- GUY ANDERSON "WOMAN FEEDING PIGEONS"
GUY ANDERSON "WOMAN FEEDING PIGEONS" (DRAWING CA. 1950S)Guy Anderson
(Washington, 1906-1998)
Woman Sitting on a Bench with a Child, Feeding Pigeons , circa 1950s
Marker on paper
25" x 19"
A quiet sketch of figures sitting among the pigeons of Seattle's Pioneer Square by Guy Anderson, noted "mystic painter" of the Northwest School art movement. LIFE magazine called Anderson one of the Northwest's "Big Four," along with Mark Tobey, Morris Graves, and Kenneth Callahan. Anderson's artwork, often figural in subject, took spiritual inspiration from cultural sources ranging from Hindu texts to Greek myth to indigenous Pacific Northwest iconography. His work is held in numerous major museum collections, including the Seattle Art Museum, the Metropolitan Museum of Art, and the Smithsonian American Art Museum.
Signed to the bottom right corner. Accompanied by a 2004 letter from Deryl Walls, the owner of Gallery Dei Gratia and executor of Anderson's estate. Housed in a glazed frame measuring 38" x 31 1/2".
Condition
There are central vertical and horizontal folds to the sheet, some creases along the top edge, and minor creases from handling along the side edges. Pinholes at the corners.
- Tote Vintage Life Magazines & WWII Newspapers
Tote Vintage Life Magazines & WWII Newspapers
- RUTH ORKIN ISRAELI TEENAGER PHOTOGRAPH
RUTH ORKIN ISRAELI TEENAGER PHOTOGRAPH New York, California, Massachusetts,1921-1985Depicts the portrait of a young girl with short hair large eyes and slight smile glancing to the side. Orkin was a self taught photographer who worked for many major magazine publications in the 1940's and shot practices at Tanglewood in the summers. In 1951 LIFE Magazine sent Orkin to Israel with the Israeli Philharmonic and later on to Italy where she met fellow artist Nina Lee Craig.
- A GROUP OF DRAWINGS, ETCHINGS, A PRINT
A GROUP OF DRAWINGS, ETCHINGS, A PRINT & PAINTING Comprising 15 etchings of animals; an ink and graphite drawing; a large etching of monkey; a 1937 copy of LIFE magazine; a naive landscape painting; a framed advertisement for a show at the Barbican Centre, "Baschet Sound Sculptures"; the largest 28 1/2 in. x 21 in.
- CECIL BEATON (ENGLISH, 1904-1980). Grouping
CECIL BEATON (ENGLISH, 1904-1980). Grouping of 28 items of ephemera, including photographs, letters, and a 1940 issue of Life magazine. From a Union City, NJ collection. Dimensions: 5" high x 4" wide to 14" high x 10.5" wide Condition: Unframed. As/is. Scattered losses and tears.
- ALDRO HIBBARD (AMERICAN, 1886 - 1972).
ALDRO HIBBARD (AMERICAN, 1886 - 1972). Oil on canvas. "Country Fair". Signed lower left. Partial label affixed verso. Hibbard's "Country Fair" ranks among the best works of Hibbard's oeuvre. Featuring the mountains of New England that frequently appear in Hibbard's paintings, "Country Fair" sees the painter filling his landscape with human energy. He includes many charming details of an early 20th century rural fair, including livestock, automobiles, as well as crowds of adults and children huddled around attractions, all existing underneath an American flag. This painting is so evocative of country life that it was included in a 1947 Maxwell House coffee advertising campaign, appearing in Life magazine as a depiction of the "American Scene". From a Westchester, NY collection. Dimensions: 25" h x 30" w. Condition: Good.
- ELIOT ELISOFON (1911-1973): BUILDING
ELIOT ELISOFON (1911-1973): BUILDING IN A FOREIGN COUNTRY, FOR LIFE MAGAZINE; MARGOT FONTAYNE IN SWAN LAKE; AND PORTRAIT OF VERONICA LAKEGelatin silver print, with the artist's inkstamp on the reverse and two chromogenic prints, 1950 and 1942, printed later; together with Bob Landry: Kick Off , sepia print, 1947, printed later; and Gjon Mili: Triple Exposure of Ballerina , chromogenic print, 1941, printed later.
6 1/2 x 9 3/8 in. (sheet), 8 x 10 in. (frame), three 8 x 10 in. (sight), 15 x 17 in. (frame), one 9 1/2 x 7 3/4 in. (sight), 17 x 15 in. (frame).
Note: The negatives for these images are part of The Life Picture Collection culled form the archives of Life Magazine.
Condition
Building in a Foreign Country with creasing and a few tiny nicks at the sheet edges. Two skinned spots and remains of old hinges on the reverse. The others laid down and sealed in the mats. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- GROUP OF BOOKS ON THE DECORATIVE ARTSIncluding:
GROUP OF BOOKS ON THE DECORATIVE ARTSIncluding: Decoration edited by Pierre Levallois, French and European Publications, 1963; Italian Gardens by Georgina Masson, Antique Collectors Club, 1987; The Best in European Decoration edited by Monique Schneider-Maunoury, Reynal and Co. Inc., 1963; The Lesser Country Houses of Today designed by Mr. Paul Phipps, Country Life Magazine, 1924-1928; Modern Furniture and Decoration edited by Robert Harling, Galahad Books, 1971; Living Well edited by Carrie Donovan, Times Books, 1981; Jansen décoration by Jansen, Société d’études et de publications économiques, 1971, in French; David Hicks: A Life of Design by Ashley Hicks, Rizzoli International Publication, 2012; David Hicks: Designer by Ashley Hicks, Scripton Editions, 2003, first edition; David Hicks: On Bathrooms by David Hicks, Britwell Books Ltd, 1970, first American edition; Mobili Italiani dell'ottocento by Valentino Brosio, Aldo Garzanti Inc., 1964, in Italian; The Grand Tour: Individual Creations by Flavio Conti, translated by Patrick Creagh, HBJ Press, 1978; On Neoclasscism by Mario Praz, translated by Angus Davidson, Thames and Hudson, 1969; Architectural and Decorative Ornaments: The General Catalogue MCMXV , Jacobson and Co., 1915; The World of Interiors by Min Hogg and Wendy Harrop, Clarkson N. Potter Inc., 1988, first American edition; Les Pavillons, French Pavilions of the Eighteenth Century by Cyril Connoly and Jerome Zerbe, Hamish Hamilton, 1962; Regency Redux by Emily Evans Eerdmans, Rizzoli International Publications, 2011; Rooms by Carl Skoggard, photographs by Derry Moore, Rizzolli International Publications, 2009; In House by Mitchell Owens, photographs by Derry Moore, Rizzoli International Publications, 2012; and Follies and Fantasies: Germany and Austria by Sally Sample Aall, photographs by Nic Barlow, Harry N. Abrams Inc., 1994, with inscription to Niall and signature by the author (20).
Condition
Individual condition reports not available for this lot.
Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- Well over 200 copies of Country Life
Well over 200 copies of Country Life magazine dating from 1915-1930. Condition: wear and loss to some CT Transfer Fee $30
- JULIAN EDWIN LEVI (PENNSYLVANIA/NEW
JULIAN EDWIN LEVI (PENNSYLVANIA/NEW YORK, 1900-1982), "MOZART'S THE MAGIC FLUTE"., OIL ON CANVAS, 35" X 22". FRAMED 44.5" X 31.5".JULIAN EDWIN LEVI, Pennsylvania/New York, 1900-1982, "Mozart's The Magic Flute". Signed lower right "Julian Levi". Titled verso. Featured in LIFE Magazine, October 13, 1941. Housed in a Carl Sandelin frame. Dimensions: Oil on canvas, 35" x 22". Framed 44.5" x 31.5". Provenance: Alex Cooper, October 19, 2019, Towson, Maryland.
- MARILYN MONROE MEMORABILIA GROUP Marilyn
MARILYN MONROE MEMORABILIA GROUP Marilyn Monroe memorabilia group, including framed photo Marilyn biography by Norman Mailer, 1982; Life Magazine with Marilyn cover and 12 Marilyn Monroe "Legends of Hollywood" stamp sheets.
- JOHNNY JANSSON GAFFER MILLEFIORI BOWLDESCRIPTION:
JOHNNY JANSSON GAFFER MILLEFIORI BOWLDESCRIPTION: Johnny Jansson Gaffer Millefiori blue to white glass bowl.
Bright finish lead glass
Reference:
Shape #842, p. 141
Objects formed by fusing together fragments of variously colored glass.
Pictured at Plate XIV of The Glass of Frederick Carder by Paul V. Gardner.
Shown as part of Mr. Carder’s collection under Millefiore in The Fieldstone Porch Presents Creations by Carder of Steuben, His American Art Glass interview with Jerry Philpot.
“Production of millefiori was limited due to its difficulty, as with so many techniques perfected by Carder. Designs included all over similar canes of different shades and bright geometric designs and emblems.” Gay LeCleire Taylor, Curator, Museum of American Glass as described in Number 28 of Collector’s Choice Review.
Pictured in Frederick Carder: Portrait of a Glassmaker, by Paul V. Gardner p. 63. “Millefiori group. Very rare about 1915-1930.
Also pictured p. 157 of American Art Glass by John A. Shuman III.
Pictured in Steuben, Seventy Years of American Glassmaking by Perrot, Gardner, Plaut color plate 4. “Carder’s rare Millefiori pieces are made in both mat (satin) and bright finishes.
Shown in a 1920’s ad with the following description: “The exquisite Mille Fleurs Bowl is made precisely like priceless, historic Egyptian glass. It was shown at the Metropolitan Museum of Art in New York.” In yet another ad of October 1927 in Country Life Magazine what may be the same bowl is shown with the subtitle: “The Metropolitan Museum in New York exhibited the rare millefiori bowl. So difficult of production is this ‘thousand flower’ glass that only two or three examples have been made in modern times”
Provenance:
Estate of Mr. and Ms. Alan Shovers
Acquired Sept 9, 2007 from Treadway Galleries of Oak Park, IL.
CIRCA: 1915-1920
DIMENSIONS: H: 3.25" x D: 6"
CONDITION: Several repaired cracks. Normal signs of age. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. 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.
- STEUBEN GLASS AMETHYST LOTUS BLOSSOM
STEUBEN GLASS AMETHYST LOTUS BLOSSOM SCULPTUREDESCRIPTION: Steuben glass amethyst colored lotus blossom sculpture.
Stamped (pressed) and cut lead glass.
Reference:
Shape #6927, p. 236.
Shown at p. 90 Ill. 138 of The Glass of Frederick Carder by Paul V. Gardner.
Shown in amethyst at Fig. 5.46, p. 128 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff.
Pictured in a Steuben Glass Works Ad on modern glass in Country Life magazine c. 1926-27.
Provenance:
Estate of Mr. and Ms. Alan Shovers
Acquired 9/25/06 from Susan Holstein of Scottsdale, AZ.
CIRCA: Early 1900s
DIMENSIONS: H: 9.25" x D: 6"
CONDITION: Slight chipping at base. Normal signs of age. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. 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.
- RARE STEUBEN GLASS MILLEFIORI BOWLDESCRIPTION:
RARE STEUBEN GLASS MILLEFIORI BOWLDESCRIPTION: Steuben Johnny Jansson Gaffer Millefiori blue to white glass bowl. Bright finish lead glass. Color Plate XIV. Signed “Frederick Carder” on underside. Provenance: Purchased From Sotheby's 1994 Reference: Shape 842 Shown on p. 141 in The Glass of Frederick Carder by Paul V. Gardner. Objects formed by fusing together fragments of variously colored glass. Pictured at Plate XIV of The Glass of Frederick Carder by Paul V. Gardner. Shown as part of Mr. Carder’s collection under Millefiore in The Fieldstone Porch Presents Creations by Carder of Steuben, His American Art Glass interview with Jerry Philpot. Production of millefiori was limited due to its difficulty, as with so many techniques perfected by Carder. Designs included all over similar canes of different shades and bright geometric designs and emblems.” Gay LeCleire Taylor, Curator, Museum of American Glass as described in Number 28 of Collector’s Choice Review. Pictured in Frederick Carder: Portrait of a Glassmaker, by Paul V. Gardner p. 63. Millefiori group. Very rare about 1915-1930. Also pictured p. 157 of American Art Glass by John A. Shuman III. Pictured in Steuben, Seventy Years of American Glassmaking by Perrot, Gardner, Plaut color plate 4. “Carder’s rare Millefiori pieces are made in both mat (satin) and bright finishes. Shown in a 1920’s ad with the following description: “The exquisite Mille Fleurs Bowl is made precisely like priceless, historic Egyptian glass. It was Shown on the Metropolitan Museum of Art in New York.” In yet another ad of October 1927 in Country Life Magazine what may be the same bowl is shown with the subtitle: “The Metropolitan Museum in New York exhibited the rare millefiori bowl. So difficult of production is this ‘thousand flower’ glass that only two or three examples have been made in modern times” CIRCA: 1903-1932 ORIGIN: USA DIMENSIONS: D: 6" H: 3". Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. 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.
- CARROLL CLOAR ACRYLIC ON BOARD, WEEPING
CARROLL CLOAR ACRYLIC ON BOARD, WEEPING WILLOWCarroll Cloar (American/Tennessee, 1913-1994) framed acrylic on board titled "Weeping Willow," depicting a solitary older man sitting on the porch of a white Victorian house, under a bright sky, with verdant and immaculately clipped lawn in the foreground. An expansive weeping willow encroaches on the left side of the house, creating shadows across the porch. Signed lower left "Carroll Cloar" and additionally signed, titled, and dated July 1967 en verso. Housed in the original painted wooden frame with gilt liner. Sight - 22 1/2" H x 33 1/2" W. Framed - 29" H x 39 1/2" W. Biography (Courtesy of The Johnson Collection): Arkansas-born Carroll Cloar was known for incorporating nostalgic images from his Southern childhood, often merged with dreamlike motifs, into powerful "magic realist" scenes. Cloar graduated from Southwestern College (now Rhodes College) in Memphis, Tennessee, and went on to study at the Memphis Academy of Arts under the artist George Oberteuffer. In 1936, he moved to New York to attend the Art Students League. There, Cloar's achievements earned him a McDowell fellowship which he used to travel across the American Southwest, West Coast and Mexico. Cloar served with the Army Air Corps during World War II and was deployed to Saipan and Iwo Jima. Upon his return from the war, he was awarded a Guggenheim traveling scholarship to fund an extended sojourn to Central and South America in 1946. Two years later, several of his images were featured in a Life Magazine article titled "Backwoods Boyhood," and Cloar's career went on to receive additional national acclaim. By the mid 1950s, Cloar had settled permanently in Memphis, where he produced paintings, often executed in casein tempera and acrylic paints. His works are in the collections of the Hirshhorn Museum and Sculpture Garden, Metropolitan Museum of Art, Museum of Modern Art, Brooks Museum of Art, and Library of Congress. In 1993, Cloar's painting "Faculty and Honor Students, Lewis Schoolhouse" was one of six paintings by American artists selected to commemorate the inauguration of President Clinton. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Painting overall excellent condition. Frame with some chips to corner.
- CARROLL CLOAR PAINTING, THE WATERING
CARROLL CLOAR PAINTING, THE WATERING DETAILCarroll Cloar (Tennessee, 1913-1993) acrylic on board landscape painting titled "The Watering Detail" en verso, depicting two little girls in pink dresses holding a watering can and a little boy in a yellow romper, standing in front of a screen door to a house; an older woman watches from an adjacent window. The white clapboard siding of the house is adorned by pink hollyhocks. Signed "Carroll Cloar" lower left; titled and dated 4-88 en verso. Silver-gilt molded frame. 23" x 34"; framed 31" x 42". Accompanying the painting is a Cloar promotional postcard, on which the artist has written a note regarding the painting: "Mr. Massie: I have used the word "detail" in the old Army sense. In our army you were detailed to do a certain job, or were on a detail. My show opens at Schmidt Bingham Gallery in New York May 24. - Carroll Cloar ". Biography (Courtesy of The Johnson Collection): Arkansas-born Carroll Cloar was known for incorporating nostalgic images from his Southern childhood, often merged with dreamlike motifs, into powerful "magic realist" scenes. Cloar graduated from Southwestern College (now Rhodes College) in Memphis, Tennessee, and went on to study at the Memphis Academy of Arts under the artist George Oberteuffer. In 1936, he moved to New York to attend the Art Students League. There, Cloar's achievements earned him a McDowell fellowship which he used to travel across the American Southwest, West Coast and Mexico. Cloar served with the Army Air Corps during World War II and was deployed to Saipan and Iwo Jima. Upon his return from the war, he was awarded a Guggenheim traveling scholarship to fund an extended sojourn to Central and South America in 1946. Two years later, several of his images were featured in a Life Magazine article titled "Backwoods Boyhood," and Cloar's career went on to receive additional national acclaim. By the mid 1950s, Cloar had settled permanently in Memphis, where he produced paintings, often executed in casein tempera and acrylic paints. His works are in the collections of the Hirshhorn Museum and Sculpture Garden, Metropolitan Museum of Art, Museum of Modern Art, Brooks Museum of Art, and Library of Congress. In 1993, Cloar's painting "Faculty and Honor Students, Lewis Schoolhouse" was one of six paintings by American artists selected to commemorate the inauguration of President Clinton. Provenance: Private Middle Tennessee collection. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Fingerprint smudge upper right edge. Overall very good condition. Frame has some small edge abrasions.
- LOUIS MACOUILLARD CALIFORNIA CITYSCAPE,
LOUIS MACOUILLARD CALIFORNIA CITYSCAPE, SAN FRANCISCO &...Louis Macouillard (California, 1913-1987) small acrylic on board or paper painting of San Francisco with the sun rising or setting over the Bay, the Golden Gate Bridge visible in the background and the Marin Hills rising in the distance. Signed lower right. Kerwin Galleries, Burlington, CA labels affixed to backing. Housed under glass in a speckled giltwood frame with ivory mat and grey reveal. Sight: 4" H x 5 1/4" W. Frame: 9 1/4" H x 11 3/16" W. Biographical Note: Macouillard was born in San Francisco and graduated from Polytechnic High School and the California College of Arts and Crafts followed by further study at the Art Students League in New York. Returning to his native city, he became art director for the Velvetone Poster Company and maintained a studio on Hotaling Place. He began painting mostly watercolor scenes of San Francisco during the 1930s. During WWII he served in the Navy in the South Pacific and produced many artworks of that area which were featured in a six-page spread and cover of the October 1943 issue of Life magazine. As well as fine art, his work includes book illustrations and the designs of two U.S. postage stamps (Daniel Boone & San Antonio). (Source: Edan Hughes, "Artists in California, 1786-1940," via askART)
Condition:
Overall very good condition, not examined out of frame.
- JULIEN BINFORD FLORAL PASTEL ON PAPERJulien
JULIEN BINFORD FLORAL PASTEL ON PAPERJulien Binford (American, 1909-1997) labeled verso; measures approximately 20" x 18" with gilded frame and has a sight image of approximately 10-1/4" x 7-7/8"; in good overall condition. Julien Binford was an American painter. He studied at the Art Institute of Chicago and then in France. Settling in Powhatan County, Virginia, he was known for his paintings of the rural population of his neighborhood as well as for his murals. During World War II (1944)they lived in New York and painted views of the port during the war. These paintings (4 full pages in color) were featured in LIFE magazine. In 1946 he was appointed professor of painting at Mary Washington College in Fredericksburg, Virginia, where he worked until his retirement in 1971.
- TWO PHOTOGRAPHS OF ORSON WELLES WITH
TWO PHOTOGRAPHS OF ORSON WELLES WITH MAGIC PROPS.Welles, Orson. Two Photographs of Orson Welles with Magic Props. New York: W. Eugene Smith, for Life Magazine, ca. 1940s. Matte-finish silver prints, depicting Welles in Stuart Robson’s magic shop in New York. Credit stamps to verso of both prints. 10 x 8”. Fine.
- WALTER PHILIPP, GOUACHE/PAPER CLOWNgallery
WALTER PHILIPP, GOUACHE/PAPER CLOWNgallery label verso. Walter Philipp was a New York City artist who painted in the 1940's to1960's. He was part of The Art Students League of New York in the mid 1940's. He was discovered while waiting tables in the 58th Street Delicatessen. The director of The Artist Students League of New York saw his work in the deli and offered him a one man exhibition. The show sold out and became the talk of the New York City art scene of its time. Later he started to exhibit his works around the city, and was featured in Life Magazine, March 15, 1948. Famous for New York cityscapes, floral still life, and clowns, he painted mainly in watercolor and mixed media, which were normally signed "Phillip" lower right. Frame size: 29" high, 25" wide. Provenance: Property of a CT Estate.
Condition:
Any condition information included in our lot descriptions is not the equivalent of a written condition statement, and the absence of condition information does not imply that the lot is free of defects. Our auction lot descriptions reflect our effort to provide accurate, objective and fair information on all lots for sale, and we encourage bidders to request written condition statements and large file images on any lots of interest by emailing condition@woodburyauction.com. We also strongly advise that you or someone on your behalf inspect the lot personally before bidding. All lots are sold "as is" and "where is" and neither we nor any consignor makes any warranties or representation of any kind or nature with respect to the property. There are no returns and no refunds based on condition
- GRP: RADICAL SOCIAL MOVEMENT POSTERS
GRP: RADICAL SOCIAL MOVEMENT POSTERS PAMPHLETS & PAPERS...A group of radical social movement posters, pamphlets, and papers. Includes Mexican Student, or Mexican Movement (Movimiento Estudiantil), posters, Orlando Fais Borda's book "La Subversion en Colombia," a The New Action Army: Our Flag Our Future Join poster, several issues of Life magazine and Young Spartacus newspapers.
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.
- THOMAS BRIGG & SONS WHANGEE UMBRELLA-Ca.
THOMAS BRIGG & SONS WHANGEE UMBRELLA-Ca. 1960 -Classic English umbrella with a sizeable whangee crook handle, a wood pole shaft, metal ferrule, U-shaped steel ribs and stretchers and a blackened brass, sliding runner. The probably refurbished canopy of the umbrella is made up of eight grayish-blue squared pattern silk with matching tie wrap and black steel popper and turned black steel rib tips. -All Brigg umbrellas were things of beauty, but this one is sleeker and more covetable than all the others that had gone before it. Any stylish gentleman was bound to want one, even if he had several Briggs already. -Anyhow, best British quality and repeatedly winners of coveted Design Council Awards, this umbrella obeys to long gone rigorous standards of production and also proves to that it was made to last. -H. 5 ¾” x 7”, O.L. 36” -$100-$200 -Published in the book “In Good Hands, 250 years of craftsmanship at, Swaine Adeny Brigg” by Katherine Prior, pages 120-121, this Brigg umbrella related story is worth two minutes reading. -“One gentleman’s umbrella in particular achieved world fame - this was Neville Chamberlain’s black silk which he took with him to talks with Adolf Hitler at Munich in September 1938. The world, holding its breath in hope of peace, looked on in amazement as photographs emerged of Chamberlain’s immaculately furled umbrella claiming a starring role in the proceedings. A few months later, in January 1939, the same umbrella twirled its way to Rome, when Chamberlain paid a visit to Benito Mussolini. Newspapers devoted column inches to this unlikely symbol of hope, with one or two of Brigg’s salesmen providing discreet insights into the great man’s brolly behaviour. Every few years, they reported, Chamberlain personally brought his umbrella into the St James’s shop to be recovered. While it was being examined, he would while away the minutes admiring and fondling the more flamboyant styles on display, but he was never tempted to buy another, and always ordered simply that his old one be recovered. According to Viscountess Elibank, his wife had given it to him in 1899 and he refused therefore to countenance its replacement. It was a heavy black silk affair, with a Malacca cane handle, seven-eighths of an inch thick, spliced onto a Tonkin cane shaft, with a gilt collar. One of Brigg’s insiders reported that it had originally cost £2 17s 6d, but that if the collar had been of solid gold the price would have been six guineas. It was smart but not showy. `It’s what one might call a Rolls-Royce of an umbrella,’ the insider added. ‘Natty but quiet; solid, but lighter, the sort of umbrella which becomes part of a man, if I may say so.’ The repair men recovered it each time, but they could not help but notice that it had not been opened since they had last ironed its hand-stitched gores into pristine pleats. Chamberlain had most recently brought it in just before he flew to Munich. This press reportage seemed to confirm Chamberlain’s reputation as a sober and restrained politician, not given to rash decisions. In the United States the fascination with Chamberlain’s prop prompted articles on the style and deportment of a true gentleman and kicked off a local revival in umbrellas and parasols. In July 1939 Life magazine devoted an article to the ‘umbrella of appeasement’, which was not yet a derogatory term for most people. For a few short months, umbrellas were no longer associated with soggy gloom, but were wielded in a spirit of hope and optimism. For his part, Hitler, who had resented being forced into a diplomatic conference of `equals’ at Munich, could barely contain his scorn for `umbrella politicians’. At the time all this fuss must have seemed like magnificent publicity for Brigg. Indeed, the shop men could not have spoken to the press without the blessing of Brigg’s management. But ultimately, of course, it was an ironic prelude to the ending of the company’s independence. A few months later, the war that Chamberlain had tried to avert erupted, and soon afterwards Brigg lost their Paris showroom. The merger of Thomas Brigg & Sons with Swaine & Adeney followed in February 1943. When the war was over, a new era of economic austerity and political levelling ensured that the art of making and selling quality umbrellas would never again be quite the same.”
- SIGNED RUTH ORKIN PHOTO "AMERICAN GIRL
SIGNED RUTH ORKIN PHOTO "AMERICAN GIRL IN ITALY" (1951)...Ruth Orkin (American, 1921-1985). "American Girl in Italy" photograph, 1951. Hand-signed on lower right. Following an assignment for LIFE magazine in Israel with the Israeli Philharmonic, Ruth Orkin traveled to Italy where she met the subject of this photo, Nina Lee Craig, in Florence. Nina was an American art student, the two women became friends, and this piece was part of Orkin's series entitled "Don't Be Afraid to Travel Alone" featuring images of what women traveling solo in Europe experienced. In this photo, Orkin presents the 23 year old Craig, as she quickly strolls past a group of gawking men on the sidewalk, all the while gripping her handbag and shawl. This iconic photo has raised many questions over the years. Was it staged? Was Craig breezing by those men, because she felt threatened or was she oblivious to their ogling? For some interesting answers and more history about this iconic photo, please read the extended description below. Size of image: 8.125" L x 12.125" W (20.6 cm x 30.8 cm) Size w/ border: 11.125" L x 14" W (28.3 cm x 35.6 cm) Size of matte: 15.875" L x 19.875" W (40.3 cm x 50.5 cm)
According to a recent CNN interview, Nina Lee Craig insisted that the iconic photo was not staged and that she did not feel threatened by the men around her. Rather, Craig and Orkin's daugher Mary Engel agreed that the photo was intended to represent "independence, freedom, and self-determinations." Orkin was conducting a photo shoot of their adventures, showing people what it was like for women to travel alone in Europe. They shot for 2 hours in Italy, parted ways, and reconnected in Paris and Venice, taking more photos. The series appeared in Cosmopolitan magazine in 1952 in a photo essay entitled, "When You Travel Alone…" The caption for "American Girl in Italy" was as follows: "Public admiration … shouldn't fluster you. Ogling the ladies is a popular, harmless and flattering pastime you'll run into in many foreign countries. The gentlemen are usually louder and more demonstrative than American men, but they mean no harm." Of course, today many will have a different interpretation, and the photo may inspire discussions about harassment and feminism; however, during its time, Orkin and Craig believed they were challenging gender roles. According to Craig, "I look at it and I'm taken right back and it was wonderful. I was an art student. I was carefree. I was 23 and the world was my oyster." Craig and Orkin were kindred spirits who became lifelong friends. (Source: "The real story behind 'An American Girl in Italy'" by Emanuella Grinberg, CNN, March 30, 2017)
According to the Ruth Orkin Photo Archive, "Ruth Orkin was an award-winning photojournalist and filmmaker. Orkin was the only child of Mary Ruby, a silent-film actress, and Samuel Orkin, a manufacturer of toy boats called Orkin Craft. She grew up in Hollywood in the heyday of the 1920s and 1930s. At the age of 10, she received her first camera, a 39 cent Univex. She began by photographing her friends and teachers at school. At 17 years old she took a monumental bicycle trip across the United States from Los Angeles to New York City to see the 1939 World's Fair, and she photographed along the way.
Orkin moved to New York in 1943, where she worked as a nightclub photographer and shot baby pictures by day to buy her first professional camera. She worked for all the major magazines in 1940s, and also went to Tanglewood during the summers to shoot rehearsals. She ended up with many of the worlds' greatest musicians of the time including Leonard Bernstein, Isaac Stern, Aaron Copland, Jascha Heifitz, Serge Koussevitzky and many others.
In 1951, LIFE magazine sent her to Israel with the Israeli Philharmonic. Orkin then went to Italy, and it was in Florence where she met Nina Lee Craig, an art student and fellow American, who became the subject of 'American Girl in Italy.' The photograph was part of a series originally titled 'Don't Be Afraid to Travel Alone' about what they encountered as women traveling alone in Europe after the war.
On her return to New York, Orkin married the photographer and filmmaker Morris Engel. Together they produced two feature films, including the classic 'Little Fugitive' which was nominated for an Academy Award in 1953. From their New York apartment overlooking Central Park, Orkin photographed marathons, parades, concerts, demonstrations, and the beauty of the changing seasons. These photographs were the subject of two widely acclaimed books, 'A World Through My Window' and 'More Pictures From My Window.' After a long struggle with cancer, Orkin passed away in her apartment, surrounded by her wonderful legacy of photographs with the view of Central Park outside her window."
For more about this photo, read "Ruth Orkin, American Girl in Italy, The Making of a Classic" (2005).
This photograph was in the collection of pioneering patron of the arts, Ginny Williams. Sotheby's hosted a series of auctions featuring art and photography in the Ginny Williams Collection in June and July of 2020. Their press release began as follows, "Born in rural Virginia in 1927, Ginny moved to Denver, Colorado in the late 1950s with her husband, Carl Williams. An avid photographer herself, who studied with Austrian-American photojournalist and photographer Ernst Haas, her collecting journey began with classical figurative photography. Her passion and keen eye eventually prompted her to open her namesake gallery in Denver in the 1980s. While her passion for photography never waned, remaining a primary focus of both her gallery and private collection, her voracious curiosity quickly widened her curatorial focus. Over time, Ginny became increasingly courageous and experimental in her selections, venturing into Abstract Expressionism and Contemporary Art and following her artists themselves through gallery shows and museum exhibitions. As the years passed, Ginny became as much of a trailblazer as the artists she collected."
Provenance: private Idledale, Colorado, USA collection; ex-Ginny Williams collection of Denver, Colorado
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#171270
Condition:
Photo is hand signed by the photographer on the lower right margin. The image is vivid and strong. It is set in a protective matte.
- Box Vintage LIFE Magazines
Box Vintage LIFE Magazines
- CYPRESS KNEE MAGAZINE RACKA piece of
CYPRESS KNEE MAGAZINE RACKA piece of uniquely Florida furniture. This magazine rack measures 20" x 12" on top and stands 24" above the floor, and looks like it was designed to hold a bunch of Life magazines. The cleaned and somewhat varnished knees are attached with countersunk nails. Circa 1940. Very good condition. No termite or beaver damage apparent. There are other pieces of cypress knee furniture in this auction. Would fit nicely in a man cave.
- F. LUIS MORA, A MOTHER FROM THE TURQUOISE
F. LUIS MORA, A MOTHER FROM THE TURQUOISE LANDF. Luis Mora, (1874 - 1940) A Mother from the Turquoise Land, oil on canvas signed lower right: F. Luis Mora signed, titled and inscribed verso oil on canvas Dimensions: 30 1/4 x 25 1/4 in. (76.84 x 64.14 cm.), frame: 36 1/8 x 31 x 1 1/2 in. (91.76 x 78.74 x 3.81 cm.) Provenance: The Artist Grand Central Art Galleries, Inc., N.Y., New York Cover of Arizona Life magazine
- JOHN JOHANNSEN FLORAL STILL LIFE PAINTING
JOHN JOHANNSEN FLORAL STILL LIFE PAINTING California,1929-2013Post impressionist depiction of an array of pink and blue bachelor's button flowers nestled in a yellow vase housed in a finely carved wood frame. Johannsen studied at the Rudolph Schaeffer School of Design before getting a job as a designer for Saks Fifth Avenue. His art and design were featured in Life magazine, Vogue, Paris Vogue, Better Homes and Gardens and The New York Times.
- PHILLIP CORBET (BRITISH. 1802-1877)Portrait
PHILLIP CORBET (BRITISH. 1802-1877)Portrait of David Pugh, Esq 1841. Signed on the reverse and inscribed A Portrait of David Pugh, Esq of Llanerchydol, M.P. for Montgomeryshire, Boros. 1832-1847, By P. Corbet AD. 1841 Oil on Wood Panel. Measuring 19 by 16 in., in a gilt frame 27 by 22 in. David Pugh (1789-1861) was a wealthy tea trader, a Welsh landowner and Conservative politician who sat in the British House of Commons in 1832, and again in 1847 and 1861. The Pugh Family were the original owners of Llanerchydol Hall with its 2000 acre plus estate grounds. David's father, Charles, who died in 1796, built the house in 1776, on the site of what was thought to be an older Pugh family home, thought to be destroyed by fire. In 1820 David Pugh rebuilt the house in a fanciful Gothic Revival style, undoubtedly influenced by the romanticized Brighton Pavilion and the fashionable architectural styles designed and built by John Nash. The house and grounds descended in the Pugh family through 1912, when it was eventually sold. In 1912, Llanerchydol Hall was featured in a Country Life Magazine Article, it was then advertised for sale, and presumably sold once again.
- THOMAS HART BENTON (1889-1975) PENCIL
THOMAS HART BENTON (1889-1975) PENCIL SIGNED LITHOThomas Hart Benton (Missouri, 1889-1975)Discussion (1969)The lithograph from an edition of 250 prints published by Associated American Artists is signed by the artist in pencil below the image lower right, Fath number 82.Benton's comments in Fath read: 'In the summer of 1937, Life magazine hired me to report, with drawings, on the famous 'sit down' strikes occurring in the Detroit area at the time. Some newspaper reporters had written of these strikes as if they were the beginnings of revolution. I found neither talk about or desire for revolution, only an itch for more money. The drawing from which this litho was made represents a discussion between a union recruiter and a negro worker. The Union boss sits in the background looking on.'Image size 9.75 x 12, sheet measures 12.75 x 18, the frame is 20.5 x 22 inches.Very good condition, the full untrimmed sheet, not laid down, no damage, stain, puncture or repair as shown here outside the frame and mat. There is a very pale outline of toning that frames the image from a previous mat, very good overall.
- THOMAS HART BENTON (1889-1975) PENCIL
THOMAS HART BENTON (1889-1975) PENCIL SIGNED LITHOGRAPHThomas Hart Benton (1889-1975)Discussion (1969)The nice, clean example in fine condition is published by Associated American Artists in an edition of 250 prints on wove paper and signed by the artist in pencil below the image lower right, Fath catalog number 82.This is a fine, dark impression in exceptional condition.Benton's comments in Fath read: 'In the summer of 1937, Life magazine hired me to report, with drawings, on the famous 'sit down' strikes occurring in the Detroit area at the time. Some newspaper reporters had written of these strikes as if they were the beginnings of revolution. I found neither talk about or desire for revolution, only an itch for more money. The drawing from which this litho was made represents a discussion between a union recruiter and a negro worker. The Union boss sits in the background looking on.'Image measures 9.75 x 12, sheet is 12.75 x 18, and frame is 19.75 x 23.5 inches.Fine to near mint condition, very clean, the full untrimmed sheet with four deckle edges, not laid down, no damage, stain, punctures, tears or repair; a very fine example framed to archival standards in acid free mounts.Provenance: A private Kansas City collection.
- A Queen Anne Walnut Side Table
18th
A Queen Anne Walnut Side Table
18th Century
Height 28 3/4 x width 31 x depth 19 1/2 inches.
Advertised in Country Life magazine, December 1963.
Property from a Private Collection
- ASSORTED ITEMS RELATING TO THE DUKE
ASSORTED ITEMS RELATING TO THE DUKE OF WINDSORASSORTED ITEMS RELATING TO THE DUKE OF WINDSOR Including a Life Magazine published May 22, 1950, an issue of the Evening Star published December 10, 1936 regarding the abdication, a glass along with other assorted ephemera.
- ROBERT BENNEY (AMERICAN, 1904-2001),
ROBERT BENNEY (AMERICAN, 1904-2001), PORTRAIT OF ROSE BAMPTON Oil on board, 1943, inscribed to verso possibly in artist's hand: "Rose Bampton / Painted for RCA Victor / one of a series of portraits of noted musicians / LIFE Magazine / 1943 / Sat. Eve. Post / Robert Benney," in wooden framing.
- CARROLL N. JONES JR., AMERICAN (1917-2009),
CARROLL N. JONES JR., AMERICAN (1917-2009), AFRICAN AMERICAN BOYS STREET SCENE, OIL ON BOARD, 25"H X 21"W (SIGHT), 29 1/4"H X 25"W (FRAME)Carroll N. Jones Jr., American, (1917-2009) African American boys street scene, oil on board Signed lower right. Carroll N Jones Jr was a Vermont artist most well known for his portrait of Governor Howard Dean that hangs in the State House in Montpelier. Jones worked in Medical illustration for the Army during World War II. He was also a commercial illustrator who worked for Saturday Evening Post, Life Magazine, Old Crow Bourbon and many others. Mr. Jones art has mostly been sold privately. oil on board Dimensions: 25"H x 21"W (sight), 29 1/4"H x 25"W (frame)
- NEWELL CONVERS (NC) WYETH, AMERICAN
NEWELL CONVERS (NC) WYETH, AMERICAN (1882-1945), N.C. WYETH AND HIS GRANDSON, EXHIBITION POSTER, 23 1/2"H X 19 1/4"W, 25 1/4"H X 21 1/4"W (FRAME)Newell Convers (NC) Wyeth, American, (1882-1945) N.C. Wyeth and His Grandson, exhibition poster Signed lower right by Jamie Wyeth. A Legacy, Terra Museum of American Art, Chicago. Biography from the Archives of askART: The following is from The New York Times online edition, 1/25/2001: N.C. Wyeth (1882-1945), America's greatest illustrator as well as an accomplished easel painter, dedicated his career to depicting American subjects in a fresh, energetic manner uninfluenced by European art - "true, solid American subjects - nothing foreign about them," as he put it in 1903. Reflecting times in which unconditional loyalty to country was taken for granted and the American flag was a sacred symbol of freedom, N.C. executed works that encapsulated those very American qualities. As television anchorman Tom Brokaw points out in his catalogue essay, the patriarch of the Wyeth clan "was a man of the first half of the century, roughly from Theodore Roosevelt to Franklin Delano Roosevelt, when Americans seemed to be framed in red, white and blue bunting and the background music was "Yankee Doodle Dandy" or Kate Smith singing "God Bless America". N.C.'s lifelong veneration for America's historical traditions, growing out of his New England heritage and strengthened by his Chadds Ford residency in the history-rich Brandywine Valley, manifested itself in idealized, heroic images of such larger-than-life personalities as Paul Revere, George Washington, Nathan Hale, Thomas Jefferson, John Paul Jones and Abraham Lincoln. He painted stalwart views of Stonewall Jackson and Ulysses S. Grant and action-packed renditions of Civil War combat, suggesting valor and patriotism on both sides. Commissioned by the government during World War I to create recruiting and propaganda posters, Wyeth had an output that ranged from images of brave doughboys helping their wounded mates, in "WWI Poster" (1918), to dramatic paintings of terrified Huns surrendering to gun-toting American infantrymen in Kamerad! (1919). Along with other Americans, N.C. was horrified by stories of atrocities committed by the German Army. He responded with vivid, impassioned images, such as "The Abdication of Attila" (1917), done for Life magazine, that suggested that Kaiser Wilhelm had outstripped the infamous Attila the Hun as the epitome of "supreme evil" and the "arch-tyrant" of history. Pondering an offer from the War Department to become an official artist at the Western Front, Wyeth remarked, "I wouldn't mind a crack at a Boche or two, and would be tickled to death if I could disembowel their divine leader...." Responding with equal patriotic fervor to the challenge of World War II, Wyeth underscored the determination of Uncle Sam and our citizen army in Amateurs at War: The American Soldier in Action (1943) and the heroism of GIs in the Pacific in Marines Landing on the Beach (1944). He recognized the contributions of farmers to the Allied effort in Soldiers of the Soil (1942), an illustration for a Brown and Bigelow calendar, and in another calendar work, Our Emblem (1944), reflected the symbolism of the American eagle protecting a tranquil New England hamlet. Wyeth's colorful Buy War Bonds (1942), featuring an assertive Uncle Sam clutching Old Glory and urging on planes overhead and infantrymen on the ground, helped the Treasury Department sell a lot of bonds to back the war effort. One poster sold $200,000 worth of bonds, while another took in $1 million, according to Wyeth biographer David Michaelis. In a tempera-on-panel, The War Letter (1941) he depicted his parents on the bucolic grounds of their home in Needham, Mass. As his mother reads a letter from the morning mail and a newspaper describing overseas developments lies next to her, his father looks on. It is a poignant vignette reflecting keen home front concern about unfolding wartime events. To N.C. Wyeth, the choice between good and evil, freedom and tyranny in both World Wars was clear. His characteristically bold, forceful images, imbued with old-fashioned patriotism, helped spur an embattled America on to victory in both conflicts. exhibition poster Dimensions: 23 1/2"H x 19 1/4"W, 25 1/4"H x 21 1/4"W (frame)
- HEMINGWAY, OLD MAN AND THE SEA, FIRST
HEMINGWAY, OLD MAN AND THE SEA, FIRST APPEARANCE Original issue of Life Magazine, September 1, 1952 containing complete first edition of the OLD MAN AND THE SEA. Together with about 12 issues of The Sportsman and Country Life (late 1930s).