- ROBYN DENNY (1930-2014): UNTITLED, FROM
ROBYN DENNY (1930-2014): UNTITLED, FROM WADDINGTON SUITE IScreenprint in colors, 1969, signed and numbered 30/75 in pencil, with label from Laura Carpenter, Dallas, TX.
24 x 21 in. (sheet), 25 1/2 x 22 1/2 in. (frame).
Condition
The full sheet. Apparently in very good condition. Not examined out of frame.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.
- (2) Robyn Beverland (American/Florida,
(2) Robyn Beverland (American/Florida, 1957-1998) "The Beaver" Paintings on Wood, to include a full length self portrait depicting the artist with 'B' emblazoned hat and walking stick, 48" x 24" along with a 48"H painted wood walking stick.
- (2) Robyn Beverland (American/Florida,
(2) Robyn Beverland (American/Florida, 1957-1998) "The Beaver" Paintings on Wood, including a self-portrait, 16 1/2"H x 12 1/4" W and an angel, 9"H x 23 " W
- SET OF 3 ROYAL DOULTON MATCH STRIKERS/MATCH
SET OF 3 ROYAL DOULTON MATCH STRIKERS/MATCH HOLDERSStoneware; advertising models. Doulton backstamps.
Includes M. B. Fosters & Sons LTD., A. Probyn & Co. that is fully restored on body, Livingstone's Irish Stout that has damage to base.
Issued: 20th c.
Dimensions: 3.75"H x 4.5"W, largest
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Restoration and cracked pieces
- STEUBEN IRIDESCENT LONG STEMMED FLORIFORM
STEUBEN IRIDESCENT LONG STEMMED FLORIFORM VASEDESCRIPTION: Steuben long stemmed Floriform vase with pulled feather decoration, Iridized lead glass with applied ornament.
Incised "Aurene 215B".
Shape #215B
Reference:
Pictured, p. 29in Objects of Desire: The Art of Frederick Carder by Alan Shovers
Shown with different ornament, Fig. 5.22 at p. 123 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff.
Pictured with different ornamentation at p. 60 of Glass Collectors Digest, Vol. IX Number 2, August/September 1995 in an article entitled “Art Nouveau, Frederick Carder, and the Steuben Glass Works, An Exhibition at the Rockwell Museum by Robyn G. Peterson.
Provenance:
Estate of Mr. and Ms. Alan Shovers
Acquired 1/31/03 from Joan Miller of Antiques of Chicago, Il at the Miami Beach Antique Show.
CIRCA: 1908
DIMENSIONS: H: 10.75" W: 5.25"
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.
- TWO MID-CENTURY PRINTSTwo Mid-Century
TWO MID-CENTURY PRINTSTwo Mid-Century prints. One Robert Skumm (?) ’58, 7”H. x 7.75” along with a Robyn Lynn, 6.25”H. x 6.25”, both framed.
- ROBYN KILLIAN "GOING HOME" ARTIST PROOFRobyn
ROBYN KILLIAN "GOING HOME" ARTIST PROOFRobyn Killian (American), signed artist proof "Going Home", pencil signed and titled to bottom, framed under glass; measures approximately 18-3/4" x 22-3/4" with a sight image of approximately 8" x 11-5/8". With dedication inscription to back. Born in North Carolina, Robyn Killian moved to Los Angeles in 1989. Prior to her arrival to Los Angeles Robyn enjoyed a successful career as an Interior Designer. Upon arriving in L.A. she embarked on a career in the entertainment business. She developed and produced a television show; appeared on the cover of a national magazine; acted in feature films and TV commercials; guest starred on many TV shows; traveled the world hosting and starring in sports and swimwear shows. モEntertainment Tonightヤ and モExtraヤ highlighted some of her accomplishments. Eventually she reunited with greatest passion: artistic expression. Her endeavors include painting, jewelry design and interior design. Her unique multi-layered paintings have attracted the attention of collectors worldwide.
- HAND PAINTED CROW COAT RACK/SHELFsigned
HAND PAINTED CROW COAT RACK/SHELFsigned Robyn Humphrey 2008. 13" high, 16 1/2" wide.
- ROBYN DENNY "LIGHT OF THE WORLD" SILKSCREENEdward
ROBYN DENNY "LIGHT OF THE WORLD" SILKSCREENEdward Maurice FitzGerald "Robyn" Denny (British, 1930-2014). Silkscreen on paper of abstract forms against a purple background from the portfolio "Light of the World," 1970. Pencil signed and numbered 61/75 along the lower right.
Provenance: Distinguished corporate collection, Minnesota.
Height: 28 in x width: 31 in.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
- Handwoven multi coloured border carpet,
Handwoven multi coloured border carpet, Ex Robyn Cosgrove Rugs, approx 237cm x 237cm
- ROBYN 'THE BEAVER' BEVERLAND, 'GREEN
ROBYN 'THE BEAVER' BEVERLAND, 'GREEN CAT' FOLK ART Robyn 'The Beaver' Beverland (American 1957-1998), 'Green Cat', 1994, paint and mixed media on board depicting a folk art cat with wings, signed and dated to lower left, framed. Approximate dimensions: board h. 13.5", w. 17"; frame h. 15.75", w. 19.25", d. 1.25",
- (4) ROBYN DENNY (BRITISH 1930-2014)
(4) ROBYN DENNY (BRITISH 1930-2014) LIGHT OF THE WORLD SERIES Screenprints. All signed and numbered. Printed at Kelpra Studio, London. Published by Gallery Bernhard Jacobson, London
- PAUL JACOULET (JAPAN/FRANCE, 1902-1960),
PAUL JACOULET (JAPAN/FRANCE, 1902-1960), "JEUNE FILLE DE SAIPAN ET ELEUR D'HIBISCUS. MARIANES" (#1)., WOODBLOCK PRINT, 18" X 14". UNFRAMED.PAUL JACOULET, Japan/France, 1902-1960, "Jeune Fille de Saipan et Eleur d'hibiscus. Marianes" ( #1). Signed in pencil lower right over the Fan seal. Numbered illegibly verso. Published 1934. Dimensions: Woodblock print, 18" x 14". Unframed. Provenance: Robyn Buntin, Honolulu, 1985.
- JOHN CUTHBERT HARE (MASSACHUSETTS/FLORIDA,
JOHN CUTHBERT HARE (MASSACHUSETTS/FLORIDA, 1908-1978), WHARF SCENE., WATERCOLOR ON PAPER, 7" X 8" SIGHT. FRAMED.JOHN CUTHBERT HARE, Massachusetts/Florida, 1908-1978, Wharf scene. Signed lower right "John Hare". Dimensions: Watercolor on paper, 7" x 8" sight. Framed. Provenance: Robyn Watson Gallery, Provincetown, Massachusetts.
- ROBYN "THE BEAVER" BEVERLAND (FL, 1957-1998),
ROBYN "THE BEAVER" BEVERLAND (FL, 1957-1998), BLIND MAN WALKING Oil on board, man with dog and stick, quotation "Who does a better job my stick or my dog? in leading me / The Beaver 1994". Unframed.
- ROBYN DENNY (BRITISH, 1930-2014), LIGHT
ROBYN DENNY (BRITISH, 1930-2014), LIGHT OF THE WORLD, D AND I (TWO WORKS) Screenprints in colors, 1970, each signed, dated, and numbered at lower right, one an artist's proof, both with full margins, unframed.
- ROBYN HORN (B. 1951), "PIERCED GEODE,"
ROBYN HORN (B. 1951), "PIERCED GEODE," FROM THE "GEODE SERIES" TURNED WOOD SCULPTURE WITH BOX ELDER BURL, PINK IVORY, AND GABOON WOOD, 14.5" H X 13.5" W X 14" DRobyn Horn, (b. 1951) "Pierced Geode," from the "Geode Series", Turned wood sculpture with box elder burl, pink ivory, and gaboon wood With the incised signature, title, numbering, and inscription: Robyn Horn / 345/ Box Elder Burl / Pink Ivory / Gaboon Ebony Turned wood sculpture with box elder burl, pink ivory, and gaboon wood Dimensions: 14.5" H x 13.5" W x 14" D Provenance: Purchased at Del Mano Gallery & Studio, Los Angeles, CA, on December 3, 1993 Estate of Dr. Sanford Kaufman and Dr. P. Waverly Davidson, acquired from the above
- ROBYN "THE BEAVER" BEVERLAND (AMERICAN/FLORIDA)Robyn
ROBYN "THE BEAVER" BEVERLAND (AMERICAN/FLORIDA)Robyn "The Beaver" Beverland (American/Florida, 1957-1998) , "The Bird of the South", 1995, oil on panel, signed and dated lower right, titled lower center, "Enoch's Gallery, New Orleans" label on backing paper, 11 3/4 in. x 12 7/8 in., framed
- Large quality hand woven wool carpet,
Large quality hand woven wool carpet, Ex Robyn Cosgrove rugs, approx 304cm x 426cm
- Large hand woven wool carpet, Ex Robyn
Large hand woven wool carpet, Ex Robyn Cosgrove Rugs, approx 294cm x 440cm
- "Robyn in Winter" artist doll by Lynne
"Robyn in Winter" artist doll by Lynne & Michael Roche, limited edition #5 of 20, porcelain head and hands, articulated wooden body with the original brochure. 14"h
Condition: Small unravel to right sock, hat tie unstitched on one side.
- Robyn "The Beaver" Beverland (American,
Robyn "The Beaver" Beverland (American, 1957-1998) folk art painting "Even Dogs go to Heaven", enamel paint on plywood, signed "The Beaver 1994", acquired from the family of the artist, 19" x 21", very good condition
- Robyn "The Beaver" Beverland (American,
Robyn "The Beaver" Beverland (American, 1957-1998) folk art painting "I Dare You to Move Now", enamel paint on plywood, signed "The Beaver 1997", acquired from the family of the artist, 24" x 24", very good condition
- ? ATTRIBUTED TO THOMAS POOLEY (IRISH
? ATTRIBUTED TO THOMAS POOLEY (IRISH 1646-1723)
HALF LENGTH PORTRAIT OF JONATHAN SWIFT AS A STUDENT IN DUBLIN COLLEGE With later inscription, feigned oval, oil on canvas71cm x 58cm (28in x 22.75in)Provenance (supporting documents sold with the lot):1) Thomas Percy (1729-1811), Bishop of Dromore; acquired by him in 1801 from Anthony Trail or Traill (1755-1831) of Mount Druid, Ballycastle, later Archdeacon of Connor, who in two letters to Percy (27 April and 5 May 1801) describes his own acquisition of the work c.1790 from 'Gonne, a carver and gilder in Abbey Street', evidently the Henry Gonne (fl.1765-99) who is recorded as a carver and looking-glass seller at 26 Abbey Street, Dublin (Glin & Peill, Irish Furniture, 2007, p. 293):‘An old family mansion house in the Co of Louth was about to be pull’d down, previous to the erection of a new one, and all the pictures in it were sent up to Dublin to be sold, as the proprietor did not chuse to be at the expence of new frames for them, and thought they would be unsuitable ornaments for a new house in their old black ones. Not chusing to sell them separately, I was oblig’d to purchase the whole in order to get three or four of them that I lik’d. The account given me of the Dean’s picture was as follows – He had been while at college an intimate companion of the young gentlemen of the above family, and frequently spent his vacations with them in the country. During one of these visits a painter was employed to paint some portraits in the family, and the Dean’s was painted along the rest, and had remain’d in the house ever since. As no particular value was set upon the picture, and as I had express’d no particular desire of purchasing it, it is improbable that such a story should have been told me, if it had not been true. I am sorry however that I have forgot the name of the family, but it has escap’d my memory.'Thence by descent to:2) Mr Edward Richard Meade (1805-1890) of 5 Gloucester Place, Portman Square, London, the picture with him by 1867, when exhibited at South Kensington (see below). Meade was the grandson of Thomas Percy by the marriage of Percy’s daughter Elizabeth to Pierce Meade (1776-?), Archdeacon of Dromore (John Sharpe, Peerage of the British Empire, [1833], volume I, f. 2A6 v.).3) Miss Constance Meade (1852-1941), of 15 Eaton Terrace, Knightsbridge, London, daughter of Edward Richard Meade.4) Mr Kenneth George Francis Balfour (1909-1998), of Quoitings, Marlow, Buckinghamshire, nephew of Constance Meade.5) Mrs Virginia Cardwell Moore, of Coupar Angus, Perthshire.Exhibited:1) South Kensington Museum, Second Special Exhibition of National Portraits commencing with the Reign of William and Mary and ending the Year 1800, 1867. (Catalogue no. 139, described as 'Jonathan Swift, D.D., Dean of St Patrick's ... Bust. as a young man in student's black gown, when a student at Trin. Coll. Dublin', owner recorded as Mr. E. Meade, a copy of the catalogue with presentation plate to Meade sold with the lot, q. v.).2) Exhibition Palace, Dublin, Exhibition of Arts, Industries and Manufactures, 1872.3) National Library of Ireland, Fair Liberty! was all his cry: Jonathan Swift and his Contemporaries, 1999.Published:A Series of Historical Portraits Selected from the National Portrait Exhibitions at South Kensington: Photographed from the Original Paintings (London, [1867]) (plate 139).The Prose Works of Jonathan Swift, D. D., edited by Temple Scott (London, 1911) (frontispiece).Bruce Arnold, Swift: An Illustrated Life (Dublin, 1999) (cover illustration).Literature:David Woolley, ‘Miscellanea in Two Parts: I. An Autograph, II. A Portrait’, Swift Studies, 8 (1993), 94-99.Jane Fenlon, ‘More about the Portrait of Jonathan Swift when a Student at Trinity College, Dublin’, Swift Studies, 15 (2000), pp. 33-38.David Woolley, ‘A Rejoinder from the Author of The Doubtful Portrait, etc.’, Swift Studies, 15 (2000), pp. 39-41.Joseph McMinn, Jonathan Swift and the Arts (Newark, DL: University of Delaware Press, 2010), p. 168 n. 7.Supporting documents:Full information available on request.Note: The earliest supposed likeness of one of the greatest writers in English, and the embodiment of the elusiveness or otherwise of the historical Swift, this remarkable portrait comes to market by direct descent from Thomas Percy, Bishop of Dromore, who acquired it in 1801 as ‘a small portrait of Dean Swift’, and is now offered for sale for the first time in 200 years, with documented provenance to the late 18th century.First exhibited at South Kensington in 1867, for the next century it drifted in and out of public view. In 1898 Leslie Stephen, writing in the Dictionary of National Biography, declared that ‘the present whereabouts of this portrait is unknown’. It reappeared c.1967 in the collection of a descendant of Percy’s and came to the attention of Swift scholars, at which point there first emerged an attribution to Thomas Pooley which is now current: ‘A portrait thought to be of the young Jonathan Swift, c.1682, is clear and direct in Pooley's early manner. The attribution is probable because the Pooley family married into the Swift family’ (Dictionary of Irish Biography).The attribution to Pooley, and the longstanding identification of Swift as the subject, were on the occasion of the portrait’s exhibition at the National Library of Ireland in 1999 advanced by Bruce Arnold in support of the theory that Swift was in fact the illegitimate son of his benefactor Sir John Temple (1600-1677), master of the rolls in Ireland, and hence a more likely candidate for such a sumptuous likeness. Originally developed by Denis Johnston (In Search of Swift, 1959), this theory has been used to explain otherwise intractable ambiguities in Swift’s relationships with the two most important women in his life, firstly ‘Stella’ (Esther Johnson), who on this view is supposed to have been the daughter of William Temple and therefore Swift’s niece, and ‘Vanessa’ (Hester Vanhomrigh).Writing in 1993, David Woolley (q.v.), editor of The Correspondence of Jonathan Swift (5 vols, 1999-2014), presented several arguments against Swift’s being the subject of the portrait, chiefly that ‘The dress style is of c.1710. By this time, however, Swift was into his forties’, and that ‘The portrait style is of the school of Kneller. When Swift graduated, in the reign of James II, the dominant portrait style was still of the school of Sir Peter Lely’.In 2000, art historian Jane Fenlon noted that Woolley had only seen the painting in reproduction, that his analysis contained no reference to the attribution to Thomas Pooley, who had various connections to Swift, and that the sitter’s costume is similar to known examples of academic dress from the late 17th century:‘The portrait in question has a long-standing attribution to the painter Thomas Pooley. The attribution is sound in that the style and manner of painting compare well with other portraits by the artist. The age of the sitter, between fifteen and nineteen years, is appropriate for the years 1682-86, the time spent by Jonathan Swift at Trinity College, Dublin. The costume worn by the sitter would also seem to be appropriate to the period in question. Social and familial links have been established between the painter and the sitter. In art-historical terms, after such close examination of the evidence, a portrait with a long-standing provenance and attribution such as this one has a sound basis for acceptance’.In a brief response to Fenlon’s article (published in the same volume of Swift Studies) Woolley reiterated a few of his original arguments while conceding the strength of ‘the Pooley connection’.‘His life and works continue to vex as well as instruct and amuse his readers … Rumours and legends about Swift's parentage, alleged marriage, misanthropy, and madness started early and developed freely, not least during the Victorian period … His work has provoked strong responses from each generation of readers, and he is one of those writers whose effect on our minds and imagination will not go away. In the words of a fellow Irishman, who also believed that Swift was the founding figure in Irish political nationalism, “Swift haunts me; he is always just around the next corner” (W. B. Yeats)’ (Clive Probyn in ODNB)
- (FINE PRESS GRABHORN PRESS) A Lytell
(FINE PRESS GRABHORN PRESS) A Lytell Geste of Robyn Hode and His Meiny. Edited by John Mathew Gutch. San Francisco CA: The Grabhorn Press 1932. 12mo quarter red morocco over decorative boards. First edition thus. Limited to 280 copies printed by Edwin and Robert Grabhorn for The Westgate Press (its last publication). Very good.
- Robyn Denny (British, b. 1930) Minimalist
Robyn Denny (British, b. 1930) Minimalist composition Color silkscreen Pencil signed, dated '70. Artist's proof, 18/25. 28 1/2" x 31". Minute crease lower right margin.
- Robyn Denny (British, b.1930) Minimalist
Robyn Denny (British, b.1930) Minimalist composition from "Paradise Suite" Color silkscreen Pencil signed, numbered 3/75, and dated '69. "K" inkstamp verso. 33" x 25 5/8". Minor creasing upper right border.
- Robyn Denny (British, b.1930) Minimalist
Robyn Denny (British, b.1930) Minimalist composition Color silkscreen Pencil signed, numbered 25/70, and dated '72. "K" inkstamp verso. 30 1/2" x 23 1/2"
- Robyn Denny (British, b.1930) Minimalist
Robyn Denny (British, b.1930) Minimalist composition from "Paradise Suite" Color silkscreen Pencil signed, numbered 71/75, and dated '69. "K" inkstamp verso. 33" x 26"
- Robyn Denny (British, b.1930) Minimalist
Robyn Denny (British, b.1930) Minimalist composition Color silkscreen Pencil signed, numbered 35/70, and dated '72. "K" inkstamp verso. 24" x 30 3/4"
- Robyn Denny (British, b.1930) Minimalist
Robyn Denny (British, b.1930) Minimalist composition from "Paradise Suite" Color silkscreen Pencil signed, numbered 61/75, and dated '69 33" x 25 3/4"
- Robyn Denny (British, b.1930) Minimalist
Robyn Denny (British, b.1930) Minimalist composition from "Paradise Suite" Color silkscreen Pencil signed, numbered 18/75, and dated '69. "K" inkstamp verso. 33" x 25 3/4"
- 5 vols. Illustrated Children's Books
5 vols. Illustrated Children's Books - African-American Subjects & Illustrators - Signed Copies: (Ransome, James, illustrator.) Hopkinson, Deborah. Sweet Clara and The Freedom Quilt. New York: Knopf, (1993). 9th ptg. 4to, orig. laminated color pictorial bds., d/j. Color illus. Inscribed & signed by James Ransome on title page. * (_,_.) Mitchell, Margaree King. Uncle Jed's Barbershop. (New York): Simon & Schuster, (1993). 6th ptg. 4to, orig. cloth & bds., d/j. Color illus. Inscribed & signed by James Ransome on 1/2 title, also embellished with orig. ink drawing. * Ringgold, Faith. Dinner at Aunt Connie's House. New York: Hyperion, (1993). 3rd ptg. 4to, orig. color illus. by the author. Inscribed & signed by Ringgold on front free endpaper recto. * _ _. Bonjour, Lonnie. New York: Hyperion, (1996). 1st ed. 4to, orig. color pictorial bds., d/j. Color illus. Inscribed & signed by Faith Ringgold on front free endpaper recto. * Turner, Robyn. Faith Ringgold. Boston, etc.: Little Brown, (1993). 3rd ptg. 4to, orig. laminated cloth, d/j. Illus. Inscribed & signed by Faith Ringgold on front free endpaper recto.