A few examples of appraisal values for
VALUE OF

• GROUP OF APPROX. 163 MIXED 90% U.S.
  GROUP OF APPROX. 163 MIXED 90% U.S. SILVER COINS Collection of approximately 163 United States 90% silver coins comprising, 19 half dollars dating between1936-1964; 89 quarters dating through1964; and 55 dimes dating between 1938-1964 having a total face value of $38.25. Approximate dimensions: Total weight 917 grams dimes: 17.91mm, quarters 24.26mm, Halves 30.61mm Note: Ahlers & Ogletree reserves the right to require payment via certified funds (wire transfer, certified check) for this lot. Please contact our offices in advance of bidding with any questions.
• $50 AMERICAN .90 SILVER QUARTER COLLECTION
  $50 AMERICAN .90 SILVER QUARTER COLLECTION ,Various Dates$50 face value of .90 silver quarters of mixed dates in each roll. Condition Various states of condition Provenance From the safe of an East Providence, Rhode Island family. Dimensions Each tube measures 2 3/4" x 1" Circa/ Origin Various dates Medium .90 silver, paper
• $50 AMERICAN .90 SILVER QUARTER COLLECTION
  $50 AMERICAN .90 SILVER QUARTER COLLECTION ,Various Dates$50 face value of .90 silver quarters of mixed dates in each roll. Condition Various states of condition Provenance From the safe of an East Providence, Rhode Island family. Dimensions Each tube measures 2 3/4" x 1" Circa/ Origin Various dates Medium .90 silver, paper
• 14K WHITE GOLD VINTAGE DIAMOND RING.
  14K WHITE GOLD VINTAGE DIAMOND RING. American, 2nd half - 20th century. Stamped 14K white gold mirror polish and milgrain ring, round brilliant center diamond approx. .88ct, J color, VVS clarity. Eight small full cut diamonds, total weight approx. .40ct, G color, VS clarity. Ring size 5.5, 3gr. Accompanied by appraisal dated 8/2018 stating appraised value of $6000.00.
• PAIR OF 19TH C TURQUOISE GLAZES QILIN
  PAIR OF 19TH C TURQUOISE GLAZES QILIN FIGURES. Pair of 19th century Chinese Export turquoise reclining Kylins or Qilins. By consignor provenance these items were purchased from David Weiss, Inc., New York, on May 23rd, 1983; appraised value of $6,000. From a W 171st St, Manhattan estate. Dimensions: Qilins measure approx. 7.75" w x 4" d x 6" h. Condition: Chip to the tip of one Qilin's tongue; chip to central area of one Qilin's chest, and split/crack to area where one leg bends - does not go all the way through. Light surface scratches and minor dings/dents.
• SILVER. ASSORTED LOT OF JUNK SILVER
  SILVER. ASSORTED LOT OF JUNK SILVER AND BULLION. Includes $6 face value of circulated 90% silver Washington quarters; .50C face value of circulated 90% silver Standing Liberty quarters; .25C face value of circulated 90% silver Barber quarters; $3.40 face value of circulated 90% silver Roosevelt dimes; $10 face value of circulated 90% silver Franklin half dollars; $1.50 face value of circulated 90% silver Kennedy half dollars; $7 face value of circulated 40% silver Kennedy half dollars; .5C face value of circulated 35% silver wartime Jefferson nickels; $2 face value of circulated full date and no date Buffalo head nickels; a 1853 Arrows & Rays .25C Seated Liberty silver quarter; a 1880 $1 Morgan silver dollar; a 1922 $1 Silver Peace Dollar; a 1926 S $1 Silver Peace Dollar; .75C face value of circulated 92.5% and 80% silver Canadian quarters. (8) 1991 $1 .999 silver American Eagles; (7) 1 Troy Oz .999 silver bullion generic Rounds commemorating Pete Rose 4,192 Hits Breaks Ty Cobb's Record ; a 1 Troy Oz .999 silver bullion generic round commemorating the1996 NY Yankees world series victory; (38) sterling silver Franklin Mint 10mm president rounds and a 1994 $10 Flamingo gaming token with a .999 silver core and a brass rim. Total approx. weight of all 90% silver coins is 20.233 troy oz (gross); total approx. weight of all 35% silver coins is 0.056264 troy oz (gross); total approx. weight of all Canadian silver coins is 0.15456 troy oz (gross); total approx. weight of all .999% silver bullion is 16 troy oz (gross); and the total approx. weight of all sterling silver rounds is 1.33 troy oz (gross). From a New York, NY estate. Condition: Circulated, toned, and no dates.
• SILVER. ASSORTED LOT OF JUNK SILVER
  SILVER. ASSORTED LOT OF JUNK SILVER AND PAPER Money. Includes $10 face value of circulated 90% silver Washington quarters; $5 face value of circulated 90% silver Roosevelt dimes; $5 face value of circulated 90% silver Mercury dimes; .50C face value of circulated 90% silver Franklin half dollars; (1) 1922 (Philadelphia struck) silver Peace dollar; (2) 1922 S silver Peace dollars; (3) 1923 S silver Peace dollars; (1) 1924 (Philadelphia struck) silver Peace dollar; (2) 1879(Philadelphia struck) silver Morgan dollars; (1) 1879 S silver Morgan dollar (2) 1880 (Philadelphia struck) silver Morgan dollars; (1) 1880 O silver Morgan dollar; (1) 1883 (Philadelphia struck) silver Morgan dollar; (3)1884 (Philadelphia struck) silver Morgan dollars; (1) 1889 (Philadelphia struck) silver Morgan dollar; (1) 1900 (Philadelphia struck) silver Morgan dollar; (1) 1921 S silver Morgan dollar; (1) 1976 S 40% silver uncirculated bicentennial mint set in the OGP (Original Government Packaging); a Lucite pen holder with floating coins; and an uncut sheet of (32) $1 bills in the OGP (Original Government Packaging), series of 1981 $1 Federal Reserve Note of Boston FR#1911-A A A Block with signatures Buchanan/Regan. Total approx. weight of all 90% silver coins is 30.552 troy oz (gross); and the total approx weight of all 40% silver coins is 0.53704 troy oz (gross). From a New Rochelle, NY estate. Dimensions: Morgan dollars measure approx. 38.1mm in diameter. Condition: All Coins are circulated and toned. Franklin half dollar, Washington quarters, Mercury dimes, and Roosevelt dimes include full, partial, and no dates.
• JEWELRY. VAN CLEEF & ARPELS 18KT GOLD
  JEWELRY. VAN CLEEF & ARPELS 18KT GOLD & TURQUOISE Brooch. Signed Van Cleef & Arpels 18kt gold and oval turquoise cabochon brooch. With a later added 14kt gold brooch backing with hinged closure - stamped, "14K". Turquoise cabochon measures approx. 14.5mm x 10.0mm. Brooch backing is inscribed, "VCA NY46243". With a "Paris Jewel Boutique" Van Cleef & Arpels at Bergdorf Goodman lidded box and hinged case. Accompanied by a July 8th, 2022 Jewelry Judge Appraisal with a Retail Replacement Value of $6,000. Total approx. weight is 11.4 dwt (gross). From a Long Island, NY estate. Dimensions: brooch measures approx. 2.375" w. 1.125" h. Condition: Good, with light surface scratches and minor dings/dents. One ball form accent is missing. Brooch backing is a later addition.
• JEWELRY. DAVID YURMAN BRUTALIST NECKLACE
  JEWELRY. DAVID YURMAN BRUTALIST NECKLACE & LETTER. Early unsigned David Yurman Brutalist necklace with large pendant. Accompanied by personal letter correspondence directly with David Yurman. One letter states, "Dear Florence, It was very exciting to see one of my early pieces again, And I am glad to tell that it is not a cast piece, it is a one of a kind. The piece on the picture enclosed was made in the early 70's and has an estimated value of $1,000 David Yurman". Also included is a Sybil & David Yurman Jewelry receipt for $49.92. From a Nyack, NY estate. Dimensions: pendant measures approx. 4" h. Condition: Good, with light surface scratches and minor dings/dents.
• NIELS A. OBEL (DENMARK/UNITED STATES)
  NIELS A. OBEL (DENMARK/UNITED STATES) (4) Miniature Studies of Fruit and Vegetables, in two frames, colored pencil on Arches french paper, initialed "NO", in gilt stick frame, under two-window mats, glass. Both are inscribed with the artist's name verso, dated 10-29-03 & 10-15-05, the first donated to "Teen Center" Fundraiser, Camden ME; the second donated to Community School Auction Fundraiser Camden Maine", the second only marked with a value of $550. OS: 9" x 9 3/4", SS: 2 3/4" x 2" each.
• FLYING BRANTGeorge William McLellan
  FLYING BRANTGeorge William McLellan (1897-1987) Eureka, CA, c. 1941 24 in. long, 41 in. wingspan One of only nine flying decoys originally created for this legendary rig. Few would argue that Bill McLellan’s famous rig of brant are the finest flyer decoys ever created. This rig was meticulously constructed in 1941 with the assistance of his wife, Olga (1902-1980). McLellan only used the carefully protected patterns about a dozen times over the next twenty years. Since then these peerless birds have been highly celebrated and prized by collectors, authors, and curators from coast to coast. In 1989 Richard Wheeler wrote a feature article for "Decoy Magazine" entitled “Bill McLellan’s wonderful flying brant,” discussing not only the rig, but his and Dorothy’s experiences with McLellan a half a century ago and how they obtained this intricately swirl-painted decoy number “8.” When the Wheelers arrived, the carver still had eight of the original nine, though one had “ruined body paint” from a friend’s attempt to mold it, bringing the rig to only seven fine examples in original paint. While Wheeler was not able to acquire this flyer on that occasion, he was highly motivated and soon made arrangements to obtain "number 8.” The same year Wheeler published his story, West Coast decoy authorities, Michael Miller and Frederick Hanson illustrated this exact decoy, describing these famous flyers as “masterpieces of precision” in their book “Wildfowl Decoys of the Pacific Coast: Carving Traditions of British Columbia, Washington, Oregon and California.” McLellan, even during his lifetime, recognized the important value of these decoys “for he made a special box for them that contained separate compartments for wings, pins, dowel, bodies, etc.” The authors continue, “The redwood bodies, measuring about 24 inches in length, were fashioned from old telephone poles found in the alley behind his home. Bill created nicely detailed patterns to trace the top and side views on the redwood blocks before he started carving. Unlike the floaters, Bill did not equip these flyers with bills made of hardwood doweling. The wings were constructed in much the same manner as those on good model airplanes. McLellan used fine spruce for the frames, after first designing and preparing explicit patterns. When the frames were completed, stiff butcher paper was laid on followed by muslin. The fabric was then coated with airplane dope. The wing patterns were taken from the tracing of an actual brant wing – ‘a big fella’ according to McLellan. Each of the nine flying brant was numbered on the body and matching wings. The latter fit into the bodies with intricate, brass wing-locking mechanisms that allow quick removal or attachment. The wing-lock is hinged to allow the wings, rigged with heavy rubber bands, to waver in the wind. A copper pin secures the wings to the hinges. The flyers were deployed by means of telescoping 2-piece galvanized steel poles. Each of the nine poles, with each decoy at a different height, was attached to a floating wooden frame that was pulled over the sand into the water as the tide rose and fell.” McLellan did not stop with the form and construction, as the paint is perhaps the finest seen on any Pacific brant. Both the top and bottom sides of the stretched canvas wings are finished with excellent feathering. This decoy is particularly notable within the rig for its strong swirl paint towards the tail. The Wheelers also acquired McLellan’s incredible patterns which further confirm that this is perhaps the most intricately made rig of decoys ever constructed. The bird’s refinement and function would have made an unrivaled sight on the choppy waters of Humboldt Bay. Indeed, McLellan recounted that on multiple occasions this vexed other hunters. Today, thanks to the Wheelers and other specialists, we have a robust understanding of this extraordinary rig. “Supplementing the many floating brant decoys, McLellan made nine extraordinary flying brant decoys that are brilliant innovative achievements in artistry, workmanship, and construction.” — Michael Miller, “Wildfowl Decoys of California,” 2015 “The McLellan flying brant fit the criterion of masterful decoys.” — Gerald M. Rosenthal, “The Great Book of Waterfowl Decoys,” 1990 Original paint with light gunning wear. Working touch-up to two small tears on top of right wing and one across the underside of the wing. Provenance: George W. McLellan Rig Richard and Dorothy Wheeler Collection, acquired from the maker, circa 1973 Literature: Richard Wheeler, “Bill McLellan's Wonderful Flying Brant” Decoy Magazine, Lewes, DE, March/April 1989, pp. 36-41, rigmates illustrated. Michael R. Miller and Frederick W. Hanson, "Wildfowl Decoys of the Pacific Coast: Carving Traditions of British Columbia, Washington, Oregon and California," Davis, CA, 1989, pp. 129-133, exact decoy illustrated multiple times. Joe Engers, ed., "The Great Book of Wildfowl Decoys," San Diego, CA, 1990, pp. 269-270, rigmate illustrated. Michael R. Miller, "Wildfowl Decoys of California,” Spokane, WA, 2015, back cover and pp. 58-65, rigmates illustrated. Loy S. Harrell Jr., "Decoys: North America's One Hundred Greatest," Iola, WI, 2000, pp. 148-9, rigmate illustrated. Linda and Gene Kangas, "Decoys," Paducah, KY, 1992, p. 125, pl. 191, related example illustrated. Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, p. 270, rigmate illustrated. Gene and Linda Kangas, "Decoys: A North American Survey," Spanish Fork, UT, 1983, p. 275, top bird, rigmate illustrated.
• CHARLES & RAY EAMES / HERMAN MILLER
  CHARLES & RAY EAMES / HERMAN MILLER ES108 SOFAAn Eames two-seat sofa (model ES 108) by Herman Miller. Black leather, teak, and polished aluminum. No label present. Measures 33" x 56" x 30". Originally designed by Charles and Ray Eames in 1967, Ray completed the design after Charles's death in 1978. According to Herman Miller's website, the piece has been in continuous production since 1984, with a current retail value of $10,612. Condition Very good condition, noting a couple of dings to the teak at the front of the seats. No issues to the leather, only some typical creasing from use.
• CHARLES & RAY EAMES / HERMAN MILLER
  CHARLES & RAY EAMES / HERMAN MILLER ES108 SOFAAn Eames two-seat sofa (model ES 108) by Herman Miller. Black leather, teak, and polished aluminum. No label present. Measures 33" x 56" x 30". Originally designed by Charles and Ray Eames in 1967, Ray completed the design after Charles's death in 1978. According to Herman Miller's website, the piece has been in continuous production since 1984, with a current retail value of $10,612. Condition Very good condition, noting a couple of dings to the teak at the front of the seats. No issues to the leather, only some typical creasing from use.
• 18K GOLD & DIAMOND BRACELETAn 18kt white
  18K GOLD & DIAMOND BRACELETAn 18kt white gold & diamond bracelet set with approximately 1 carat of calibre set baguette diamonds. Total weight 25.5 grams. Estimated replacement value of $6,000.
• LALIQUE FRANCE "DEUX DANSEUS" CRYSTAL
  LALIQUE FRANCE "DEUX DANSEUS" CRYSTAL STATUETTE, DESIGNED BY MARC LALIQUE IN 1942 10" x 5 ½" x 5" Clear and frosted crystal glass depicting two nude maidens whirling in a dance. Etched with "Lalique France" on the bottom. Retail value of $3,360.
• VIETNAMNESE PRINT Vietnamese print,
  VIETNAMNESE PRINT Vietnamese print, depicting the commemorative mother and child image from the UNICEF series dated to 1968 and with a face value of 16 dong, framed and glazed. 16"h x 23"w.
• A COMPLETE HIGH END AUDIO SYSTEM A Complete
  A COMPLETE HIGH END AUDIO SYSTEM A Complete High End Audio System Consisting of A Forsell MK-II included is a backup laser reader which guarantees the go forward value of this piece should the original laser reader fail, Tranport/Digital Air Bearing Transport w/Separate Air Pump and Tubing that Floats CDs to minimize excess noise, A Balanced Audio Technology "BAT" VK-50se, Pre-Amplifier w/Remote, Thor Audio Tube DAC/TC-1000: Gain Stage Tubes are a Pair of the Mullard CV-4308, and the Buffer Stage Feature a Pair of the rare Amperex PQ 7316, White Label, Holland 1960s, Two Balanced Audio VK-60 "Monoblocks", 120 WPC. Monoblocks were modified with audio note Kondo Japan Internal Wiring in Lieu of the original and modest Belden Wire, Original Coupling Capacitors were swapped out for the Audio Note, 22mF, 630V, Paper-in-Oil, Silver Leads and Copper Foil, Silent Running Audio ('SRA') Amplifier Custom 'Isolation' Stands Specially Designed for the VK-60s w/Spiked Feet, Inter-Connects: Siltech Golden Eagle XLR Digital Transport to DAC, Siltech G-5 Compass Lake, DAC to Pre-Amp, and a second Compass Lake pre amp to DAC and Yamamura "Quantum", Pre-amp to Monoblocks, Sound Application "Signature Series" Linestage Power Conditioner, Suisse Audio Consulting, Transport Only Filter/Buffer, Power Cords - several (3) of the Highest End Elrod and Electaglide w/One Omega Micro Cord, Zero Goss chamber to reduce magnetic distortion, Miscellaneous 'Tweaks' - Copper Tube Covers for the Monoblock 6SN7 NOS, Speaker, Pre-DAC Isolation Sleeves and Stand for the DAC Power Supply
• Rare and Important American Rococo Revival
  Rare and Important American Rococo Revival Rosewood Armchair and Matching Sidechair, probably executed by Alexander Roux, New York, third quarter 19th century, the crests of each featuring a spead-winged bird flanked by sprays of flowers and a putto hanging off each side, armchair h. 44\", w. 30\", d. 25\"; sidechair h.38\", w. 21\", d. 21\". Provenance: Homewood, Natchez, Mississippi. Homewood was built by David Hunt, a wealthy planter and businessman in Adams County, Mississippi. He built this palatial home as a wedding gift to his daughter and named it \"Homewood\". The house took five years to construct and was completed in 1860. The house burned to the ground in 1947. This lot is accompanied by two hand-written letters, ca. 1865, discussing the fate of these chairs and other furniture, as well as, a framed image of \"Homewood\" before it burned. Natchez June 2, 1865 Maj. Gen. Davidson General, I would respectfully ask attention to the following application - My wife is the aunt of Mr. W. T. Martin, a loyal resident of Adams County, Miss. She took charge of & raised Mr. Martin from his infancy. In January, 1854, she married William T. Martin lately in the confederate service. She became entitled by the will of his father, the late William C. Conner to separate property mainly in cash of the value of about $30,000. In 1854 his mother deeded to her a piece of land about 1-1/2 miles from the city of Natchez. Upon which her husband, for the most part with her means, erected & furnished a dwelling house and highly improved the place. In July, 1863, the U.S. forces occupied Natchez. Mrs. Martin was driven from her home by the violence & insults of Federal officers & soldiers (on picket duty in front of her house) & of her own servants accompanied by soldiers. There was no white males in the place except for her infant son. Her family consisted of five small children. The elder eight years old. She moved her family & most of her furniture to her mother?s place, adjoining her own. About the 1st of March 1864, the Provost Marshall, an officer whose name was Walker, came with Col. Wallace of the 4th Union Cavalry & some soldiers & took away part of her furniture. A few days afterwords other officers & soldiers carried off more. & but for the active influence of myself would have left Mrs. Martin & family without a bed of her own to sleep on. The object of taking the furniture was stated by the officers to be to furnish the quarters of some of the officers of the U.S. Army. When the first seizure of furniture was made, Mrs. Martin informed the officers making it that the furniture was her property & not her husband?s. & her mother Mrs. Conner called immediately upon the Commandant of the Post Col. Johnson, & informed him that the furniture was her daughter?s & not Gen. Martin?s & he told him it was taken with his approbation, & he could take any furniture in Natchez. Lt. Park?s assistant Provost Marshall took away part of the furniture. Mrs. Martin by the laws of Mississippi is entitled to hold real & personal property separately from her husband, and not subject to his debts or default. Her residence and this furniture were so held. This furniture was purchased with her means & her husband, I am informed, could not legally sell it without her consent. She is now deprived of her home & the means of furnishing another. A list of the furniture taken from her is here with furnished. Some part of it is in the hands of Col. Wallace who is in Natchez - some in possession of Capt. Peres Q. M. As I have reason to believe- none of it is recorded in or in the possession of the Treasury agency here. So far as I know the U.S. Government has never been benefitted one dollar by this unauthorized seizure of a non-combatant?s property - Property too, not fit for military uses. In Mrs. Martin?s behalf, I respectfully ask that a strict investigation may be made into the conduct of the officers seizing this furniture & that they may be required to return it & compensate the owner for its use & any damage it may have sustained. I ask this the more confidently because I believe the present commanding officers here will not permit acts of injustice or violence on the part of soldiers or officers, towards defenseless women & children - or their property - Respectfully Submitted Spencer Wood and Dr. Wood, The furniture I received from the Pro. Marshal & A.Q.M.in the early part of last year, among which were a few articles belonging to Genl. Martin C.S.A. was turned over to the A.Q.M. in the fore part of Aug. last. Except some that were delivered to Dr. Luce and adjt. Cregs 4th Union Cav. The adjt. turned over what he got to the A.Q.M. In Oct. last. and I believe the Dr. turned over what he got to Major Muciple and by the Major to Capt. Mersinun and by him to the Treasury Dept. That is all I can learn about the articles except the following which are now in the house where I live. (1) one cottage bedstead (1) marble top washstand (1) card table (2) two chairs - for these I am responsible to the Treasury Dept. Very Respectfully Mr. M Wallace Natchez Miss May 26th 1865
• CARL FREDERICK GAERTNER (AMERICAN, 1898-1952)
  CARL FREDERICK GAERTNER (AMERICAN, 1898-1952) MORNINGCarl Frederick Gaertner (American, 1898-1952) Morning watercolor on paper 14 in. h. x 19 1/2 in. w., image 23 in. h. x 28 in. w., matted and framed Exhibited: The Cleveland Museum of Art, 12th Annual Exhibition of Cleveland Artists and Craftsmen, April-June 1930 Carl Gaertner was one of the greatest painters to emerge from the Cleveland School. Born in Cleveland on April 18, 1898, he graduated from East Technical high school in 1918 and attended Western Reserve College. From 1920 to 1923 he studied at the Cleveland School of Art (now the Cleveland Institute of Art) with Henry Keller. In 1922, he entered his first May Show at the Cleveland Museum of Art and was awarded a prize for an industrial oil painting. From 1925 until 1952, he was known as a pillar of the Cleveland School and one of their most prestigious painting instructors. Gaertner’s subject matter was always drawn from the world around him. Early in his career, he focused on Cleveland and its environs. This interest never left him, but as he matured, his choice of subjects broadened. He painted watercolors and oils of Bermuda in the mid 1920s and began making frequent trips to Provincetown beginning in the 1920’s. Like other Cleveland artists, he culled inspiration from travels within the United States, notably trips through Pittsburgh’s dramatic industrial landscapes and Cambridge Springs in Pennsylvania, to the mountains of West Virginia, and to Cape Cod. From the mid 1940s until his death, he also produced paintings based on sketches made during train rides to visit galleries in New York City. At the time of his premature death in 1952, Carl Gaertner enjoyed a considerable reputation as a master of American Scene painting. By the 1940s, Gaertner was represented by the venerable Macbeth Gallery in New York City and his paintings were exhibited in shows throughout the United States. In 1944 and 1952, Gaertner received the National Academy of Design’s highest award for individual work in a group exhibition, and his work was exhibited in the Cleveland Museum of Art’s May Show for 27 years. Gaertner’s works are in the collections of many prestigious institutions, including the Cleveland Museum of Art, the Metropolitan Museum of Art, the Chicago Institute and the Whitney Museum of American Art. The reflective eye of Gaertner chronicled three decades of Cleveland and the landscapes of the Midwest and its people. It is all there: the growing might of industrial Cleveland; the mass-produced promise of the assembly line, giving way to a dawning awareness of lost freedom and the surrender of individuality; the love affair of Americans with nature and the ideals of Thoreau and Whitman and Frost; and the conflict between that love affair and industrial promise. Gaertner was just achieving national acclaim at the time of his early death at the age of 54. A resurgence of enthusiasm for Gaertner and his works began in the 1970’s and has steadily increased and incrementally boosted the value of his work, with a fine rare example, “The Popcorn Man” reaching $250,000 at auction.
• CARL FREDERICK GAERTNER (AMERICAN, 1898-1952)
  CARL FREDERICK GAERTNER (AMERICAN, 1898-1952) BERMUDA, ...Carl Frederick Gaertner (American, 1898-1952) Bermuda, 1946 Gouache on cardboard Signed and dated 1946 lower right 15 in. h. x 20 in. w. Carl Gaertner was one of the greatest painters to emerge from the Cleveland School. Born in Cleveland on April 18, 1898, he graduated from East Technical high school in 1918 and attended Western Reserve College. From 1920 to 1923 he studied at the Cleveland School of Art (now the Cleveland Institute of Art) with Henry Keller. In 1922, he entered his first May Show at the Cleveland Museum of Art and was awarded a prize for an industrial oil painting. From 1925 until 1952, he was known as a pillar of the Cleveland School and one of their most prestigious painting instructors. Gaertner’s subject matter was always drawn from the world around him. Early in his career, he focused on Cleveland and its environs. This interest never left him, but as he matured, his choice of subjects broadened. He painted watercolors and oils of Bermuda in the mid 1920s and began making frequent trips to Provincetown beginning in the 1920’s. Like other Cleveland artists, he culled inspiration from travels within the United States, notably trips through Pittsburgh’s dramatic industrial landscapes and Cambridge Springs in Pennsylvania, to the mountains of West Virginia, and to Cape Cod. From the mid 1940s until his death, he also produced paintings based on sketches made during train rides to visit galleries in New York City. At the time of his premature death in 1952, Carl Gaertner enjoyed a considerable reputation as a master of American Scene painting. By the 1940s, Gaertner was represented by the venerable Macbeth Gallery in New York City and his paintings were exhibited in shows throughout the United States. In 1944 and 1952, Gaertner received the National Academy of Design’s highest award for individual work in a group exhibition, and his work was exhibited in the Cleveland Museum of Art’s May Show for 27 years. Gaertner’s works are in the collections of many prestigious institutions, including the Cleveland Museum of Art, the Metropolitan Museum of Art, the Chicago Institute and the Whitney Museum of American Art. The reflective eye of Gaertner chronicled three decades of Cleveland and the landscapes of the Midwest and its people. It is all there: the growing might of industrial Cleveland; the mass-produced promise of the assembly line, giving way to a dawning awareness of lost freedom and the surrender of individuality; the love affair of Americans with nature and the ideals of Thoreau and Whitman and Frost; and the conflict between that love affair and industrial promise. Gaertner was just achieving national acclaim at the time of his early death at the age of 54. A resurgence of enthusiasm for Gaertner and his works began in the 1970’s and has steadily increased and incrementally boosted the value of his work, with a fine rare example, “The Popcorn Man” reaching $250,000 at auction.
• CARL FREDERICK GAERTNER (AMERICAN, 18981952)
  CARL FREDERICK GAERTNER (AMERICAN, 18981952) SKETCH FOR...Carl Frederick Gaertner (American, 18981952) Sketch for Atwood's Cove, 1951 gouache and oil on artist board signed and dated lower left 9 in. h. x 16 3/4 in. w., image 18 1/2 in. h. x 25 in. w., as framed Carl Gaertner was one of the greatest painters to emerge from the Cleveland School. Born in Cleveland on April 18, 1898, he graduated from East Technical high school in 1918 and attended Western Reserve College. From 1920 to 1923 he studied at the Cleveland School of Art (now the Cleveland Institute of Art) with Henry Keller. In 1922, he entered his first May Show at the Cleveland Museum of Art and was awarded a prize for an industrial oil painting. From 1925 until 1952, he was known as a pillar of the Cleveland School and one of their most prestigious painting instructors. Gaertner’s subject matter was always drawn from the world around him. Early in his career, he focused on Cleveland and its environs. This interest never left him, but as he matured, his choice of subjects broadened. He painted watercolors and oils of Bermuda in the mid 1920s and began making frequent trips to Provincetown beginning in the 1920’s. Like other Cleveland artists, he culled inspiration from travels within the United States, notably trips through Pittsburgh’s dramatic industrial landscapes and Cambridge Springs in Pennsylvania, to the mountains of West Virginia, and to Cape Cod. From the mid 1940s until his death, he also produced paintings based on sketches made during train rides to visit galleries in New York City. At the time of his premature death in 1952, Carl Gaertner enjoyed a considerable reputation as a master of American Scene painting. By the 1940s, Gaertner was represented by the venerable Macbeth Gallery in New York City and his paintings were exhibited in shows throughout the United States. In 1944 and 1952, Gaertner received the National Academy of Design’s highest award for individual work in a group exhibition, and his work was exhibited in the Cleveland Museum of Art’s May Show for 27 years. Gaertner’s works are in the collections of many prestigious institutions, including the Cleveland Museum of Art, the Metropolitan Museum of Art, the Chicago Institute and the Whitney Museum of American Art. The reflective eye of Gaertner chronicled three decades of Cleveland and the landscapes of the Midwest and its people. It is all there: the growing might of industrial Cleveland; the mass-produced promise of the assembly line, giving way to a dawning awareness of lost freedom and the surrender of individuality; the love affair of Americans with nature and the ideals of Thoreau and Whitman and Frost; and the conflict between that love affair and industrial promise. Gaertner was just achieving national acclaim at the time of his early death at the age of 54. A resurgence of enthusiasm for Gaertner and his works began in the 1970’s and has steadily increased and incrementally boosted the value of his work, with a fine rare example, “The Popcorn Man” reaching $250,000 at auction.
• CARL FREDERICK GAERTNER (AMERICAN, 1898-1952)
  CARL FREDERICK GAERTNER (AMERICAN, 1898-1952) PAIR OF L...Carl Frederick Gaertner (American, 1898-1952) Pair of Lithographs Industrial scene, Cleveland flats and Mountain Valley Retreat Lithograph on blue ground Initialed lower left / Initialed lower right 7 in. h. x 10 in. w., image 14 in. h. x 17 in. w., as framed Carl Gaertner was one of the greatest painters to emerge from the Cleveland School. Born in Cleveland on April 18, 1898, he graduated from East Technical high school in 1918 and attended Western Reserve College. From 1920 to 1923 he studied at the Cleveland School of Art (now the Cleveland Institute of Art) with Henry Keller. In 1922, he entered his first May Show at the Cleveland Museum of Art and was awarded a prize for an industrial oil painting. From 1925 until 1952, he was known as a pillar of the Cleveland School and one of their most prestigious painting instructors. Gaertner’s subject matter was always drawn from the world around him. Early in his career, he focused on Cleveland and its environs. This interest never left him, but as he matured, his choice of subjects broadened. He painted watercolors and oils of Bermuda in the mid 1920s and began making frequent trips to Provincetown beginning in the 1920’s. Like other Cleveland artists, he culled inspiration from travels within the United States, notably trips through Pittsburgh’s dramatic industrial landscapes and Cambridge Springs in Pennsylvania, to the mountains of West Virginia, and to Cape Cod. From the mid 1940s until his death, he also produced paintings based on sketches made during train rides to visit galleries in New York City. At the time of his premature death in 1952, Carl Gaertner enjoyed a considerable reputation as a master of American Scene painting. By the 1940s, Gaertner was represented by the venerable Macbeth Gallery in New York City and his paintings were exhibited in shows throughout the United States. In 1944 and 1952, Gaertner received the National Academy of Design’s highest award for individual work in a group exhibition, and his work was exhibited in the Cleveland Museum of Art’s May Show for 27 years. Gaertner’s works are in the collections of many prestigious institutions, including the Cleveland Museum of Art, the Metropolitan Museum of Art, the Chicago Institute and the Whitney Museum of American Art. The reflective eye of Gaertner chronicled three decades of Cleveland and the landscapes of the Midwest and its people. It is all there: the growing might of industrial Cleveland; the mass-produced promise of the assembly line, giving way to a dawning awareness of lost freedom and the surrender of individuality; the love affair of Americans with nature and the ideals of Thoreau and Whitman and Frost; and the conflict between that love affair and industrial promise. Gaertner was just achieving national acclaim at the time of his early death at the age of 54. A resurgence of enthusiasm for Gaertner and his works began in the 1970’s and has steadily increased and incrementally boosted the value of his work, with a fine rare example, “The Popcorn Man” reaching $250,000 at auction.
• ROYAL DOULTON WHISKEY WATER PITCHER
  ROYAL DOULTON WHISKEY WATER PITCHER OF JOHN BARLEYCORN ...Doulton Kingsware with John Barleycorn on the face and some geometric line designs underneath him. The back reads "Would you know the value of money? Try to borrow some." The pitcher is finished with a hallmark sterling silver rim. Doulton stamp. Issued: 1920s Dimensions: 7.25"H Manufacturer: Royal Doulton Country of Origin: England Provenance: David Bearman Collection
• ANTIQUE DEALER HN4424 - ROYAL DOULTON
  ANTIQUE DEALER HN4424 - ROYAL DOULTON FIGURINEGlossy porcelain; antique dealer assessing the value of a stoneware piece. Royal Doulton Classics, Professions series. Royal Doulton backstamp. Good condition. Total weight: 22.15 oz. Artist: Valerie Annand Issued: 2002 - 2006 Dimensions: 6.75"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good.
• ANTIQUE DEALER HN4424 - ROYAL DOULTON
  ANTIQUE DEALER HN4424 - ROYAL DOULTON FIGURINEFine China. Antique dealer assessing the value of a stoneware piece. Series: Professions. Royal Doulton backstamp. Artist: Valerie Annand Issued: 2002 - 2006 Dimensions: 6.75"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good.
• PALAZE SIZED CHINESE JADE AND SEMI PRECIOUS
  PALAZE SIZED CHINESE JADE AND SEMI PRECIOUS STONE TREEDESCRIPTION: A Rare Palaze sized Chinese Semi Precious stone Tree, featuring a blue cloisonne planter, decorated with crane and lotus flower motifs. Stemming from the planter is a multi branch tree garnished by over 50 flowers in different styles. The flowers and leaves are composed of Spinach Jade, Light green Jade, Apple green Jade, yellow jade, Turquoise, Carnelian Agate, Amethyst, Tiger Eye, Coral and Rose Quartz. Provenance: Comes with Gallery appraisal with appraised value of $35,000. CIRCA: Early-Mid 20th Cent. ORIGIN: China DIMENSIONS: H: 59" W: 49" 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.
• PALAZE SIZED CHINESE JADE AND SEMI PRECIOUS
  PALAZE SIZED CHINESE JADE AND SEMI PRECIOUS STONE TREEDESCRIPTION: A Rare Palaze sized Chinese Semi Precious stone Tree, featuring a blue cloisonne planter, decorated with crane and lotus flower motifs. Stemming from the planter is a multi branch tree garnished by over 50 flowers in different styles. The flowers and leaves are composed of Spinach Jade, Light green Jade, Apple green Jade, yellow jade, Turquoise, Carnelian Agate, Amethyst, Tiger Eye, Coral and Rose Quartz. Provenance: Comes with Gallery appraisal with appraised value of $35,000. CIRCA: Early-Mid 20th Cent. ORIGIN: China DIMENSIONS: H: 59" W: 49" 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.
• TOM CASTOR 18K GOLD AND MULTI DIAMOND
  TOM CASTOR 18K GOLD AND MULTI DIAMOND BROOCHDESCRIPTION: A Custom Made Tom Castor brooch crafted by 18k gold with a Rhodium finish. The Brooch excellently crafted with gentle curves and elegant detailing adorned with a blend of Natural Fancy Diamonds in hues of Pink, Green, Orange, Yellow and Champagne. The total Diamond count is 1,087 totaling 13.35ct of diamond weight, completed at the center with a 0.91ct Pear Shaped Champagne Diamond. Total Weight: 27.7 Grams (17.7 dwt) (Comes with Insurance Appraisal value of $38,000) Provenance: Featured in Debut of Philadelphia Magazine. CIRCA: 20th Cent. ORIGIN: USA DIMENSIONS: 48 x 87mm 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.
• TOM CASTOR 18K GOLD, 34CT OPAL AND DIAMOND
  TOM CASTOR 18K GOLD, 34CT OPAL AND DIAMOND RINGDESCRIPTION: A Custom made Tom Castor ring, composed fo an 18k yellow gold frame, centered by an approx. 34.80ct Ethiopian Opal with intense color flash. The prong setting is surrounded by halo of Diamonds and Gems consisting of four red garnets, Eight orange garnets, Eight Natural Fancy Yellow pear shape Diamonds amounting to 0.65ct Total, and Twelve Round Brilliant White Diamonds of F Color and Vs1 Clarity weighing a total of 0.80ct. Total Weight Of Ring: 27dwt. (Comes with Insurance Appraisal value of $26,000) CIRCA: 20th Cent. ORIGIN: USA DIMENSIONS: Ring Size: 9" 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.
• TOM CASTOR 18K GOLD, AQUAMARINE AND
  TOM CASTOR 18K GOLD, AQUAMARINE AND DIAMOND RINGDESCRIPTION: A Custom made ring by Tom Castor composed of 18k yellow gold and Platinum. The center is set with a Natural untreated Aquamarine measuring 13.5 x 11.5 x 8.4mm and weighs approx. 11 cts, encompassing the center stone is .33ct of bezel diamonds. Further draped along the shoulder with four .50 ct Round brilliant cut Diamonds amounting to 2ct total (F color Vs Clarity). The Rings frame is decorated with a textured finish accented with Floret motifs, set with Natural Fancy Yellow diamonds amounting to 0.20ct total. Total Weight of Ring: 32.6 Grams (20.9dwt) | Total Diamond Weight 3.35cts. (Comes with Insurance Appraisal with value of $22,500) CIRCA: 20th Cent. ORIGIN: USA DIMENSIONS: Ring Size: 8 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.
• TOM CASTOR JADE AND GARNET DROP EARRINGSDESCRIPTION:
  TOM CASTOR JADE AND GARNET DROP EARRINGSDESCRIPTION: A Custom made Tom Castor drop earrings features a 18k yellow gold bamboo motif frame, centered by Maw sit sit or Jade-Albite Trapezoid stones from German Carver Dieter Lorenz, the stones show in an intense green hue with black veining. Completed at the top of earrings with 6x6mm Trillion cut Garnets in a rich pink hue. Total Weight: 36 Grams (23 dwt). ( Comes with Insurance Appraisal value of $7,000) CIRCA: 20th Cent. ORIGIN: USA DIMENSIONS: 84mm x 27mm 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.
• EDWARD HOPPER (USA 1882-1967) CHARCOAL
  EDWARD HOPPER (USA 1882-1967) CHARCOAL PORTRAITEdward Hopper (UNITED STATES / NEW YORK / MASSACHUSETS, 1882 - 1967) original charcoal work on paper depicting the study of a young woman. Signed "E. Hopper" to lower right. Mounted in a gold painted wooden frame with fabric mat behind glass screen. Paper measures approx. 15 1/4" height x 11 1/2" width (38.7cm x 29.2cm) to sight. Measures approx. 24 1/2" height x 20" width (62.2cm x 51cm) overall including frame.Provenance:Acquired from a NYC , New York private collection. Hooper was friends with the family of the estate and was given to them as a gift in the late 1950's. Includes copy of appraisal from Ziegler AppraisalServices dated June 24th 2001 stating a retail replacement value of $18,000. Third party shipping required Condition: All lots are sold as is and where is. Elite Auctioneers, LLC provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Elite Auctioneers, LLC does not give refunds based on condition. Elite Auctioneers, LLC does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.
• JOSE MIJARES (1921-2004) CUBAN WATERCOLOR
  JOSE MIJARES (1921-2004) CUBAN WATERCOLOR / PAPERTitled " Marina" , beautiful watercolor c 1980. Highly listed Cuban artist. Comes with a certificate of authenticity, from Robert Cayuso, leading authority on Cuban art. . Measures 19" X 25" plus 2" frame. Mr Cayusoappraises its value of upwards of $15,000 Condition: All lots are sold as is and where is. Elite Auctioneers, LLC provides condition reports upon request to aide in your bidding decision. No statement regarding age, condition, kind, value, or quality of a lot, whether made orally at the auction or at any other time, or in writing in this catalog or elsewhere, shall be construed to be an express or implied warranty, representation, or assumption of liability. All sales are final, Elite Auctioneers, LLC does not give refunds based on condition. Elite Auctioneers, LLC does not perform any shipping or packing services. We do have a list of suggested shippers who gladly provide quotes prior to your bidding. Please visit our webpage for a list of recommended shippers.
• ANDREW JACKSON SIGNED CREEK INDIAN DOCUMENT,
  ANDREW JACKSON SIGNED CREEK INDIAN DOCUMENT, ALABAMAAn 1834 land sale document between a Creek Indian and two Alabama men, approved and signed by President Andrew Jackson (1767-1845; President 1829-1837). This document, dated May 30,1834, concerns land in Russell County, Alabama (South half section 6, Township 16, Range 28), being transferred by Chin Kot Choo-Key (sic?) to Fielding Scoggins and James McDaniel for the sum of Four Hundred Dollars. Chin Kot Choo-Key signed by means of an X and there is an accompanying stamp by his cypher. The transfer was certified " a full value of the land" by [General] J. W. A. Sanford, who also certified that Chin Kot Choo-Key "has appeared before me, and after the transaction was fully explained to him, he approved the same: the sums stated to have been received by him were paid in my presince (sic)." President Jackson approved the sale in 1834 on reverse of document; there are additional inscriptions where the bond was transferred to James Simons in 1835. 12-1/2" x 14-1/2". Note: The 1832 Treaty of Cusseta traded the Creek's sovereign claim to their land in exchange for legal title to their land. Parcels of 640 acres for chiefs and 320 acres for everyone else were issued to Creek Families, who could then sell them or remain on the land. However, whites continued to encroach on Creek land and when Creeks tried to sell their reserves, they often were cheated by unscrupulous land speculators, all of which contributed to sproradic violence. These skirmishes finally erupted into war in the spring of 1836. The violence provided President Andrew Jackson with justification for removing all the Creeks from Alabama (source: The Encyclopedia of Alabama). Condition: Jackson's signature is bold and clear but slightly faded; document is taped at fold lines, small loss at lower left corner, 2" discoloration or stain at bottom edge, scattered foxing and overall toning.
• A.E. BACKUS OIL ON CANVAS SEASCAPE,
  A.E. BACKUS OIL ON CANVAS SEASCAPE, 25 X 30Albert E. Backus (Florida, 1906-1991) oil on canvas seascape depicting waves crashing against a rocky coast and a sailing vessel in the distance. Titled en verso "Rocks on New Providence Bahama Islands", and signed lower right and en verso, "A E Backus". Silver-gilt molded frame with linen liner. Canvas 25_ x 30_ sight, 30"x 35" framed. Note: This painting was given a 2010 Insurance appraisal value of $20,000 by the A.E. Backus museum and gallery, Fort Pierce, FL, and a copy of this appraisal will be provided. Biography (courtesy Askart). The Artists' Bluebook: Albert Earnest "Beanie" Backus is regarded as the Dean of Florida Painters and the most influential of the Highwaymen, a group of African American landscape painters who sold paintings out of their vehicles in the 1950s. Born in Fort Pierce, Florida in 1906, Backus showed talent at an early age. Although essentially self taught (he took summer classes at the Parsons School in New York), he gave lessons to numerous artists. He received his first national recognition in 1939 in an exhibition sponsored by IBM and the Golden Gate Exposition Committee, called "Art Across the Nation". He joined the Navy in 1942, and after being wounded, continued to sketch and paint as much as possible. From the 1930s through 1950s, much of his work was impressionistic; in the last 30 years of his life, his landscapes became more representational. In 1957 he set up a studio in Jamaica and remained there for several years before returning to Florida. His studio in Fort Pierce is preserved as the Backus Gallery and Museum. Note: Proceeds from this item to benefit The Eleven, A Community of Faith, Love & Grace, Knoxville, TN. Condition: A couple of tiny scattered flakes to upper canvas in sky/upper rocks area, scattered abrasions to frame, overall excellent condition.
• NORMAN ROCKWELL ARCHIVE INC. SIGNED
  NORMAN ROCKWELL ARCHIVE INC. SIGNED LETTERSNorman Rockwell archive including two signed Rockwell letters, Rockwell signed print of "Grandfather Wheeling Baby", and Rockwell addressed envelopes among other items. Archive relates to John (Jack) Alexander Rogers, son of the gentleman who modeled for the Norman Rockwell (1894-1978) "Grandfather Wheeling Baby" Mass Mutual Life Insurance Company advertisement published in the Saturday Evening Post, July 27, 1962. Mass Mutual was a major Rockwell advertiser of Rockwell during the 1950's and the early 1960's. Lot features two handwritten letters from Rockwell to Rogers about his father's participation in the advertisement. 1st letter --Rockwell acknowledges and fulfills the recipient's request for a photograph of his father and suggests the possibility of contacting the original photographer Bill Acorill about obtaining larger prints, 6.125" x 8.875". 2nd letter -- Rockwell states that Mass Mutual has sent Rockwell two prints of the advertisement, one pen signed "sincerely Norman Rockwell". 6.125" x 8.875". Both letters, an illustrated greeting card from Mollie and Norman Rockwell (5.25" H), the photograph (3.25" H), the prints (11" H), and a copy of the original magazine advertisement were sent to Rodgers by Rockwell in two handwritten envelopes, one large (12" H) and one small (8" H), with post marks and stamps dating circa 1963. A copy of the Fall-Winter 1993 catalog for the Norman Rockwell Museum and two newspapers clippings of a 1978 article related to the collection and value of signed Rockwell prints included in lot. Provenance: descendent of John Alexander Rogers. Condition: All items in overall good condition. Overall toning on signed print with a lighter ghost pattern to lower left corner, possibly from the photograph, and light water stains on bottom.