- EMMA LAMPERT COOPER (AMERICAN, 1855-1920)
EMMA LAMPERT COOPER (AMERICAN, 1855-1920) MOROCCAN COAST Oil artist board. Signed 'E. Lampert Cooper' (lower left).
Emma Lampert Cooper (American, 1855-1920)
Emma Lampert Cooper was born in 1860 near Rochester, New York. Upon leaving the area, she studied at the Cooper Union Art School and the Art Students League in New York, and at the Delecluse Academy in Paris. Later returning to Rochester, she taught at the Mechanics Institute from 1893-1897 and was active in the art life of the city until her marriage to the painter Colin Campbell Cooper from 1897. After traveling in Europe for a period of time, the couple settled in New York City. There, working in an impressionist style, she turned to her husband’s favorite theme, the architectural treasures of New York and other historic cities.
The Coopers traveled constantly in search of subjects and in the spring of 1913, they visited Charleston, South Carolina. Though nothing is known about their stay, their visit is recorded in Colin’s paintings of some of the city’s most historic and cherished structures, including St. Philip’s Church, Charleston. During their trip, they also visited Beaufort, a small coastal town about seventy miles south of Charleston, noted for its picturesque buildings, alleyways, and streets. Emma’s Old Beaufort, South Carolina is of a subject that she and Colin both painted, probably side-by-side and on the same day. Fluent brushwork and radiant color are typical of her vivacious style.
- LOCKWOOD DE FOREST ATTR. ARCHITECTURAL
LOCKWOOD DE FOREST ATTR. ARCHITECTURAL ELEMENT Lockwood de Forest (American, 1850-1932) Attributed, Indian Carved Architectural Element, Likely Ahmedabad, circa 1900 or earlier. Approx. 12" H x 75" W x 12" D Note: This fragment of Indian-executed ornament is attributed to Lockwood de Forest due to its remarkable similarity to other extant works designed for Andrew Carnegie (now the Cooper Hewitt Museum) at 2 East 91st Street , and in the artist's own former home at 7 East 10th Street, New York. Keywords: Lockwood de Forest, American Furniture, Orientalism, Orientalist, Indian Carved Furniture, Indian design
- DONALD DESKEY ART DECO TABLE Donald
DONALD DESKEY ART DECO TABLE Donald Deskey (attributed) Art Deco Table From the estate of the former director of the Cooper-Hewitt and Curator of Design for the Brooklyn Museum who curated The Machine Age in America exhibition in 1986. From an Upper East Side NYC estate. Dimensions: 19.75" h x 23.75" w x 15" d Condition: Good, scuffs, scratches and oxidation. Dimensions: 19.75" h x 23.75" w x 15" d Condition: Good, scuffs, scratches and oxidation.
- MICHAEL ZELENKO (AMERICAN, 1890-1950)
MICHAEL ZELENKO (AMERICAN, 1890-1950) HUDSON RIVER FROM...Oil pastel on artist's board
Hudson River from New York pastel on artist's board signed and dated '47 lower right framed
18 in. h. x 22 in. w. Ê
Provenance: The Estate of Charles Zelenko, owner of the Cooper School of Art, Cleveland, OH and son of the artist.Ê
- ROYAL DOULTON WILLIAMSBURG MINI CHARACTER
ROYAL DOULTON WILLIAMSBURG MINI CHARACTER JUGSComplete set D6574, D6575, D6576, D6577, D6578, D6579, and D6580.
Seven small character jugs from the Royal Doulton Character Jugs from Williamsburg Series, produced in 1962 with the cooperation of the Colonial Williamsburg Foundation. Stamped to based ROYAL DOULTON and other marks.
Artist: Max Henk
Issued: 1962
Dimensions: 4"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Overall good
- LOETZ GUSTAV GURSCHNER (AUSTRIA 1873-1970)
LOETZ GUSTAV GURSCHNER (AUSTRIA 1873-1970) FLOOR LAMPDESCRIPTION: Gustav Gurschner (Austria 1873-1970) An Austrian Art Nouveau gilt bronze and glass telescopic floor lamp, designed by Gustav Gurschner. Lamp features a blue iridized oil spot Loetz glass shaft and dome base. Further decorated with gilt bronze Art Nouveau floral and figural decoration throughout. Complete with a Loetz decorated iridized mushroom form shade. Fitted with three bulb outlets and wired dimmer. Artist Bio: Gustav Gurschner was a German-born Austrian sculptor whose work combined of Art Nouveau and Wiener Werkstätte aesthetics to create lamps, ashtrays, door knobs, and other functional objects. Featuring the swooping, organic lines typical to the Art Nouveau movement, his objects are distinctly ornate and decorative, as seen in his large Figural Bronze Lamp of a woman carrying a lantern. Born on September 28, 1873 in Mühldorf, Germany, Gurschner went on to study at the School of Applied Arts in Vienna in 1888. He developed an interest in Art Nouveau after visiting Paris in 1897, and later exhibited with the Vienna Secession—a group of Austrian artists who had resigned from the Association of Austrian Artists—which included the artists and designers Gustav Klimt and Koloman Moser. Today, Gurschner’s works can be found in the collections of the Cooper Hewitt Museum in New York, the Corning Museum of Glass, and the Petit Palais in Paris. He died on August 2, 1970 in Vienna, Austria. Gurschner studied under August Kühne and Otto König at the Kunstgewerbeschule in Vienna, and under Valgrin in Paris. He married the writer Alice Pollak in 1897. In 1898, he participated in the inaugural exposition of the Vienna Secession. From 1904 to 1908, he was part of the Hagenbund, a group of like-minded Austrian artists. CIRCA: Early 20th Ct. ORIGIN: Austria DIMENSIONS: H: 63" x D: 13" Diameter of Base: 16" 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) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
- STEUBEN BLUE AURENE PERFUME BOTTLEDESCRIPTION:
STEUBEN BLUE AURENE PERFUME BOTTLEDESCRIPTION: Steuben Perfume with a Light blue Jade and Mirror Black Floral Form Stamen inserted into a Blue Aurene raised neck on a tapered oval body with disk foot. Factory engraved "Steuben Aurene 3425".
Shape 3425
Reference:
Pictured at p. 111 of Objects of Desire, The Art of Frederick Carder by Alan Shovers
Pictured at Fig. 10.14, p. 256 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff.
Pictured Plate V Item A in The Glass of Frederick Carder by Paul V. Gardner colognes with the same form stopper; different shaped body.
Same piece pictured in Color Plate 30, p. 115 of Glass, The Smithsonian Illustrated Library of Antiques, Prepared by the Cooper-Hewitt Museum and authored by Paul Vickers Gardner.
Pictured, p. 25 in Steuben Seventy Years of American Glassmaking by Perrot, Gardner and Plaut, with the same form of stopper, different shaped body.
Pictured, Figs. 248, p. 136 of American Art Nouveau Glass by Albert Christian Revi
Pictured in Skinner sales catalogue for 20th Century Furniture and Decorative Arts, Sale 2075 June 2, 2001 in Boston. Item $145.
Provenance:
Estate of Mr. and Ms. Alan Shovers
Purchased April 12, 2001 from Don Williams Antiques of Kirksville, MO
CIRCA: 1925-1929
DIMENSIONS: H: 7"
CONDITION: Stopper has been repaired along flower. 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.
- IMPORTANT EARLY SOUTH CAROLINA MAP 1696Pierre
IMPORTANT EARLY SOUTH CAROLINA MAP 1696Pierre Mortier / Nicolas Sanson, CARTE PARTICULIERE DE LA CAROLINE, DRESSE FUR LES MEMOIRES LE PLUS NOUVEAUX, published Amsterdam, circa 1696. Copper engraving with hand colored highlights. The first map of South Carolina printed in Continental Europe. Housed in ebonized frame with gilt liner and cream silk matte. Sight - 19" H x 23 1/2" W. Framed - 28" H x 32" W. Scarce map of the coastal region around Charleston and the Cooper River, depicting the area from the Santee River in the North to the Edisto River in the south. It shows several early roads and Indian settlements, as well as names and locations of dozens of early landowners, including the Santee and Sewel Indian Forts, the Kayawah (Kiawah) Indian Settlement, and Colletons Barony along the Cooper River. (Sir John Colleton was one of the eight proprietors of the Carolina Grant, a member of the Council for Foreign Plantations and of the Royal African Company, which introduced slavery into the British possessions in North America). This map is generally regarded as the first obtainable map of the region to appear in a commercial atlas. Cumming 121, Kendall Early Maps of Carolina 17C. Provenance: Private collection, acquired several years ago from Carolina Prints, Charleston, South Carolina. Documentation will be provided to winning bidder. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Some light toning, possible repaired tear at upper left corner and on far left side near word "Occident", a couple of light creases. Map has not been fully examined out of frame, but appears to be hinge mounted to backing board rather than glued down.
- ERHARD & SOHNE BOXES INC. JUGENSTIL
ERHARD & SOHNE BOXES INC. JUGENSTIL PLUS TIFFANY MEDALL...2 Erhard and Sohne boxes and a Tiffany bronze medallion. 1st item: Erhard & Sohne Jugenstil bronze stamp box, with hinged rosewood lid having elaborate bronze inlay and sides; company mark stamped on bottom. 1" H x 3" W x 2" D. 2nd item: Erhard & Sohne gilt bronze jewelry box with elaborate repousse cherub decoration, 2" H x 5" W x 4" D. Company mark stamped on bottom. Additional stamp to side of lid: "Made in Germany." 3rd item: Tiffany bronze medallion, commemorating Peter Cooper (1791-1883), "whose life was devoted to the public welfare and education of all." Reverse inscribed: "The Cooper Union for the Advancement of Science and Art Founded 1859 by Peter Cooper A Mechanic of New York / Whatsoever Things Are True ." 2 3/4" diameter. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
1st item: some small dry areas to wood. 2nd item: some wear to gilding, particularly on top. 3rd item: excellent.
- 8 BRASSTOWN NC WOOD CARVINGS OF CATS
8 BRASSTOWN NC WOOD CARVINGS OF CATS BY HOPE BROWN + BO...Grouping of eight (8) wood carvings of cats by Hope Brown (1916 - 2015), one of the Brasstown, NC carvers associated the John C. Campbell Folk School located in Western North Carolina. The cats are carved in various woods including cherry and butternut and are depicted in various poses including one sleeping with kitten, two cats carrying kittens, two cats sleeping, two cats sitting upright and one cat with a downward gaze. All with the initials HB carved on the bases. Lot also includes a book titled: THE BRASSTOWN CARVERS, JOHN C. CAMPBELL FOLK SCHOOL. Ranging in size from 2 1/2" H x 4 1/2" L to 2 1/4" H x 6 1/2" L. All 2nd Half 20th century. History: The Brasstown Carvers began in 1929 when a local Handicraft Association was organized at the John C. Campbell Folk School. All work was made in the homes of members who lived around Brasstown. In 1933 an exhibition of Mountain Handicrafts in Washington D.C. brought the work of the Brasstown carvers to the attention of the President and First Lady Roosevelt. A Washington DC newspaper reported that Eleanor Roosevelt visited the exhibition six times and bought "a whole flock of geese." Carving was traditionally an occupation for men and boys, but women entered the cooperative in increasing numbers, especially during World War II. By 1946, women were the majority of carvers for the first time. In the 1950s, the carving group formally became known as the Brasstown Carvers. Hope, along with her husband Glenn produced the patterns for many of the carvings and made them available to the school.
Condition:
All items in overall good condition. A couple of animals with minute wear to ears.
- O/C PORTRAIT OF ANN COLEMAN OVERTON
O/C PORTRAIT OF ANN COLEMAN OVERTON BRINKLEY, BY OR AFT...Southern oil on canvas oval bust portrait of Ann (Anne) Coleman Overton Brinkley of Tennessee (1823-1845), daughter of Judge John Overton of Nashville, depicting the sitter with dark hair and blue eyes and attired in a blue drape against a background of darkening pink clouds. Unsigned. Housed in a pierced giltwood frame with oval gilt mat having carved Neo-Grec style corner vignettes and beaded molding. Sight: 26 1/2" H x 21" W. Framed: 41" H x 25 1/2" W. 19th century. Note: this painting is a late 19th century copy of a now-missing portrait miniature painted by John Wood Dodge (New York/ Tennessee, 1807-1893), as recorded in his account book for 1841. It may well be by Dodge himself, copying his own earlier work. Ann (Anne) Coleman Overton Brinkley was the daughter of Judge John Overton, co-founder of Memphis, and his wife, Mary McConnell White Overton, and she grew up at their home, Traveller's Rest, in Nashville. At age 18, the same year this image was created by Dodge as a miniature portrait, she married Robert Campbell Brinkley, a successful young lawyer who would go on to become a railroad and development tycoon in Memphis. Tragically, Ann died less than four years later, giving birth to the couple's second child, Anne (Annie) Overton Brinkley (later Snowden, 1845-1923; whose circa 1890-1900 portrait is also in this auction). The Brinkleys' first child, son, Hugh Lawson White Brinkley (1842-1904), grew up to became a champion for women's causes and funded the building of the Anne Brinkley Home for Working Women in Memphis, dedicated to his mother. Although this portrait descended in the Brinkley-Snowden family without an artist attribution and is unsigned, it is certainly a later copy of the 1841 Dodge miniature, and there is a good possibility that this full sized oil painting was painted by John Wood Dodge in replication of his own earlier miniature. Dodge learned his craft in New York and came to Nashville around 1840, where he worked as a portrait painter to many of the city's most prominent citizens. When the Civil War broke out, Dodge returned to New York City, where he continued painting and was a member of the National Academy for many years. In 1889, he returned to his farm in Pomona, Tennessee, and continued to take a few commissions from area patrons (including at least one Overton - ref. the Colonial Dames Portrait Project, Mrs. Jackson May Overton). In his article on Dodge in the Spring, 2000 issue of the Tennessee Historical Quarterly, author Raymond White writes, "After the Civil War caused his removal to the North, Dodge is known to have painted full sized oil portraits and it is possible that he painted them before the war as well. A portrait of Milberry Donelson MacGregor, a granddaughter of Col. John Donelson, in a descendant's collection in Montgomery, Alabama, in 1969 (sic?), has been attributed to Dodge and appears (in photographs) to be of high enough quality to be his work)." It is likely that this oil portrait of Ann Coleman Overton Brinkley, based on Dodge's miniature, was commissioned by her daughter Annie Snowden around 1890. Although Annie Snowden had means and access to a number of good portrait painters including Carl Gutherz of Memphis and the Cooper Brothers (Washington and William) of Nashville, she may have hired Dodge to recreate his own original skillful work, this time in a larger format, placing Ann against a cloud background to convey the tragedy of her early death. Note: this portrait is one of several items that descended in the Brinkley-Snowden family of Memphis being offered in this auction, including other paintings, silver, and ephemera.
Condition:
Overall very good condition. Retouching to area above sitter's shoulders on right and left side and lower center margin.
- A GILBERT ROHDE / HERMAN MILLER VANITY,
A GILBERT ROHDE / HERMAN MILLER VANITY, #3626An Art Deco Gilbert Rohde for Herman Miller bird's eye maple and walnut vanity, #3626 designed 1936 Interior of top drawer with Herman Miller plaque, stenciled model number to back. height 27 1/4 (69cm); width 51 3/4in (131.5cm); depth 15 3/4in (40cm)Provenance: Property from the Collection of Michelle and Gavin Langley, Venice, California.Other Notes: Gilbert Rohde (1894-1944) was an American industrial designer who helped bring the world style trends of the day - French Art Deco, Art Moderne, Bauhaus International Style to the American market. Educated at the Art Students League and the Grand Central School of Art in New York City in the 1920s, he continued expanding his aesthetic horizons with numerous trips to Europe in the late 1920s and early 1930s. Rohde's work was brought to cultural prominence when he convinced Dirk Jan De Pree, founder of the Herman Miller Furniture Company (founded 1905), which was known for producing high quality reproductions of traditional furniture styles, to begin producing his own original designs. It was with Gilbert Rohde's contract with Herman Miller that his passion for Modernism brought streamlined designs to the American home and made the firm of Herman Miller synonymous with cutting edge design. Examples of Rohde's work can be found in museums around the world including the Museum of Modern Art in New York, The Victoria and Albert Museum and the Vitra Design Museum, among others. An example of this model is in the collection of the Cooper Hewitt, Smithsonian Design Museum.
- A VINTAGE MAP, "GEOLOGIC MAP OF OKLAHOMA,"
A VINTAGE MAP, "GEOLOGIC MAP OF OKLAHOMA," 1926,A VINTAGE MAP, "Geologic Map of Oklahoma," 1926, color engraving on paper, "Compiled by Hugh D. Miser, of The United States Geological Survey. Prepared in 1923 and 1924 in cooperation with the geologists of Oklahoma, represented by Sidney Powers; the oil companies of Oklahoma; and the Oklahoma Geological Survey, Charles E. Decker, Custodian. The cooperation of the Oklahoma geologists and oil companies with the United States and Oklahoma surveys, data furnished by the oil companies and consulting geologists and field data obtained by H.D. Miser. Geologic drafting by Lewis B. Pusey and others. Edited by George W. Stose." 32" x 63" Note: Willard Rouse Jillson (1890-1975) Kentucky historian, academic and geologist. Provenance: Library of Willard Rouse Jillson, Frankfort, Kentucky; Property from a Fortune 500 Energy Company, Houston, Texas.
Condition:
Occasional stain, some waving of paper, now mounted to canvas/linen and separated at the creases, but overall in very good stable condition, wear commensurate with age and use. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- PORFIRIO SALINAS (AMERICAN/TEXAS 1910-1973)
PORFIRIO SALINAS (AMERICAN/TEXAS 1910-1973) A PAINTING,...PORFIRIO SALINAS (American/Texas 1910-1973) A PAINTING, "Chickens Watering by the Coop," oil on canvas, signed L/L, "Porfirio Salinas," verso a paper gallery label. 25" x 30" Provenance: Country Store Gallery, Austin, Texas. Estate of Texas Governor John B. Connally, Houston, Texas.
Condition:
Stretcher marks, some craquelure, and cracks, mild wear expected, overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
- SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991)
SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991) A PICTORIA...SAUL BORISOV (Belarusian/American 1912-1991) A PICTORIAL WEAVING, "Giraffe," hand-dyed yarn, hand-loomed, multi weave wall hanging, signed L/C, "Borisov;" 80 1/2" x 14". Note: Saul Borisov spent his early childhood in a town that he would eventually take as his namesake: Borisov, Russia, near Minsk in present-day Belarus. In 1923 his family immigrated to New York City, where he studied painting at the Cooper Union School of Art. Borisov moved to Mexico City in 1948, where he discovered weaving—a medium that would be his focus for the rest of his life. Borisov mastered local practices of traditional weaving quickly, and launched a series of experiments in technique. Borisov was passionately improvisational; He fought the loom, pushing it to create tapestries that it didn't want to make—pieces with curves, odd-shaped gaps and slits with asymmetrical compositions. He dyed all of the material himself, using striking colors to create unique forms that range from densely detailed representational work to solid abstract color fields.
Condition:
Pilling throughout, occasional wear or small surface buildup/spots. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991)
SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991) AN EROTIC ...SAUL BORISOV (Belarusian/American 1912-1991) AN EROTIC WEAVING, "The King and Queen of Hearts," hand-dyed yarn, hand-loomed and stitched wall hanging, signed L/R, "Borisov;" 55" x 34". Note: Saul Borisov spent his early childhood in a town that he would eventually take as his namesake: Borisov, Russia, near Minsk in present-day Belarus. In 1923 his family immigrated to New York City, where he studied painting at the Cooper Union School of Art. Borisov moved to Mexico City in 1948, where he discovered weaving—a medium that would be his focus for the rest of his life. Borisov mastered local practices of traditional weaving quickly, and launched a series of experiments in technique. Borisov was passionately improvisational; He fought the loom, pushing it to create tapestries that it didn't want to make—pieces with curves, odd-shaped gaps and slits with asymmetrical compositions. He dyed all of the material himself, using striking colors to create unique forms that range from densely detailed representational work to solid abstract color fields.
Condition:
Pills throughout, some bleed to cream ground, mostly in black and red. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991)
SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991) A PICTORIA...SAUL BORISOV (Belarusian/American 1912-1991) A PICTORIAL WEAVING, "Jaguar in Leaves Under the Sun," hand-dyed yarn, hand-loomed wall hanging, signed L/L, "Borisov"; 74" x 20". Note: Saul Borisov spent his early childhood in a town that he would eventually take as his namesake: Borisov, Russia, near Minsk in present-day Belarus. In 1923 his family immigrated to New York City, where he studied painting at the Cooper Union School of Art. Borisov moved to Mexico City in 1948, where he discovered weaving—a medium that would be his focus for the rest of his life. Borisov mastered local practices of traditional weaving quickly, and launched a series of experiments in technique. Borisov was passionately improvisational; He fought the loom, pushing it to create tapestries that it didn't want to make—pieces with curves, odd-shaped gaps and slits with asymmetrical compositions. He dyed all of the material himself, using striking colors to create unique forms that range from densely detailed representational work to solid abstract color fields.
Condition:
Some expected pills throughout. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991)
SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991) A WEAVING,...SAUL BORISOV (Belarusian/American 1912-1991) A WEAVING, "Fruit Basket," hand-dyed yarn, hand-loomed inlay technique wall hanging, signed L/R, "Borisov;" 66" x 37". Note: Saul Borisov spent his early childhood in a town that he would eventually take as his namesake: Borisov, Russia, near Minsk in present-day Belarus. In 1923 his family immigrated to New York City, where he studied painting at the Cooper Union School of Art. Borisov moved to Mexico City in 1948, where he discovered weaving—a medium that would be his focus for the rest of his life. Borisov mastered local practices of traditional weaving quickly, and launched a series of experiments in technique. Borisov was passionately improvisational; He fought the loom, pushing it to create tapestries that it didn't want to make—pieces with curves, odd-shaped gaps and slits with asymmetrical compositions. He dyed all of the material himself, using striking colors to create unique forms that range from densely detailed representational work to solid abstract color fields.
Condition:
Occasional stain. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991)
SAUL BORISOV (BELARUSIAN/AMERICAN 1912-1991) A PICTORIA...SAUL BORISOV (Belarusian/American 1912-1991) A PICTORIAL WEAVING, "Lion in a Field of Poppies," hand-dyed yarn, hand-loomed, multi weave with inlay technique wall hanging, signed L/R, "Borisov;" 28 1/2" x 48 1/2". Note: Saul Borisov spent his early childhood in a town that he would eventually take as his namesake: Borisov, Russia, near Minsk in present-day Belarus. In 1923 his family immigrated to New York City, where he studied painting at the Cooper Union School of Art. Borisov moved to Mexico City in 1948, where he discovered weaving—a medium that would be his focus for the rest of his life. Borisov mastered local practices of traditional weaving quickly, and launched a series of experiments in technique. Borisov was passionately improvisational; He fought the loom, pushing it to create tapestries that it didn't want to make—pieces with curves, odd-shaped gaps and slits with asymmetrical compositions. He dyed all of the material himself, using striking colors to create unique forms that range from densely detailed representational work to solid abstract color fields.
Condition:
Some soil/yellowing and mild fading, pills. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
- YASEMIN TOMAKAN OIL ON CANVAS "DAWN
YASEMIN TOMAKAN OIL ON CANVAS "DAWN AT BRANT POINT"Yasemin Tomakan Oil on Canvas "Dawn at Brant Point", signed lower right, in molded gilt frame
16 in. x 20 in. Tomakan attended the Art Students League in Manhattan and the Cooper Union of Art & Engineering. Her professional affiliations include The Lyme Art Association, American Society of Marine Artists (ASMA), Rowayton Arts Association, Art Society of Old Greenwich and The Greenwich Art Society.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
- YASEMIN TOMAKAN OIL ON CANVAS "RAINBOW
YASEMIN TOMAKAN OIL ON CANVAS "RAINBOW FLEET PARADE"Yasemin Tomakan Oil on Canvas "Rainbow Fleet Parade" , signed lower right Tomakan, in molded gilt frame
20 in. x 24 in.
Tomakan attended the Art Students League in Manhattan and the Cooper Union of Art & Engineering. Her professional affiliations include The Lyme Art Association, American Society of Marine Artists (ASMA), Rowayton Arts Association, Art Society of Old Greenwich and The Greenwich Art Society.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
- LARGE JUDY KENSLEY MCKIE BRONZE OWL
LARGE JUDY KENSLEY MCKIE BRONZE OWL VASEJudy Kensley McKie (American, b. 1944). Large "Owl Vessel" in the form of an owl. Initialed, dated 2000, and numbered 3/16 along the underside of the top rim.
McKie began to hone her skills in the 1960s while in the cooperative workspace "New Hamburger Cabinet Works." While there she worked with other furniture makers such as Michael Hurwitz. In the 70s she began incorporating her own ideas and designs, usually inspired by animal and plant motifs. Though these designs started on flat surfaces she quickly moved on to structural and sculptural elements such as the lovely owl offered here. Her work has been exhibited at the American Craft Museum in New York City, the Pritam & Eames gallery, and the Museum of Craft and Design in San Francisco. Additionally, her works are also in the collection of the Smithsonian American Art Museum.
Height: 43 1/2 in x diameter: 13 1/2 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.
- BRONZE PLAQUE AFTER RENOIR ''DANCER
BRONZE PLAQUE AFTER RENOIR ''DANCER WITH TAMBOURINE I'': Published by Westbank Enterprises with the cooperation of Madame Louise Renoir, Hoka Hey Foundry mark, 24.25'' x 17'', impressed signature lower right, marked W.B. lower left and dated 1986.
- WILLIAM TROST RICHARDS, AMERICAN (1833-1905),
WILLIAM TROST RICHARDS, AMERICAN (1833-1905), SEASCAPE - COAST OF MAINE, 1887, OIL ON CANVAS, 19 X 32 INCHESWILLIAM TROST RICHARDS, American, (1833-1905) Seascape - Coast of Maine, 1887, oil on canvas signed and dated lower right "Wm. T. Richards 1887" oil on canvas Dimensions: 19 x 32 inches Provenance: Private Collection. Framed dimensions: 24 3/4 x 37 1/2 x 2 1/2 inches William Trost Richards' paintings of the New England coastline have set the standard for excellence in American seascape painting. His luminist views from Rhode Island, New Jersey, Maine and Massachusetts dramatically capture waves crashing against rocks or calm rolling seas. He often visited his favorite beaches, painting in Cape Ann, Newport, New Jersey, Maine and Conanicut Island on numerous visits. Richards was born in Philadelphia in 1833. He abandoned his formal education at age 13 to work and help support his family. He pursued painting privately, studying under William Stanley Haseltine and Paul Weber in Philadelphia. Wealthy patrons supported his continued study in Europe where Hiram Powers, Emanuel Leutze, Frederick Church, John Kensett and Albert Bierstadt had traveled. By the 1850s, Richards was an established landscape artist exhibiting at Knoedler galleries and supported mainly by private commissions from his friend and patron, Asa Whitney. In 1882, Richards built a summer cottage on the southernmost heights of Conanicut Island, which looks across Rhode Island's Narragansett Bay towards Newport. He called his cottage "Gray Cliff", reflecting both the spectacular geological formations of the sea-washed coast and the predominant hue of summer fog and haze. For the next twenty years, Conanicut, with its alternating views of rocky cliffs and gentle harbors, became Richards' favored in both oil and watercolor. In the later part of his career, Richards became a devoted seascape painter. His best paintings, as in the present lot, capture the light and atmosphere of the scene. He accomplished this by making numerous watercolor studies painted on-site en plein air. In the present lot, Richards captures the mix of sunlight and gray clouds. The birds and the distant boats indicate the precise moment when the winds have picked up in advance of a coming storm. Richards was a member of the National Academy of Design. His works are represented in many public institutions including the Brooklyn Museum, the Cooper-Hewitt Museum of Decorative Arts and Design, The Corcoran Gallery, The Metropolitan Museum of Art and the Newark Museum among others. Tags: oil painting, New England, listed artist, 19th century, marine / coastal / seascape Condition: In overall very good to excellent condition; wax lined canvas; a few very minor dots of restoration apparent under UV We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
- "MODERNISTIC" WALLPAPER, DESIGNED BY
"MODERNISTIC" WALLPAPER, DESIGNED BY CHARLES EPHRAIM BURCHFIELD (AMERICAN, 1893-1967)"Modernistic" Wallpaper, designed by CHARLES EPHRAIM BURCHFIELD (American, 1893-1967) ca. 1927 sight: 21 1/4 x 20 1/2 in., frame: 32 1/2 x 31 in. Provenance: Provenance: The Collection of a Massachusetts Lady. Having graduated from the Cleveland Institute of Art in 1916, Charles Burchfield moved to Buffalo, New York in 1921 and was hired as a designer by the wallpaper company H.M. Birge & Sons Co. He stayed at Birge & Co. until 1929, designing some of their most popular wallpaper patterns, including this pattern, called "Modernistic." Examples of Burchfield's "Modernistic" wallpaper pattern can be found at the Cooper Hewitt Museum and the Burchfield Penney Art Center. Condition:
- PR., E.F. CALDWELL NEOCLASSICAL ENAMELED
PR., E.F. CALDWELL NEOCLASSICAL ENAMELED SCONCES Edward F. Caldwell & Co. (New York, 1895-1959), 20th century. Pair of two-light bronze sconces in the neoclassical taste, each having a green enameled oval plaque with white urn. I.B.E.W. paper label to the back of each. Note: These sconces, labeled as A-49455 are shown in large binder number 14, page 22, E. F. Caldwell & Co. collection at the Cooper-Hewitt Museum Library, Smithsonian Institution. Approx. of one, h. 11", w. 7", d. 5",
- MEISSEN PORCELAIN ASPARAGUS-FORM ETUI
MEISSEN PORCELAIN ASPARAGUS-FORM ETUI NEEDLE CASEGerman Meissen porcelain etui (bodkin/ sewing needle case), gilt metal lid with floral design, porcelain case modeled as an asparagus spear, blue underglaze crossed swords mark, approx 3 3/8"l **Note: a similar example is in the Cooper Hewitt Museum, New York, collection record 1931-6-27** **Provenance: a Houston, Texas estate**
- JACK LENOR LARSEN (1927-2020) KALEIDOSCOPE
JACK LENOR LARSEN (1927-2020) KALEIDOSCOPE TEXTILEBolt of epingle velvet upholstery fabric, designed by Jack Lenor Larsen (American, 1927-2020), in the "Kaleidoscope" pattern, with repeated concentric squares, composition: 72% linen, 17% cotton, 11% polyester, pile: 100% linen, width (inclusive of selvage): approx 51.5"w, length: approx 440.5"l (approx 12.2 yards) **Note: an example of this textile is in the Cooper Hewitt Museum, New York, collection record 2016-32-21**
- MICHAEL PAVLIK (CZECHOSLOVAKIAN. B.
MICHAEL PAVLIK (CZECHOSLOVAKIAN. B. 1941)Internally Decorated Colorless Glass Abstract Sculpture. Signed, dated 1983, numbered 1748. Height 12 in. Diameter 9 in. (approx) (Cond: good) Cf. Michael Pavlik was born in Prague, Czechoslovakia in 1941. He began his studies and producing glass in Prague in 1972. He received his Masters in Art and Design from the College of Applied Arts in Prague. Upon his coming to the United States, Pavlik studied at the Penland School of Crafts in North Carolina and has taught at Hartwick College in Oneonta, NY. He received a grant from the National Endowment for the Arts in 1984 to continue his work. His glass can be found, amongst other collections, in the following: the Hokkaido Museum of Modern Art, Japan, the Corning Museum of Glass, NY, the Carnegie-Mellon Museum of Art, PA, the Whitney Museum, NY, the Cooper-Hewitt Museum, NY and at the American Craft Museum, NY.
- ELLEN LANYON, NEW YORK, ILLINOIS / ENGLAND
ELLEN LANYON, NEW YORK, ILLINOIS / ENGLAND (1926-2013), OH, OH, OSTRICH, 1967, LITHOGRAPH, 22”H X 30”WEllen Lanyon, New York, Illinois / England, (1926-2013) Oh, Oh, Ostrich, 1967, lithograph Titled lower left, numbered (8/20) lower middle, signed and dated lower right. From the artist's memorial tribute by the Art Institute of Chicago submitted by Gene Meier. His source was the brother of the artist. Lanyon has been an icon of the Chicago school for more than 60 years, painting in a way that harkens to both formalism and the realms of dreams and symbolism. Her works involve the most fanciful of still-lifes one could ever imagine, such as, the replication of intricate objects, like a small ceramic humidor in the shape of a frog smoking a pipe that first belonged to her grandfather, and the incorporation of natural elements in fantastical settings. Lanyon said that she felt she was a magician through her paintings, one "who can transform flowers into fire, create the animate out of the inanimate, and utilize osmosis and gravity to create illusion." And she did through items of nostalgia, rich color pallets, and dream-like scenarios that brought her scenes to life. Lanyon made the transition to New York City as her primary residence and studio in the late-1970s, but her heart and home has always been in Chicago. She has had more than 75 solo exhibitions and 11 museum exhibitions, including three major traveling retrospectives. Her work is in the collections of the Art Institute of Chicago; Museum of Contemporary Art, Chicago; Union League Club, Chicago; numerous private collections in the Chicago area; and other major museums and collections in the United States and abroad. Education: Honorary Doctorate, The School of the Art Institute of Chicago, 2007 The Courtauld Institute University of London, UK MFA, University of Iowa, Iowa City, IA, 1950 BFA, The School of the Art Institute of Chicago,1948 Lanyon has taught painting at several institutions including the School of the Art Institute of Chicago, and the Cooper Union and the School of Visual Arts in New York City. Lanyon received several Armstrong Prize Awards and a Logan Prize from the Art Institute of Chicago, Fulbright Study Grant, Cassandra Foundation Grant, Herewood Lester Cook Foundation Award, two National Endowment for the Arts Visual Artists Awards, Florsheim Art Foundation Grant, several Yaddo Fellowships, Ossabaw Island Project Fellowship, and two Purchase Awards from the American Academy of Arts and Letters. She was elected to the Union League Club, Chicago; Century Association, New York City; and the National Academy of Design. Ellen is survived by her husband Roland Ginzel, children Lisa Ginzel and Andrew Ginzel (Sarah Walker); grandson Walker Ginzel; brother Richard Lanyon (Marsha Richman); and other nephews and nieces. Ellen was the eldest daughter of the late Howard W. and Ellen M. Lanyon of Chicago. lithograph Dimensions: 22"H x 30"W
- CHINESE YELLOW GROUND FAMILLE ROSE SPITTOON,19TH
CHINESE YELLOW GROUND FAMILLE ROSE SPITTOON,19TH C A Chinese yellow famille rose spittoon, dating from the 19th century. Two panels with figures are featured on opposite sides, with decorative yellow, light green, pink floral design. No stamp on the slightly recessed base. With a new metal rim formed over the original porcelain rim, covering the entire flared rim area.
H. 6 3/4" (17.1 cm)
Condition: good condition overall for age and use, not examined under the cooper cover for the rim
- PAUL H. SMITH (AMERICAN/NEW ORLEANS,
PAUL H. SMITH (AMERICAN/NEW ORLEANS, B. 1894)Paul H. Smith (American/New Orleans, b. 1894), "Old French Market, New Orleans", "The Cooperage New Orleans" and "French Market N.O.", 3 etchings on paper, each pencil-signed and titled, 2 with edition, one inscribed lower margin, one inscribed en verso, sheets 4 1/8 in. x 4 3/4 in. to 8 3/4 in. x ll 3/4 in., unframed; WITH faux white alligator folio. (4 pcs.)
- SOVIET LOMONOSOV FACTORY PORCELAIN FIGURE,
SOVIET LOMONOSOV FACTORY PORCELAIN FIGURE, SEATED NUDE HOLDING BOWLSOVIET LOMONOSOV FACTORY PORCELAIN FIGURE, SEATED NUDE HOLDING BOWL, Leningrad, circa 1923-1930, blue printed LFZ Cyrillic mark, modeled by Alexander T. Matveev, 1923, depicted seated on a pink draped plinth, holding a large yellow-lined green basin in her lap, wearing a green spotted headscarf, on a flat black painted oval base, h: 5.75 in. Provenance: Estate of Ronald Sperling Literature: There was great excitement at the State Porcelain Manufactory when sculptor Alexander T. Matveev (1878-1960) was persuaded by Sergei Chekhonin, Head of the Art Section, to have six small figures of nude woman produced in porcelain prior to casting them in bronze. For a further discussion and an illustrated example, see Nina Lobanov-Rostovsky, Revolutionary Ceramics, Soviet Porcelain 1917-1927, p. 102, fig. 108. For a similar example, also see the Cooper Hewitt Collection, object. No. 18632929.
- LANCASTER, PENNSYLVANIA SILK ON LINEN
LANCASTER, PENNSYLVANIA SILK ON LINEN SAMPLERLancaster, Pennsylvania silk on linen needlework sampler, dated 1808 , inscribed Fannie Rine a daughter of Christian and Barbera Rine was born in the borough of Lancaster the 26th day of September, 1796 and made the sampler in Mrs. Armstrong's school A.D. 1808 , with seated young girl and lamb under a willow tree, with floral vine border, 18" x 16 3/4". A sampler by Willamina Rine is in the Cooper Hewitt Museum, New York. Evidence strongly suggests the Fannie was the nickname of Willamina's older sister Veronica. For a similar example see Betty Ring, Girlhood Embroideries , page 421, fig. 468. Provenance: Purchased from Amy Finkel at the Folk Art Show in New York 2003.
Competitive in-house shipping is available for this lot.
Condition:
Very light toning.
- EF CALDWELL ATTR FLOOR LAMP TORCHERES,
EF CALDWELL ATTR FLOOR LAMP TORCHERES, PAIR Edward F. Caldwell & Co. (New York, XX) attributed, Venetian Baroque style gilt bronze, brass, and marble torchieres, a pair, circa 1900-1930, in the forms of Venetian Baroque lanterns on tripodal stands, the crowned lantern cages decorated with scrolling acanthus atop a twisted hexagonal gilt bronze support on tripod feet wreathed in scrolling acanthus volutes atop conforming white marble bases. 83" H x 11" diameter. Note: An image of a related Venetian style lantern-topped torchere is in E. F. Caldwell & Co. Collection at the Cooper-Hewitt Museum Library, Smithsonian Institution Libraries: Large Binder 87, Page 45, number A024227.
- 19TH CENT AMERICAN SCHOOL PORTRAIT OF
19TH CENT AMERICAN SCHOOL PORTRAIT OF MRS. SAMUEL GILESThe American School portrait by an anonymous artist (manner of The Cooper brothers of Nashville, Tennessee - Washington Bogart Cooper and William Browning Cooper) depicts a seated young woman with lace collar beside a window and view of a mountain landscape. The characteristics in the style of Cooper portraits include the shadowing of the eyes, the subtle abstracted suggestion of the chair and the overall technique are characteristics of the Coopers' work.Canvas measures 30 x 25 with a framed size of 38 x 32.75 inches.Very good restored condition, professionally relined, a 2-inch circular area of inpainting lower left, scattered minor touch up elsewhere and a network of touch ups in the face as shown in the images.