to the War Department to inquire on a petition and is ushered into the Secretary's office. The individuals present include Senator Brown of Mississippi (who is "pacing up and down the floor"), an unnamed Senator from Kentucky, and the Speaker of the House, Mr. Bocock. On page 187 regarding Fredericksburg titled "Defending the Ford", Witherspoon gives a detailed account of the placement of the 42nd Mississippi at the fords of the Rappahannock River to prevent Union forces from crossing. He writes, "The fact was apparent that we were left without any support whatever. Neither cavalry or artillery were willing to support us..." Later, Witherspoon's regiment is sent to Goldsboro, NC, and the diary closes in December 1862 with an account of Witherspoon battling Typhoid fever (transcription summary courtesy Jay Warrick). 2nd item - 1875 autobiography penned by Chaplain Thomas Dwight Witherspoon (136 pages total). Witherspoon writes the autobiography from Petersburg, VA to his children. Insight is given to events that shaped Witherspoon's life and philosophy. Early in the diary, Witherspoon discusses the efforts of his wealthy uncle to leave provision upon death for all of his uncle's slaves to go to Liberia in Africa and set up a functioning society there. Unfortunately, it was not successful and may have influenced Witherspoons views on slavery for the remainder of his life. In his early years, Witherspoon's schooling was fairly extensive in Latin, Greek, and the Classics. He also shared sicknesses of youth including typhoid fevor and being bitten by a poisonous snake. He decided his senior year to seek the Gospel ministry as a profession. Regarding the Civil War, Witherspoon goes into depth on the causes of it and his views regarding the conflict.
Condition:
Both diaries in overall very good condition. It appears the 1862 diary may have incurred some water damage in the front of the diary and there appears to be traces of earlier writings, as this diary begins on page 35.
2 EARLY KENTUCKY TABLESPOONS, ALEXANDER2 EARLY KENTUCKY TABLESPOONS, ALEXANDER FRAZER & THOMAS...Two (2) early coin silver flatware items attributed to Paris and Lexington, KY silversmiths Thomas Phillips and Alexander Frazier. 1st item: Coffin handle tablespoon, marked PARIS and TP in separate rectangles, attributed to Thomas Phillips, working Paris, KY, circa 1795-1827. Monogram I*C for Revolutionary War veteran Isaac Clinckenbeard (b. 1758). Note: Genealogical information and a transcription of Clinckenbeard's Revolutionary War Pension request is available on request. 9 1/3" L. 2nd item: Oval end tablespoon marked AF for Alexander Frazer, working Paris, KY, 1799-1800 and Lexington, 1800-1810. 8 1/2" L. Combined weight: 3.48 oz troy. Note: Philips and Frazier were among Kentucky's earliest silversmiths.
Condition:
Both with minor wear, overall good condition. Phillips spoon has small loss to tip of bowl and some dents to bowl. Frazer spoon has wear to back of bowl, monogram worn illegible.
DENNY SOMMERS GAME WORN SAN DIEGO PADRESDENNY SOMMERS GAME WORN SAN DIEGO PADRES UNIFORMDennis Sommers Rawlings1990 away team game worn San Diego Padres shirt and pants, Sommers came to Major League Baseball for the first time as bullpen coach of the New York Mets in 1977–78, working for Joe Frazier and Joe Torre. When his contract was not renewed for 1979, Sommers moved to the Detroit Tigers' system as manager of the Montgomery Rebels of the Double-A Southern League. Then, in 1980, Sommers returned to MLB as a coach for the Cleveland Indians (1980–85). He later coached for the San Diego Padres (1988–90) and the Giants (1993–94); shirt size 46, pants size 38. In Game worn condition.
LARGE JAPANESE BRONZE TEMPLE BELLLargeLARGE JAPANESE BRONZE TEMPLE BELLLarge Japanese bronze temple bell with four panels of sixteen studs. Provenance: Patricia Frazier estate. 23" high, 13" wide. Condition: : wear from exposure to elements.
C. JAMES FRAZIER (AMERICAN/TEXAS B.C. JAMES FRAZIER (AMERICAN/TEXAS B. 1946) A PAINTING, "...C. JAMES FRAZIER (American/Texas b. 1946) A PAINTING, "Crossing the Street," oil on canvas, signed L/R "C.J. Frazier." 40" x 60"
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.
PAIR OF R. A. (RONALD) FRAZIER DROPPAIR OF R. A. (RONALD) FRAZIER DROP POINT FIXED BLADE S...Ronald A. Frazier (d. 2011). Pair of steel knives with textured wood handles marked "R. A. Frazier Maker" along the spine of the blade. With wooden case lined with burgundy velvet.
Each; blade length: 4 3/8 in. overall length: 8 3/4 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.
C. ROBERT PERRIN WATERCOLOR ON PAPERC. ROBERT PERRIN WATERCOLOR ON PAPER "BOSTON BRIDGE ON ...C. Robert Perrin (1915-1999) Watercolor on Paper "Boston Bridge on the Charles River" , signed lower left C. Robert Perrin AWS
14 ½ in. x 21 ½ in. Overall 23 ½ in. x 27 ¾ in.
The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh
Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz.
C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association of Nantucket.
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.
C. ROBERT PERRIN WATERCOLOR ON PAPERC. ROBERT PERRIN WATERCOLOR ON PAPER "WINTER LIGHT, BOS...C. Robert Perrin (1915-1999) Watercolor on Paper “Winter Light, Boston”, signed lower left C. Robert Perrin
14 ½ in. x 21 ½ in. Overall 23 ½ in. x 28 in. The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh
Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz
C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association of Nantucket.
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.
C. ROBERT PERRIN WATERCOLOR ON PAPERC. ROBERT PERRIN WATERCOLOR ON PAPER "BURRAGE MANSION, ...C. Robert Perrin (1915-1999) Watercolor on Paper "Burrage Mansion, Back Bay, Boston" , signed lower right C. Robert Perrin AWS, depicting the Burrage Mansion, 314 Commonwealth Avenue at Hereford Street, Boston
14 in. x 21 ½ in. Overall 22 in. x 29 in.
The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh
Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz.
C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association of Nantucket.
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.
C. ROBERT PERRIN WATERCOLOR ON PAPERC. ROBERT PERRIN WATERCOLOR ON PAPER "BOSTON RESTAURANT...C. Robert Perrin (1915-1999) Watercolor on Paper "Boston Restaurant Scene" , signed lower right C. Robert Perrin
14 in. x 21 ¼ in. Overall 23 in. x 27 ½ in.
The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh
Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz.
C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association of Nantucket.
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.
C. ROBERT PERRIN WATERCOLOR ON PAPERC. ROBERT PERRIN WATERCOLOR ON PAPER "BOYLSTON STREET A...C. Robert Perrin (1915-1999) Watercolor on Paper "Boylston Street at Copley Square, Boston" , signed lower left C. Robert Perrin, depicting Copley Square looking toward Old South Church.
14 in. x 21 ½ in. Overall 22 ½ in. x 27 in.
The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh
Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz.
C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association of Nantucket.
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.
C. ROBERT PERRIN WATERCOLOR ON PAPERC. ROBERT PERRIN WATERCOLOR ON PAPER "SNOWFALL ON NEWBU...C. Robert Perrin (1915-1999) Watercolor on Paper "Snowfall on Newbury Street, Boston" , signed lower right C. Robert Perrin AWS, depicting Newbury Street Church Boston, 67 Newbury Street at Berkley Street, Church of the Covenant.
29 in. x 10 in. Overall 40 ½ in. x 21 ½ in.
The telling of the breadth and merit of C. Robert Perrin’s 50-year plus Nantucket career becomes apparent when considering that in 1956, his studio became the very first gallery to populate Old South Wharf. Though his earlier avocation as illustrator informed the structure of his painting, it was Perrin’s pure, unadulterated charisma that engaged watercolor & brush, to stage pictorial novellas of Nantucket “isms”. In the same way watercolor paints are made of pigments suspended in a water soluble vehicle, C. Robert Perrin’s paintings are built of island “isms” suspended in place. Like “Dioxazine Violet” or “Cadmium Red” pigments, and by Perrin’s hand, nature – seagulls, whales, scallops, whelk, Queen Anne’s lace & rugosa – architectural icons and vistas, or Nantucketers both past and present are washed and glazed, scumbled, or applied wet in wet, to float in and out of time and place. Perrin’s paintings are reflections of moments; sparkling in puddles and floating in mists. ~Carolyn Walsh
Born in Medfield, Massachusetts; a graduate of the Art Institute of Boston, Perrin first painted on Nantucket in 1946. His studio on Old South Wharf evolved to become the first active gallery on the wharf in 1956, and by 1966 he’d moved permanently to Washington Street where he established a summer tradition of Wednesday evening demonstrations of his watercolor technique. Originally an illustrator by trade, C. Robert Perrin made use of his inventive nature to illustrate Island children’s books (Remember Whopper or Nancy Tucket?) and some of the first posters employed to market the island. As reported in American Artist magazine in 1959, Perrin converted a VW bus into a plein air studio on wheels. The artist favored Payne’s Gray for his watercolors of puddles, fog imagery and ghosts; and when the premier maker of watercolors announced it was discontinuing the color, Perrin lobbied successfully for its continuation. He remained active in the arts community on Nantucket for 5 decades. ~ adapted from Robert Frazier’s Nantucket Arts Buzz.
C. Robert Perrin’s work is represented within the Smithsonian American Art Museum; Gift of the Ford Motor Company, 1966.36.152. A Suite of Four Nantucket Seasons, interpreted against the animated body of a whale is among the holdings of the Nantucket Historical Association. Perrin was elected a Life Member of the American Watercolor Society (1956). His prowess as a watercolor painter was credited in “One Hundred Watercolor Techniques”, together with renowned artists, Andrew Wyeth and Ogden Plysmer. C. Robert Perrin’s work has been documented in “Who’s Who in American Art,” “Who’s Who in the East,” and “Who’s Who in the Arts & Antiques.” The C. Robert Perrin Watercolor Award is presented annually, by the Artists Association of Nantucket.
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.
SYBIL GOLDSMITH OIL ON CANVAS "THE THREESYBIL GOLDSMITH OIL ON CANVAS "THE THREE BRICKS"Sybil Goldsmith (1917-2005) Oil on Canvas "The Three Bricks" , signed lower right Sybil Goldsmith; Original Main Street Gallery partial label on reverse.
35 ½ in. x 23 ½ in. Overall 40 in. x 28 in.
Sybil Goldsmith began painting at age six at a summer class in Siasconset. She studied at Sarah Lawrence College and the Silvermine Art Guild. Best known for her portraits, the artist became a mainstay at the Main Street Gallery and moved to Nantucket in 1966. She often taught other artists in her studio. ~ Robert Frazier
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.