FORE-EDGE PAINTED BOOK, WIT OF DR. JOHNSONFORE-EDGE PAINTED BOOK, WIT OF DR. JOHNSON A fore-edge painted book, titled The Wit and Sagacity of Dr. Johnson. Printed circa 1890-1900. Fore-edge painting shows a scene of children on a hillside from ?The World of Surrey? after Birket Foster and was done by Vera Elinor Dutter (American, 1904-1991), a well-known artist of the genre. Miniature book bound in a full navy-blue Morocco by Riviere (stamped by Riviere at the first blank end paper as well). Beautiful gilt-tooling along the panel borders with raised bands and gilt titling. Clean, very well-preserved and near Fine. All edges gilt. Color title page and frontispiece. "Passages from Dr. Samuel Johnson -- Selected and Arranged by Norman J. Davidson.? 163pp.
8VOL JOHN RUSHWORTH HISTORICAL COLLECTIONS,8VOL JOHN RUSHWORTH HISTORICAL COLLECTIONS, 1659 Eight volume set of Historical Collections of Private Passages of State, of Weighty Matters in Law, of Remarkable Proceedings in Five Parliaments, Beginning The Sixteenth Year of King James, Anno 1618. And ending the Fifth Year of King Charls, Anno 1629 Digefted in Order of Time, and now Published by John Rushworth, of Lincolns-Inn, Esq. Rushworth's Historical Collections published in 1659 by Tho. Newcomb for George Thomafon, at the Sign of the Rose and Crown in St. Pauls Churchyard. All eight volumes have their original 17th century boards attached to a repaired spine. The spine features gilt titling on a field of red. Raised bands with gilt decoration. This is a very scarce complete set.
LUCIAN, DIALOGI ET ALIA MULTA, 1522LUCIAN, DIALOGI ET ALIA MULTA, 1522 ALDINE EDITION Lucian of Samosata. Luciani Dialogi et alia multa opera quorum index est in proximis paginis. Imagines Philostrati. Eiusdem Heroica. Eiusdem vit? Sophistarum. Imagines Junioris Philostrati. Descriptiones Callistrati. Venice: In aedibus Aldi, & Andrae Asulani soceri, October, 1522. Third edition in Greek and second Aldine edition of Lucian's Dialogues (the edition princeps was published in Florence in 1496, and the first Aldine edition was published in 1503) and second edition of the Philostratean texts and the Callistratus. Title and preliminaries in Greek and Latin, text in Greek. Greek and Roman letter. Aldine woodcut anchor and dolphin device on title and on verso of final leaf. Very rare to see the printer?s device twice. Capital spaces with guide letters. Imprint from colophon. With a preface by Franciscus Asulanus. At the demand of the Congregation of the Index Expurgatorius (otherwise known as the Inquisition) pages 385-92 and 435-440 were removed in order to destroy two passages, p. 386 and 436" (Ebert). Those pages are missing in this edition. Full early 17th century panelled brown leather binding. Raised bands and gilt titling on the spine. Speckled page edges. 55 lines plus pagination. 571pp. 4to. "The first of these Aldine editions...is very imperfect, and apparently taken from inaccurate MSS, without any collation of the edition princeps. The second is rather more valuable, and has served as the basis of many subsequent editions. It exhibits in some places a purer text than the Florentine edition" (Dibdin, Greek and Latin Classics II, pp. 190-191). Brunet III, cols. 1206-1207. Ebert 12374. Renouard, p. 95, 4.
GEORGE FINDLAY (BRITISH EARLY 20TH CENTURY)GEORGE FINDLAY (BRITISH EARLY 20TH CENTURY) OILGeorge FindlayLoch Katrina Scotland (Early 20th Century.)The view across a Scottish lock with shepherd and livestock before colorful mountain passages is signed in red pigment lower left front and titled by a period label verso.Canvas measures 24 x 30 with a framed size of 29.5 x 35.5 inches.Very good original untouched condition. There are no issues of major scratches, losses, repairs, in-painting or touch-up.
JUDAICA. ASSORTED GROUPING OF STERLINGJUDAICA. ASSORTED GROUPING OF STERLING AND Silverplated Hollowware. Including a gold tone kiddush cup with modernist embellishments; a figural kiddush cup depicting a Chatan and Kallah under the Chupa, with Hebrew writing stating, “Kol Sasson v’Kol Simcha, Kol Chatal v’Kol Kallah?? which translates to “The sounds of joy and the sounds of happiness, the sound of the groom and the sound of the bride??), surely passages from the Sheva B’rachot ceremony - stamped verso, "925"; an engraved child's sterling kiddush cup with a repousse flowers, rope handle and Hebrew writing stating "Good Boy" - stamped verso, "925"; a child's sterling kiddush cup decorated with 3-dimensional flowers, vine handle and Hebrew writing stating "Good Boy" - stamped verso, "925"; a sterling kiddush cup with beaded border and Hebrew writing accompanied by a matching sterling dish - stamped, "925"; and a silverplated challah bread knife. Total approx. weight of all sterling items is 10.67troy oz (gross), excluding silverplated items. From an E 96 St, Manhattan estate. Dimensions: challah knife measures approx. 14.50" in length. Condition: Good, with light surface scratches and minor dings/dents. The wedding kiddush cup exhibits (2) dents.
Frederick Hart
(American, 1943-1999)
Passages,Frederick Hart
(American, 1943-1999)
Passages, 1987
Acrylic resin
signed at base
17 1/2 x 17 1/2 x 6 inches.
Scott Maty Jaszek photograph, TexasScott Maty Jaszek photograph, Texas Mission, with info on reverse, 15” x 11” overall. Oil on board with wax covering depicting trees, inscribed on reverse 'Rituals & Passages: Dynasty 2002”, signed on side Kathy A. Halam??, 2002, 12” x 12”. Condition: oil on board with some edge roughness and minor flaking CT Transfer Fee $10
KALON BAUGHAN (1966-), PASSAGES Title:KALON BAUGHAN (1966-), PASSAGES Title: Kalon Baughan (1966-), Passages Dimensions: 31 x 28 Frame dimensions: 40 1/2 x 37 1/2 x 2 1/2
Adja Yunkers 1900–1983. Passages desAdja Yunkers 1900–1983. Passages des soupirs. 1973, screenprint in colors. 39? h × 28? w in. result: $1,125. estimate: $700–900. Signed, titled, dated and numbered to lower edge ‘Passages des soupirs 57/90 Adja Yunkers 73’. This work is number 57 from the edition of 90.
Michael Pavlik. Blue Gate with Red PyramidMichael Pavlik. Blue Gate with Red Pyramid (from the Gates and Passages series). 1995, cast and polished glass. 15¼ h × 16 w × 7¼ d in. result: $1,375. estimate: $2,000–3,000. Etched signature and number to edge ‘Michael Pavlik H 2146 1995’.
LARGE ARCHIVE OF FAUCETT ROSS-FRANKLARGE ARCHIVE OF FAUCETT ROSS-FRANK CSURI CORRESPONDENC...Ross, Faucett. Large Archive of Faucett Ross-Frank Csuri Correspondence. Spanning 1961-75, Ross's letters cover wide-ranging topics, from his opinions and routines/handlings for various magic tricks ("The [Paul Fox] Candy Bowl to me is one of the most valuable props extant"), to Csuri's famous underground notebooks, to their mutual acquaintances, namely Charlie Miler, Dai Vernon, John Braun, T. Nelson Downs (Ross describes receiving Downs' "suitcase show," coin wand, and top hat as a gift), and other well-known magicians. Also included is a handwritten 13-page prospectus for an unrealized Vernon/Ross collaboration, a book on gambling artifice broken into five programs ("It should be made clear that Mr. Vernon's purpose is not to teach one to become a cheater, but rather to educate [the] public so that it may be protectedÉ"). Other tantalizing passages include lines such as "Finally got the low down on "Revelations": apparently Jay Marshall is going to publishÉ" "Éhere is an item to add to your Vernon bibliographyÉ" and "Charlie [Miller] doesn't appear concerned about his forthcoming trialÉadmits he's probably guilty." Many of the letters deal with Vernon, his magic, and his doings, as Ross was instrumental in Csuri's recording of Vernon secrets and routines from correspondence. Many original mailing covers and one photograph of Vernon included. Approximately 100 letters spanning some 200 pages, most filled front-and-back, neatly organized.
BERTRAM, ROSS. GROUP OF ROSS BERTRAM/JEFFBERTRAM, ROSS. GROUP OF ROSS BERTRAM/JEFF BUSBY CORRESP...Bertram, Ross. Group of Ross Bertram/Jeff Busby Correspondence. Spanning 1976 - 86, and including handwritten endorsements for Busby publications by Bertram, as well as notes related to the Dai Vernon $1000.00 lecture tour, Busby's First California Lecture publication, lengthy passages regarding Bertram's efforts to document his sleight-of-hand techniques in book form ("I have set aside twelve file folders of notes and routinesÉ"), Bertram's Cups, and other salient topics related to gambling, magic and the like. Handwritten on blanks and Bertram's stationery, together with many carbons of Busby's replies. Over 35 pages, neatly organized.
C.K. MILLER, "S.S. DONEGAL" O/CCharlesC.K. MILLER, "S.S. DONEGAL" O/CCharles Keith Miller (British, 1836–1907), signed lower left and dated 1906; together with original bill of sale from Parker Gallery, London, 1984. Frame Size: 30" high", 54 1/2" long, relined. Miller was born in the port of Dundee, Scotland.He first went to sea at the age of 15, aboard the steamer Correo. After 10 years of maritime service he was awarded his master’s certificate in 1861. He spent three years captaining barques to the Far East before moving on to shorter passages insteamships. Miller’s first known painting is dated 1872, during which time he was attempting to become a ship portrait painter to increase his income. He temporarily relinquished his captain’s service for the next six years to concentrate on maritime art. He briefly returned to sea in 1878 as master of the steamship Sandringham for two voyages, before finally retiring in 1888 to concentrate on his marine art. Provenance: Estate of George E.Ratcliffe, Darien, CT.
Condition:
Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction.com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
19TH C. TURKOMAN SILVER BRACELET W/19TH C. TURKOMAN SILVER BRACELET W/ CARNELIANCentral Asia, Turkmenistan and Afghanistan, Turkoman (Turkman) Tekke peoples, ca. 19th century CE. A striking gilded silver bracelet consisting of three horizontal registers adorned with incised scrollwork motifs and 9 carnelian oval inlays of fiery red hues. The silver is of high quality (90% silver) and much of it is graced with passages of gilding (comprised of up to 50% gold), making for a golden glow that contrasts with the exposed silver of the raised borders and 14 spikes that line the opening, 7 on either side. Size: 3.3" L x 2.875" W (8.4 cm x 7.3 cm); opening measures 2" L x 2.625" W (5.1 cm x 6.7 cm); carnelian stones (all about the same size) measure .625" W x .375" H (1.6 cm x 1 cm); total weight: 196.6 grams. Precious metal quality: 90% silver with gilded areas of up to 50% gold
Beautiful jewelry like this was a hallmark of elite members of Turkoman society. Powerful people wore the items they commissioned or gave them as diplomatic gifts to rulers and elites in other countries as a way of showcasing the wealth of their own region. Jewelers worked on commissions from the richest members of society, obtaining precious metal from various mountains in the area, including Ferghana and the Zartalash east of Tashkent. Jewelers worked with a variety of different precious and semi-precious stones, also sourced from far afield. Artisans in cities like Bukhara, Samarkand, and Tashkent kept alive metalworking traditions once prevalent during the medieval period long after Europeans lost them.
Provenance: private Hawaii, USA collection, ex Beverly Hills, California, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
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#140977
Condition:
Wearable. Minor abrasions and indentations to some areas, with fading to gilding along some areas - though much remains. Minor scuffs/nicks to stones, otherwise intact and very good. Minor indentations to bezels and expected surface wear to other precious metal areas. Overall very nice and silver/gilt silver has developed a warm patina over time.
SIGNED WILLIAM DRAPER PAINTING - SKISIGNED WILLIAM DRAPER PAINTING - SKI SCENE, CA. 1940SWilliam Franklin Draper (American, 1912-2003). Oil on canvas board, ca. 1940s. Signed "Wm. F. Draper" on lower right. A fabulous painting of skiers enjoying some wintertime fun with a red steepled church gracing the scene as well. On the verso, the location is identified as Stowe, Vermont. Stowe has been called the "Ski Capital of the East" with good reason; it is the birthplace of alpine skiing in Vermont, beloved for its perfect New England snowfalls, and interestingly, home to the United States' oldest ski patrol. The central focus of the composition is a group of skiers with a church to the right. Humorously, Draper has also included a pair of crutches leaning against a fence in the foreground. Draper has captured the charm of this slopeside destination with his characteristic style, replete with a striking color palette, loose brushwork, and wonderful impasto passages. A delightful painting presenting folks eager to enjoy the snow-covered hills of this winter wonderland, though the crutches certainly suggest his word of caution. Size: 20" L x 23.875" W (50.8 cm x 60.6 cm)
William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999.
More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano.
Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture," William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals. This clock belonged to Princess Margaret Draper Boncompagni - William Draper's aunt who was an American heiress and married Prince Andrea Boncompagni in the 1920s.
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#153737
Condition:
Minor age wear to the peripheries. Otherwise, the painting is in very nice condition and is signed by Draper on the lower right. "Stowe, VT" is handwritten on the verso. Draper Estate stamp on the verso.
1980S BILL KANE MIXED MEDIA W/ NEON,1980S BILL KANE MIXED MEDIA W/ NEON, PHOTO, & PAINTINGBill Kane (American, b. 1951). Mixed media - photo, neon, paint and canvas, ca. 1980s. A large-scale Bill Kane mixed media work that features the artist's black and white photograph of an urban wall in the Bay Area plastered with posters for concerts and political events, marked with passages of grafitti, superimposed with a striking zigzag of neon tubing on the left side, and hand-painted with a red square on the right that is overlapped by a section of canvas that is quadrilateral in shape and painted a bold yellow with red drips and black dots. Kane's inclusion of neon tubing provides a dramatic contrast with his black and white photography. Mark Levy compared the malleable neon tubing to "a kind of Abstract Expressionist calligraphy, an expressive tool that charges and makes visible the energy locked within the wall." Kane's painted square and canvas provide additional visual layers that conjure homages to modernist innovations such as Mondrian's grids, Picasso's Synthetic Cubist collages, and Pollock's drip paintings. Size: 48.5" L x 83" W (123.2 cm x 210.8 cm)
Among the countless intriguing elements captured in the photograph of this piece are: a drawing of a skull peering out from the zigzags of the neon tube; three posters for reggae artist Gregory Isaacs with the Roots Radics Band from Jamaica; handwritten advertisements for "L.A. ARTIST MICHAEL LE DONNE-BHENNET SOUNDHOUSE - A SOUND PERFORMANCE INSTALLATION" and "OAKLAND ARTIST AL PAYNE EAST BAY BONERS A PERFORMANCE"; and posters for a band called Permanent Waves.
In 1977, Bill Kane began photographing the city walls of San Francisco. According to Mark Levy, "For the artist, the walls of San Francisco were windows which recorded the raw sensation of city life. Kane's stark black and white photographs with their close up viewpoint and large scale format captured the markings of the weather, age and the rough denizens of the artist's gritty neighborhood." Kane continued to develop his artistic expression by introducing neon tubing in 1978 which Levy described as a "cathartic act by which Kane began to release the inherent energy he felt within the wall surface" and also layering his works with various artistic gestures, hence his painting of a red square and superimposing a drip-painted canvas in this example.
Among the many colorful descriptions of Bill Kane's work, art historian Andrea Liss encapsulates his significance in the opening of her catalogue essay for "Bill Kane: Selected Photography and Neon Works" (1983), "It can be said that Bill Kane is a neon artist, a photographer, and a collagist who works in three dimensions. These descriptions are accurate, but they only touch the surface of what his artmaking is about. The heart of the matter is that Kane sets out to chronicle, metaphorically, through visual language, the structure of the physical world and the mysteries hidden within it."
Museum collections for Bill Kane works include: Museum fur Moderne Kunst, Frankfurt, Germany; San Francisco Museum of Modern Art, San Francisco, CA; The Carnegie Museum of Art, Pittsburgh, PA; The Oakland Museum, Oakland, CA; Stanford University, Stanford, CA; Crocker Art Museum, Sacramento, CA, and Museum of Neon Art, Los Angeles, CA.
Provenance: ex-William and Jane Frazer, Aspen, Colorado, USA, acquired 1980s
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#167653
Condition:
The photograph is in very good condition save a few minor scuffs. Painted square and canvas section are in excellent condition. Wiring is old, and while it does function and the neon does currently light casting a golden yellow glow, we would recommend rewiring the piece to bring it up to code.
SIGNED 1960S MORRIS KANTOR PAINTINGSIGNED 1960S MORRIS KANTOR PAINTING - "OPEN DOOR"Morris Kantor (Russian-American, 1896-1974). "Open Door" oil on canvas, ca. 1960s. Signed by the artist on the lower left. A striking painting by Morris Kantor that, while abstract, still manages to conjure associations with the natural world. A juxtaposition of undulating forms seem to reference human figures and living flora, and passages of gestural brushwork suggest interior life at the tissue and cellular level. All is delineated in a vibrant palette - shades of lemon yellow, violet, royal blue, peach, mint green, ruby red, azure, and cerulean - and set in a custom frame that is embellished with a gold pigment. A spectacular painting in which Kantor masterfully engaged with Biomorphic Modernism. Size of painting: 50" L x 36" W (127 cm x 91.4 cm) Size of frame: 50.75" L x 36.625" W (128.9 cm x 93 cm)
Born in Minsk, Russia (now Belarus) Morris Kantor immigrated to the United States in 1906 when he was just a child. There is some debate as to whether he was with family or alone, but we know that he was very young, lived in New York City, and earned enough money working in the Garment District to enroll in art school by age 20. Kantor began attending the Independent School of Art in New York in 1916 and went on to teach at Cooper Union during the 1940s and the Art Students League from 1936 to 1972. Many of his students - including Robert Rauschenberg, Knox Martin, Susan Weil, and Sigmund Abeles - became quite famous in their own right.
Kantor maintained a studio in Manhattan, close to Union Square, as well as on Cape Cod in Wellfleet, Massachusetts. During the 1920s, he also worked in Paris. His arts circle included notable modernists such as the sculptor Isamu Noguchi. During the 1930s, Kantor supervised a Federal Arts Project Easel Painting Project in Rockland County, New York. The following decade he spent some summers in Monhegan, Maine, and in the 1960s his work was shown at Bertha Schaefer Gallery in New York City. Kantor's work has also been exhibited at the Smithsonian American Art Museum, the Hirshhorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Denver Art Museum, the Whitney Museum of American Art, and other prestigious institutions. His honors include receiving the Logan Medal of the Art Institute of Chicago and the Temple Medal of the University of Illinois. Kantor's oeuvre was vast and impressive, as he explored numerous styles ranging from realism colored by a hint of Surrealism to abstract movements including Cubism and Futurism.
Provenance: Private M. C. collection, Irvine, California, USA; Ex-Morris Kantor collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#168235
Condition:
Painting is signed by the artist on the lower left. The title "Open Door" is handwritten on a stretcher bar as well as on a white label on the verso. The painting has some expected age wear with minor scuffs here and there and could probably be restretched, but the imagery and coloring are still strong.
SIGNED DRAPER PORTRAIT - LADY IN WHITESIGNED DRAPER PORTRAIT - LADY IN WHITE HAT, 1987**Originally Listed At $400**
William Franklin Draper (American, 1912-2003). "Lady in White Hat" - oil on board, 1987. Signed and dated "Wm. F. Draper '97" on lower right. A wonderful portrait of a sophisticated lady by American artist William Draper. The sitter wears a wide-brimmed white hat to match her blouse. A vision of style and grace, she looks out at the viewer with a disarming smile. The background is a symphony of spring green, teal, and turquoise hues delineated in expressive strokes with bold passages of impasto. A beautiful portrait set in an attractive custom frame. Size of painting: 14.75" L x 11.125" W (37.5 cm x 28.3 cm) Size of frame: 20.25" L x 16.7" W (51.4 cm x 42.4 cm)
Draper became known as the "Dean of American portraitists" and Boston MFA Director Emeritus Peter Rathbone compared Draper's skill to that of master John Singer Sargent. Rathbone, whose portrait Draper also painted stated, "Nature endowed William F. Draper with enough talents to require him to choose among them before embarking on a professional career. Yet to those who know him, it is hard to imagine that any natural bent could rival his personal endowment as a painter of portraits … Draper's painting belongs to the tradition of Sargent. Like Sargent's, his style is fluid with virtuoso brushwork as the identifying characteristic. Like Sargent, the preparation of the painting by Draper is all in the artist's eye. Unlike Sargent's detachment, Draper's understanding and love of people and his appreciations of physical subtleties are happily projected into his work. These traits are the source of the warmth and vitality of his portraiture. They are also the reasons why his portraits are fine likenesses. And it is not too much to say that something of his own vibrant personality is reflected in everything he paints." ("Portraits Period" by Portrait Brokers of America, 1990, p. 46)
William Draper's career spanned seven decades and his subjects included a portrait of John F. Kennedy that hangs in the National Portrait Gallery in Washington D.C. based upon an oil sketch for which the president sat in 1962. Draper was actually the only artist who painted JFK from life. Draper showed at Knoedler, the Graham Gallery, Portraits, Inc., the Far Gallery, The Findlay Galleries (New York, NY) and the Robert C. Vose Galleries (Boston, MA). His work has been included in shows at the National Portrait Gallery and the Corcoran Gallery of Art (Washington, D.C.), The National Academy of Design (New York, NY), The Boston Museum of Fine Arts, (Boston, MA) the Fogg Art Museum, (one of the Harvard Art Museums, Cambridge, MA), the National Gallery, (London), Salon de la Marine (Paris) and in museums in Australia. He also taught at the Art Students League of New York, and received a lifetime achievement award from the Portrait Society of America in 1999.
More on the artist's background: William Franklin Draper was born in Hopedale, Massachusetts on December 24, 1912. A child prodigy, he studied classical piano at Harvard University. He later changed his focus to fine art and studied with Charles Webster Hawthorne and Henry Hensche in Provincetown, Rhode Island. Draper also attended the National Academy of Design in New York and the Cape Cod School of Art in Massachusetts. Then he traveled to Spain and studied with Harry Zimmerman, moved on to France and attended the Academie de la Grande Chaumiere. In 1937, he moved to Boston to study sculpture with George Demetrius and also studied with Jon Corbino in beautiful Rockport, Massachusetts. In 1942, Draper joined the Navy and served as a combat artist when stationed on the Aleutian Islands and in the South Pacific. He observed and painted battle scenes on Bougainville, Guam, Saipan, and other locations, as well as genre scenes of soldiers who were not engaged in combat but rather at work and at play. National Geographic magazine reproduced 25 of his war images in four issues in 1944. In 1945, the Corcoran Gallery of Art in Washington D.C. organized a group exhibition of works by five official war artists, including Draper. That same year the Metropolitan Museum of Art included Draper in an exhibition entitled, ''The War Against Japan.'' Draper was also featured in a PBS television show about combat artists entitled, "They Drew Fire" in May of 2000. After the war, Draper opened a studio on Park Avenue in New York City and continued to not only paint, but also play classical and jazz piano.
Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003), an accomplished American artist whose career spanned seven decades. Known as the "Dean of American Portraiture," William Draper was the only artist to paint President John F. Kennedy from life, and his oeuvre includes marvelous landscapes from his world travels, military paintings as he was one of only seventeen Combat Artists in WWII, and portraits of illustrious individuals.
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#152331
Condition:
Painting has not been examined outside the frame but appears to be in excellent condition. Signed and dated "Wm. F. Draper '97" on lower right. Draper Estate stamp on the verso. Wired for suspension and ready to display.
SIGNED SIMON BULL PAINTING - SONGBIRDSIGNED SIMON BULL PAINTING - SONGBIRD (2016)Simon Bull (British-born in 1958, became American citizen in 2011). "Songbird" - acrylic painting on canvas, 2016. Hand-signed "Simon Bull" followed by a heart in red pigment on the lower left. A breathtaking composition by Simon Bull, featuring a close-up view of an enormous floral blossom - its petals delineated in shades of violet, lavender, royal blue, and aqua with a central pistil of complementary lemon yellow, vermilion red, apricot orange, and blushing pink, all surrounded by painterly passages of spring green, buttercup and lemon yellow, rose red, petal pink, teal, aqua, royal blue, sky blue, and magenta. An outstanding and impressively large-scale painting by Simon Bull that is set in an attractive custom frame that makes an enthralling visual statement. Size: 36" L x 36" W (91.4 cm x 91.4 cm) Size of frame: 46" L x 46" W (116.8 cm x 116.8 cm)
Of note: Simon Bull was diagnosed with cancer in 2005, and following a surgery, he had visions of vibrant colors against dark backgrounds in his dreams. Bull's interpretation of his dreams was that he should enjoy life and live in the present moment. Perhaps it was this "stop and smell the roses moment" that inspired homages to nature like this example. In Bull's words, "We have to seize the day and live fully in this moment. When times get hard, sometimes it brings out the best in us." (Source: "Lessons Learned from Simon Bull" September 8, 2016 - Park West Gallery website)
Simon Bull earned a BA in Fine Art with honors from Leeds Polytechnic in 1980. He studied under Norman Webster and Norman Ackroyd. In addition to beautiful floral compositions like this example, Bull was invited to create a series of paintings celebrating Muhammed Ali in 2007 - and in 2009, Muhammad Ali commissioned Bull to paint portrait of President Barack Obama. According to Bull's website, "His two joint portraits of Barack Obama and Muhammad Ali were unveiled at the Kentucky Bluegrass Ball on the eve of the Presidential Inauguration in Washington DC by actress Ashley Judd."
Please note: this piece will be accompanied by a signed copy of "Journey: The Art of Simon Bull" by Simon Bull (2016).
This piece has been searched against the Art Loss Register database and has been cleared. The Art Loss Register maintains the world’s largest database of stolen art, collectibles, and antiques.
Provenance: private R. H. collection, Littleton, Colorado, USA
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#166880
Condition:
Both the painting and the frame are in excellent condition. The painting is hand-signed "Simon Bull" followed by a heart in red paint on the lower left. Title, date, and dimensions are handwritten on the verso of the canvas. Artwork is wired for suspension and ready to display.
EXHIBITED MORRIS KANTOR PAINTING - RENDITION,EXHIBITED MORRIS KANTOR PAINTING - RENDITION, 1965Morris Kantor (Russian-American, 1896-1974). "Rendition" oil on canvas, 1965. Signed and dated at lower right. A monumental painting by Morris Kantor that demonstrates the artist's avant-garde aesthetic and was included in the American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968). "Rendition" features a central arrangement of organic forms and gestural passages delineated in pastel colors via loose brushwork and rich impasto; a hard-edge step-like motif to the left rendered in bold red and blue hues; and a biomorphic section on the right delineated in various shades of green ranging from sage to jewel tone jade with a slender red curvilinear border down its left side. Kantor was particularly interesting, because he created both representational still lifes and landscapes and non-representational abstractions like this example. Size: 52" L x 61.75" W (132.1 cm x 156.8 cm) Size of frame: 52.875" L x 62.875" W (134.3 cm x 159.7 cm)
Born in Minsk, Russia (now Belarus) Morris Kantor immigrated to the United States in 1906 when he was just a child. There is some debate as to whether he was with family or alone, but we know that he was very young, lived in New York City, and earned enough money working in the Garment District to enroll in art school by age 20. Kantor began attending the Independent School of Art in New York in 1916 and went on to teach at Cooper Union during the 1940s and the Art Students League from 1936 to 1972. Many of his students - including Robert Rauschenberg, Knox Martin, Susan Weil, and Sigmund Abeles - became quite famous in their own right.
Kantor maintained a studio in Manhattan, close to Union Square, as well as on Cape Cod in Wellfleet, Massachusetts. During the 1920s, he also worked in Paris. His arts circle included notable modernists such as the sculptor Isamu Noguchi. During the 1930s, Kantor supervised a Federal Arts Project Easel Painting Project in Rockland County, New York. The following decade he spent some summers in Monhegan, Maine, and in the 1960s his work was shown at Bertha Schaefer Gallery in New York City. Kantor's work has also been exhibited at the Smithsonian American Art Museum, the Hirshhorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Denver Art Museum, the Whitney Museum of American Art, and other prestigious institutions. His honors include receiving the Logan Medal of the Art Institute of Chicago and the Temple Medal of the University of Illinois. Kantor's oeuvre was vast and impressive, as he explored numerous styles ranging from realism colored by a hint of Surrealism to abstract movements including Cubism and Futurism.
This painting was exhibited at the Bertha Schaefer Gallery; note the Bertha Schaefer Gallery label attached to one of the stretcher bars. According to the Archives of American Art, "Bertha Schaefer (1895-1971) was an interior designer and director of the Bertha Schaefer Gallery in New York, New York. Schaefer was born in Yazoo City, Mississippi to Emil and Julia (Marx) Schaefer. She received her B.A. on June 1, 1914 from Mississippi State College for Women, and received a diploma for interior decorating from the Parsons School of Design in New York City. In 1924, after living in Paris for 5 months, she opened Bertha Schaefer Interiors in New York. In 1944, she opened the Bertha Schaefer Gallery of Contemporary Art, which featured American and European paintings and sculpture."
In addition, Bertha Schaefer lent this painting to the American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968).
Provenance: Private M. C. collection, Irvine, California, USA; Ex-Morris Kantor collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#168227
Condition:
Signed and dated by the artist at the lower right. Painting has a few minor stains that are difficult to see. Exhibition labels for American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968) as well as Bertha Schaefer Gallery on verso. Wired for suspension and ready to display. Frame shows age wear with separation at mitered corners, some areas with splintering/loss/staining, and some of the hardware attaching the backing board to the painting has separated from the frame.
EXHIBITED MORRIS KANTOR PAINTING - RENDITION,EXHIBITED MORRIS KANTOR PAINTING - RENDITION, 1965Morris Kantor (Russian-American, 1896-1974). "Rendition" oil on canvas, 1965. Signed and dated at lower right. A monumental painting by Morris Kantor that demonstrates the artist's avant-garde aesthetic and was included in the American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968). "Rendition" features a central arrangement of organic forms and gestural passages delineated in pastel colors via loose brushwork and rich impasto; a hard-edge step-like motif to the left rendered in bold red and blue hues; and a biomorphic section on the right delineated in various shades of green ranging from sage to jewel tone jade with a slender red curvilinear border down its left side. Kantor was particularly interesting, because he created both representational still lifes and landscapes and non-representational abstractions like this example. Size: 52" L x 61.75" W (132.1 cm x 156.8 cm) Size of frame: 52.875" L x 62.875" W (134.3 cm x 159.7 cm)
Born in Minsk, Russia (now Belarus) Morris Kantor immigrated to the United States in 1906 when he was just a child. There is some debate as to whether he was with family or alone, but we know that he was very young, lived in New York City, and earned enough money working in the Garment District to enroll in art school by age 20. Kantor began attending the Independent School of Art in New York in 1916 and went on to teach at Cooper Union during the 1940s and the Art Students League from 1936 to 1972. Many of his students - including Robert Rauschenberg, Knox Martin, Susan Weil, and Sigmund Abeles - became quite famous in their own right.
Kantor maintained a studio in Manhattan, close to Union Square, as well as on Cape Cod in Wellfleet, Massachusetts. During the 1920s, he also worked in Paris. His arts circle included notable modernists such as the sculptor Isamu Noguchi. During the 1930s, Kantor supervised a Federal Arts Project Easel Painting Project in Rockland County, New York. The following decade he spent some summers in Monhegan, Maine, and in the 1960s his work was shown at Bertha Schaefer Gallery in New York City. Kantor's work has also been exhibited at the Smithsonian American Art Museum, the Hirshhorn Museum, the Museum of Modern Art, the Metropolitan Museum of Art, the Denver Art Museum, the Whitney Museum of American Art, and other prestigious institutions. His honors include receiving the Logan Medal of the Art Institute of Chicago and the Temple Medal of the University of Illinois. Kantor's oeuvre was vast and impressive, as he explored numerous styles ranging from realism colored by a hint of Surrealism to abstract movements including Cubism and Futurism.
This painting was exhibited at the Bertha Schaefer Gallery; note the Bertha Schaefer Gallery label attached to one of the stretcher bars. According to the Archives of American Art, "Bertha Schaefer (1895-1971) was an interior designer and director of the Bertha Schaefer Gallery in New York, New York. Schaefer was born in Yazoo City, Mississippi to Emil and Julia (Marx) Schaefer. She received her B.A. on June 1, 1914 from Mississippi State College for Women, and received a diploma for interior decorating from the Parsons School of Design in New York City. In 1924, after living in Paris for 5 months, she opened Bertha Schaefer Interiors in New York. In 1944, she opened the Bertha Schaefer Gallery of Contemporary Art, which featured American and European paintings and sculpture."
In addition, Bertha Schaefer lent this painting to the American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968).
Provenance: Private M. C. collection, Irvine, California, USA; Ex-Morris Kantor collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#168227
Condition:
Signed and dated by the artist at the lower right. Painting has a few minor stains that are difficult to see. Exhibition labels for American Federation of Arts exhibition entitled "American Masters Arts Students League" (October 1967 - October 1968) as well as Bertha Schaefer Gallery on verso. Wired for suspension and ready to display. Frame shows age wear with separation at mitered corners, some areas with splintering/loss/staining, and some of the hardware attaching the backing board to the painting has separated from the frame.
KATHRYN STEDHAM PAINTING - "SOUTH SHOULDERKATHRYN STEDHAM PAINTING - "SOUTH SHOULDER ECHO" (2018)...Kathryn Stedham (American, Contemporary). "South Shoulder Echo" oil on canvas, 2018. Signed on lower right as well as verso with title and date. A stunning Southwest landscape painting by Kathryn Stedham. Stedham blends figurative interpretation with abstraction, depicting a grand red rock precipice rising toward the big blue sky. Passages of verdant foliage dot the foreground and interrupt the rocky crags and ridges above, while feathery clouds emerge from the azure atmosphere. All is delineated with Stedham's gestural Alla Prima painting technique - a method where paint is applied wet on wet rather than letting the earlier layers dry, enabling the artist to capture brilliant light and color. A beautiful example of Kathryn Stedham's dazzling artistry set in a custom frame. Size (painting): 29.7" L x 35.5" W (75.4 cm x 90.2 cm) Size (frame): 35.875" L x 41.76" W (91.1 cm x 106.1 cm)
This painting was acquired from Blue Rain Gallery in Santa Fe, New Mexico. The following is Blue Rain's informative artist biography for Kathryn Stedham: "Moving to the West in 2005 was a life-changing event that brought Kathryn Stedham face-to-face with a true calling: painting the infinite spaces of the American Southwest. Little did she realize at the time, that this would combine two personal rudiments: painting and contemplation. Forever fascinated with stories about the West and Westward Expansion she explains, 'I would happily board a time machine, if there were such a thing, to experience first-hand this important period in American history and our connection to the land.'
Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery.
Trained as an Academic Realist, Stedham began her career as a figurative painter. But her interest evolved, through a period of pure abstraction, into the gestural Alla Prima painting style for which she is known today. This approach combines representational landscape forms with an expressionistic modernist sensibility.
Stedham has exhibited as an artist for over 35 years and her paintings have been featured in public and private collections throughout the United States, Europe, Japan, and Canada. She is a long-time student in the Sanbo lineage of Zen Buddhism. In addition to her studio practice, Stedham travels internationally, rides horses and teaches oil painting workshops. Stedham currently lives and works in Santa Fe, New Mexico."
Provenance: private Albuquerque, New Mexico, USA collection; ex-Hugh K. Terrell estate, representative Priscilla T. Bisher, , purchased from Blue Rain Gallery, Santa Fe, New Mexico, USA
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#175543
Condition:
Painting is overall excellent. Signed on lower right and verso with title and date. Mounted in museum-quality frame which is also excellent save a few minute, nearly invisible scuffs. Fit with suspension wire and ready to display.
KATHRYN STEDHAM PAINTING - "GHOST RANCHKATHRYN STEDHAM PAINTING - "GHOST RANCH SHADOWS" (2020)...**First Time At Auction**
Kathryn Stedham (American, Contemporary). "Ghost Ranch Shadows" oil on canvas panel, 2020. Signed on lower right. A stunning painting of New Mexico's Ghost Ranch by Kathryn Stedham. Stedham blends figurative interpretation with abstraction in this piece, delineating verdant passages leading to the sublime cliffs of renowned Ghost Ranch beneath an azure sky. All is rendered with her gestural Alla Prima painting technique - a method where paint is applied wet on wet rather than letting the earlier layers dry, enabling the artist to capture brilliant light and color. While the scene depicts a site where ancient history has been unveiled via the discoveries of dinosaur fossils, Stedham interpreted it with a modern sensibility and a vibrant color palette that is fresh and current. A beautiful example of Kathryn Stedham's impressive artistry set in a custom frame. Size (painting): 30" L x 36" W (76.2 cm x 91.4 cm) Size (frame): 33.2" L x 39.2" W (84.3 cm x 99.6 cm)
This painting was acquired from Blue Rain Gallery in Santa Fe, New Mexico. The following is Blue Rain Gallery's informative artist biography for Kathryn Stedham: "Moving to the West in 2005 was a life-changing event that brought Kathryn Stedham face-to-face with a true calling: painting the infinite spaces of the American Southwest. Little did she realize at the time, that this would combine two personal rudiments: painting and contemplation. Forever fascinated with stories about the West and Westward Expansion she explains, 'I would happily board a time machine, if there were such a thing, to experience first-hand this important period in American history and our connection to the land.'
Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery.
Trained as an Academic Realist, Stedham began her career as a figurative painter. But her interest evolved, through a period of pure abstraction, into the gestural Alla Prima painting style for which she is known today. This approach combines representational landscape forms with an expressionistic modernist sensibility.
Stedham has exhibited as an artist for over 35 years and her paintings have been featured in public and private collections throughout the United States, Europe, Japan, and Canada. She is a long-time student in the Sanbo lineage of Zen Buddhism. In addition to her studio practice, Stedham travels internationally, rides horses and teaches oil painting workshops. Stedham currently lives and works in Santa Fe, New Mexico."
Provenance: Private Albuquerque, New Mexico, USA collection; ex-Hugh K. Tirrell estate, representative Priscilla T. Bisher, purchased at Blue Rain Gallery, Santa Fe, New Mexico, USA
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#176364
Condition:
Painting is overall excellent and signed at the lower right. Also signed, titled, and dated on verso. Mounted in a beautiful custom frame with a lovely finish. Fit with suspension wire and ready to display.
LILLIAN KENNEDY PAINTING - RHYTHM INLILLIAN KENNEDY PAINTING - RHYTHM IN BLUES (1994)**First Time At Auction**
Lillian Kennedy "Rhythm in Blues" acrylic on canvas, 1994. Signature on lower right. Signature, date, and title on verso. A breathtaking and quite sizeable landscape painting capturing a magnificent view of tree-lined foothills beneath the snow-capped Rocky Mountains by American artist Lillian Kennedy whose command of light and color is, in a word, masterful. Kennedy's color choices move beyond the expected with evergreen boughs delineated in saturated shades of cornflower blue (as opposed to green) that sharply contrast with the crisp white snow and warm beige deciduous trees and wintery hillsides in their midst. Hues of pink, lavender, and blue dapple across shades of white to further model the mountaintops. Kennedy's painterly application moves from lush, gestural brushstrokes to textural passages of impasto. She presents a vibrant dance of sunlight and shade combined with expressive application and color that truly shimmers in a palpable, almost kinetic manner. Kennedy has captured nature's figurative twirls and pirouettes with her brush and palette knife. Aptly titled "Rhythm in Blues" what matters most to Kennedy is that she "continues to hone closer to her vision of nature which she sees with rhythm and luminosity". Size (sight view): 43.5" L x 44.625" W (110.5 cm x 113.3 cm) Size (frame): 44.5" L x 45.7" W (113 cm x 116.1 cm)
Lillian Kennedy has lived and worked in Vermont, New York City, and Boulder, Colorado. Kennedy earned her Master's Degree in Painting from the Parson's School of Design on a Helena Rubenstein scholarship in New York City. During this time, Kennedy established a studio in Union Square and was commissioned to create murals and paintings for landmarks such as the Bronx Zoo, St. James Cathedral, and Tavern on the Green. She also taught at Pratt Institute of Art. Kennedy's art has been exhibited internationally, and she has had several solo exhibitions.
Artist's Statement: "Lillian Kennedy has drawn and painted the landscape since she was a child, and she won her first first-prize for a landscape piece at the age of eight.
She explored Europe and the U.S. and earned a college degree before establishing a thriving community based studio in Burlington, Vermont in the 1970s. Teaching Art for Creative Growth at Burlington College and other institutions gave her an outlet for her explorations into the relationship between Art, Psychology, and Spirituality. While teaching in a broad range of media and styles, her love of the landscape continued and she was often out painting at sunrise and even by moonlight.
Trading mountains for skyscrapers, Lillian moved to NYC where she received a Master's Degree in Painting from Parsons School of Design and established her mural and corporate art business. Her work from this period can be seen in many hotels, business, and public spaces such as the Bronx Zoo, Sunset Park Courthouse, St. James Cathedral, and the Tavern on the Green. Prospect Park was her haunt and her work was large and expressionistic. She taught Advanced Light, Color, and Design at Pratt Institute of Art.
In 1990, Kennedy moved to Boulder, Colorado with her husband and daughter. She travels internationally to paint and also works extensively in the Rocky Mountains and on Boulder Creek. Kennedy's work has been exhibited internationally and she has had numerous one-person shows throughout the U.S. from the east to the west coasts. Her work is in hundreds of corporate and private collections throughout the world, but what matters most to her is that she continues to hone closer to her vision of nature which she sees with rhythm and luminosity."
Provenance: Alliance for Sustainable Colorado, Denver, Colorado, USA, acquired in 2003
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#176125
Condition:
Signature on lower right. Signature, date, and title on verso. Fit with suspension wire and ready to display. Overall excellent.
MARGARET MELLIS INK PAINTING WITH CIGARETTEMargaretMARGARET MELLIS INK PAINTING WITH CIGARETTEMargaret Mellis (Scottish born in China, 1914-2009). Ink painting with collaged cigarette, n.d. Inscribed "El Cigarillo y el Arte, Despues de Ferryfrost / London Oct. MM MA" at lower right. A fascinating piece by Margaret Mellis featuring two long-lashed eyes delineated in indigo blue ink, the eye to the right presenting the word "ART" on the sclera, as well as an actual cigarette collaged to the left of the composition with lyrical passages of yellow and pink ink suggesting light radiating from the cigarette butt, swirling plumes of smoke, and a heart surrounding the "ART" eye. The inscription below reads, "El Cigarillo y el Arte, Despues de Ferryfrost" suggesting enjoying a cigarette after partaking in a "Ferryfrost" - perhaps Mellis' alternative word for sex. A whimsical artwork by Margaret Mellis mounted under glass in a custom frame. Size: 5.875" L x 7.875" W (14.9 cm x 20 cm)
About the artist: "Born in 1914, in China, Margaret Mellis and her family returned to Scotland soon after her birth. She studied at Edinburgh College of Art, where she was taught by SJ Peploe and WG Gillies, and learnt alongside Wilhelmina Barns-Graham and William Gear. In 1933, she went to Paris to study under Andre Lhote, followed by another visit in 1937. In between, in 1936, she met Adrian Stokes; the couple married in 1938. Together, they moved to St Ives, Cornwall, arguably heralding the next wave of artists to the area, with Ben Nicholson, Barbara Hepworth, Naum Gabo, Terry Frost, Patrick Heron, and Roger Hilton. Before this, she studied for a time at the Euston Road School, before fleeing to Cornwall following the outbreak of war. This move to St Ives coincided with Mellis exploring collage and relief. Created from found materials and paper, these collages were exhibited in New Movements in Art, at the London Museum in 1942. In 1946, following her divorce from Stokes, Mellis met the artist Francis Davison, with whom she moved to London, and then to Cap d' Antibes, in 1947. They married in 1948, and relocated to Walberswick, and later Syleham, Norfolk, in 1950, and then to Suffolk. For much of this time, though both continued to create artworks, neither was widely exhibited in London - they were geographically and, at times, conceptually, distant from life in the capital. This began to change, after Mellis embarked upon a series of large abstract paintings known as 'colour structures'. These were exhibited in London, with solo shows at Grabowski Gallery, in 1969, and then at Basil Jacobs Gallery, in 1972. From both shows, Mellis sold work to important public collections; the Government Art Collection bought a painting from the Basil Jacobs show, in 1972, while a painting had earlier been purchased by the Arts Council of Great Britain, in 1969.
In 1978, Mellis started creating driftwood reliefs, which she found while walking along the local coast at Southwold, and likened the creative process to Surrealist automatism. In the mid-'80s, Mellis was included in several high-profile exhibitions, including the important survey show of St Ives 1939-64, staged at the Tate Gallery, London, in 1985, and later Scottish Art since 1900, at the Scottish National Gallery of Modern Art, Edinburgh. In 1987, the Redfern Gallery staged a retrospective exhibition, from which the Tate and Arts Council bought recent driftwood reliefs. The exhibition was also attended by a young Damien Hirst; intrigued by the driftwood constructions in particular, Hirst wrote to the artist, and was invited to visit Mellis in Southwold, forming a lasting friendship. Mellis was part of the Tate St Ives' inaugural exhibition in 1993, and was the subject of a retrospective that opened at City Art Centre, Edinburgh, and toured the UK, in 1997. Recent exhibitions include Modern Scottish Women 1885-1965, at the Scottish National Gallery of Modern Art, and a joint-show with Damien Hirst at Pier Arts Centre, Orkney. In 2018, her work featured in an exhibition inspired by Virginia Woolf and her writings, at Tate St Ives." (Redfern Gallery website)
Provenance: private Santa Barbara, California, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
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#179033
Condition:
Inscribed "El Cigarillo y el Arte, Despues de Ferryfrost / London Oct. MM MA" at lower right. Artwork is mounted under glass in a custom frame. It has not been examined outside the frame but appears to be in excellent condition. Gold tone metal frame has minor surface wear but is otherwise very nice. Glass is intact. Frame is fit with suspension wire.
TWO SCOTTISH NEEDLEWORK SAMPLERS
EARLYTWO SCOTTISH NEEDLEWORK SAMPLERS
EARLY 19TH CENTURY worked in silk on linen, the first with a wide band of stylised tulips above two reserves with bible passages, over a central fruiting tree, figures, cherubs, animals, and flowering plants, above a large house flanked by birds, flower baskets, in a painted faux rosewood frame; the second worked in silk on linen with a central four stanza hymn 'Why should we start, and fear to die?' by Isaac Watts, in a field filled with birds, insects, flowers, and trees, signed Sarah Ann Girm and dated June 16th 1831, inside a pink carnation border, in a cream mount and ebonised frame41cm x 42.5cm & 40.5cm x 40.5cm respectively
Follower of John Michael Wright (circaFollower of John Michael Wright (circa 1617-1694)/Portrait of Countess Longford (died 1697) (nee Anne Chichester)/half-length, wearing pearl earrings and a pearl necklace/feigned oval/oil on canvas, 73.5cm x 63.5cm/Note: The daughter of Arthur Chichester, 1st Earl of Donegall by his third wife Letitia Hicks, she married firstly John Butler, 1st Earl of Gowran and secondly Francis Aungier, 1st Earl of Longford/Literature: In one of the more colourful passages of 'A Cotswold Family' the portrait,
MARIE LINNEKIN. "PASSAGES-TRANSITIONS,"MARIE LINNEKIN. "PASSAGES-TRANSITIONS," MIXED MEDIA (American, 1932-2017). Mixed media on canvas, signature not visible, 40 x 41 in., unframed.
MORTON, NATHANIEL. NEW ENGLAND'S MEMORIAL:MORTON, NATHANIEL. NEW ENGLAND'S MEMORIAL: OR, A BRIEF RELATION OF THE MOST MEMORABLE AND REMARKABLE PASSAGES OF THE PROVIDENCE, OF GOD, MANIFESTED TO THE PLANTERS OF NEW ENGLAND IN AMERICA...MORTON, NATHANIEL. New England''s Memorial: or, a brief relation of the most memorable and remarkable passages of the providence, of God, manifested to the planters of New England in America..., Boston: Reprinted for Daniel Henchman, at the corner shop over against the brick meeting house, first edition, 1721; 19th century forest green binding Provenance: From the Collection of the Massachusetts Society of Mayflower Descendants. Condition:
KAHLIL GIBRAN, (AMERICAN, 1922-2008),KAHLIL GIBRAN, (AMERICAN, 1922-2008), PASSAGES, BRONZE, 14 1/4 X 10 3/4 IN.; DEPTH: 2 1/2 IN.KAHLIL GIBRAN (American, 1922-2008) Passages bronze inscribed K. Gibran lower left 14 1/4 x 10 3/4 in.; depth: 2 1/2 in. bronze Dimensions: 14 1/4 x 10 3/4 in.; depth: 2 1/2 in. Provenance: Martha Ross Gallery, Chestnut Hill, Massachusetts; acquired from the above by a Wellesley, Massachusetts Collector, September 30, 1984; the Estate of a Wellesley, Massachusetts Collector. Condition: Overall good condition. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
PAIR ANTIQUE QUR'ANIC WRITING BOARDSPAIR ANTIQUE QUR'ANIC WRITING BOARDS 19th/20th c., Arabic writing in ink on both sides of each wooden tablet, likely passages from the Koran, hole drilled center top of each, 24"h x 14"w x .5"d
RUTH LAXSON, "WHITE PASSAGES" OIL ONRUTH LAXSON, "WHITE PASSAGES" OIL ON CANVAS 1996 Ruth Laxson (American/Georgia, 1924-2019). "White Passages" -1996, oil on canvas. Signed, dated and titled verso.
ANTIQUE SHIP MODEL OF THE "GRAND TURK"ANTIQUE SHIP MODEL OF THE "GRAND TURK" OF 1791 AMERICA, 19TH CENTURY HEIGHT ON CRADLE 45.25". LENGTH 49.5". WIDTH 17".ANTIQUE SHIP MODEL OF THE "GRAND TURK" OF 1791, America, 19th Century, Hull built up in wood, with a painted green bottom, black topsides, a white waistband and faux gunports. Simple deck detailed with anchors, pin and fife rails, ladders, deck hatches, deck house, ship's wheel, etc. Rigged with bowsprit, three masts, and standing and running rigging. Displayed on a simple wood cradle. Dimensions: Height on cradle 45.25". Length 49.5". Width 17". Provenance: Skinner, Inc., Boston, June 2006.The Kelton Collection of Marine Art & Artifacts.Note:Built by Enos Briggs, on land adjacent to Derby Wharf in Salem, this was the first vessel built by Briggs at Salem. Modeled after the second of four vessels named Grand Turk , and to replace an earlier 300-ton vessel, she was laid down March 27, 1790. Launched sideways (with difficulty) from Derby Wharf on March 10, 1791, the three-decker known as "Mr. Derby's Great Ship" proved too big for Salem Harbor and had difficulty finding sufficient cargoes. She was subsequently sold to Boston interests in 1795 after only two voyages for Elias Derby, and then made passages to India, China and Russia. She was wrecked in a gale off Portland, Maine on January 4, 1798.
WILLIAM GAY AND MARY E. YORKE (NEW YORK/CANADA/ENGLAND,WILLIAM GAY AND MARY E. YORKE (NEW YORK/CANADA/ENGLAND, 1817-C. 1888 AND C. 1854-1893), CLIPPER SHIP DREADNOUGHT., OIL ON CANVAS, 24" X 30". FRAMED 33.75" X 40".WILLIAM GAY AND MARY E. YORKE, New York/Canada/England, 1817-c. 1888 and c. 1854-1893, Clipper ship Dreadnought. Indistinctly signed and dated lower left "M.E. W.G. [?] Yorke, 1897". Dimensions: Oil on canvas, 24" x 30". Framed 33.75" x 40". Provenance: Vallejo Gallery, Newport Beach, California, 2003.The Kelton Collection of Marine Art & Artifacts.Note:This painting is a copy of an 1853 Currier & Ives print by noted marine lithographer Charles Parsons, after Duncan McFarlane's "Dreadnought Off Tuskar Light". The painting style is in keeping with other works attributed to William G. Yorke's young wife and assistant, Mary. The original signature on this work is a variation of "W.G. Yorke" that can be read as "M.E. York(e)". This signature is recognized by several experts, including Sam Davidson, and is considered the collaborative work of William G. and Mary.A number of paintings attributed to Mary Yorke in the Kelton Collection are based on printed illustrations, leading to the conclusion that after William G. Yorke was blinded by an accident in 1882, she created paintings based on known prints.Dreadnought was built for the Red Line's Atlantic packet service and became one of the most famous ships of her age. In her nine years on this run she made thirty-one voyages between New York and Liverpool, and she still holds the transatlantic merchant sailing record from Sandy Hook to Queenstown. Much of Dreadnought 's fame derives from a remarkable passage in 1863 when she lost her rudder in a gale. After two jury-rigged rudders were also lost, Captain Samuels ordered his second officer to sail the clipper stern first to Fayal in the Azores, some 350 miles away. Sailing backwards, the ship covered 183 miles in two days before the seas calmed and a third jury-rigged rudder was hung successfully. In 1864 Dreadnought left the Atlantic run and made her first voyage to San Francisco. She completed three voyages in the Cape Horn trade, calling at Honolulu and Callao on the return passages. On her fourth voyage to San Francisco in 1869, she went aground at Cape Penas on the northeast coast of Terra del Fuego. Although the crew survived, Dreadnought broke up on the rocks and was lost.
ATTRIBUTED TO CHARLES J. WALDRON (UNITEDATTRIBUTED TO CHARLES J. WALDRON (UNITED KINGDOM, 1836-1891), THE CLIPPER SHIP KINGFISHER OFF LIVERPOOL, CIRCA 1867., OIL ON CANVAS, 24" X 36". FRAMED 32.25" X 44.25".ATTRIBUTED TO CHARLES J. WALDRON, United Kingdom, 1836-1891, The clipper ship Kingfisher off Liverpool, circa 1867. Dimensions: Oil on canvas, 24" x 36". Framed 32.25" x 44.25". Provenance: Captain Harding, the captain of Kingfisher , 1866-1868.The daughter of Captain Harding.Ted Thomas, Concord, Massachusetts, acquired from the above, 1934.Skinner Inc., Bolton, Massachusetts, October 1998.The Kelton Collection of Marine Art & Artifacts.Kingfisher was built by Hayden & Cudworth at Thatcher Magoun's yard in Medford, Massachusetts. She made six westward California passages out of Boston and New York between 1853 and 1864. In 1866 she returned to New York via Liverpool, which was then followed by three passages between Hong Kong and San Francisco. She was condemned at Montevideo in 1871, sold, repaired, and went under the Uruguayan flag as Jamie Cibils until broken up for scrap in 1890.
A GROUPING OF SOUTHEAST ASIAN SCROLLA GROUPING OF SOUTHEAST ASIAN SCROLL CASES AND SILVER SERVERS To include: (2) serving spoons, both unmarked (8 5/8 in. largest); .800 silver reticulated tomato sever, marked 800 to underside (8 3/8 in.); sugar tongs, unmarked (4 1/4 in.). All with various engraved patterns and/or figural designs, without monograms.
Also included are (2) Tibetan prayer scroll cases with embossed scrolling motifs and figural designs with sanskrit passages, the shorter in white metal, the larger in copper and brass (9 1/2 in. largest).