CHARLES VIGOR (BRITISH, FL.1882-1917).CHARLES VIGOR (BRITISH, FL.1882-1917). Oil on canvas. Genre Scene. Signed lower right. From a Sutton Place, NYC collection. Dimensions: 26.75" high x 33" wide Condition: Old repairs.
SWEDISH CAST IRON GARDEN 'FAUN' URN,SWEDISH CAST IRON GARDEN 'FAUN' URN, BY IVAR JOHNSSON, PRODUCED BY NäFVEQVARNS BRUKUnmarked.
14 3/4 x 18 x 12 in.
Note: Ivar Johnsson (1885 - 1970) was an artist who, among other things, produced designs that were made by Näfveqvarns Bruk, the Swedish foundry. In order to reinvigorate the use of cast iron in Sweden, the foundry, in conjunction with The Swedish Society of Crafts, had a competition in 1912 for new designers to produce more modern models. As a result, Johnsson and other designers designed furniture, urns and other items for the foundry before and during the era of Modern Classicism of the 1920's. Some of the resulting work was shown in the Swedish Pavilion at L'Exposition des Arts Dècoratifs et Industriels in Paris in 1925.
Condition
Corrosion to the interior with vestiges of soil. One handle slightly loose. Exterior and interior with pitting. Scattered small flecks of paint to the surface. In generally good condition. Structurally sound. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
SECRETARY DESK, FEDERAL, AMERICAN, PROBABLYSECRETARY DESK, FEDERAL, AMERICAN, PROBABLY NEW YORK, C.1800, CHERRY AND CURLY MAPLE, FLAT TOP BOOKCASE SECTION WITH THREE SHELVES ENCLOSED BY TWO DOUBLE PANEL DOORS, SLANT LID OPENS TO EIGHT GRADUATED DRAWERS FACED W...Secretary desk, Federal, American, probably New York, c.1800, cherry and curly maple, flat top bookcase section with three shelves enclosed by two double panel doors, slant lid opens to eight graduated drawers faced with vigorous curly maple centering five cubbies over one horizontal cubby, case with four beaded graduated long drawers faced in vigorous curly maple with oval brasses, straight bracket feet with central sweeping curved apron, wear consistent with age including shortened straight bracket base, replaced brasses, lid cracked, refinished, 79" h. x 42" w. x 22" d. [PLEASE BRING OR SEND APPROPRIATE ASSISTANCE AND VEHICLE, AS GALLERY STAFF CANNOT ASSIST WITH MOVING LARGER/HEAVIER PIECES AFTER PURCHASE]
AMERICAN SCHOOL PORTRAITS OF JACOB RESORAMERICAN SCHOOL PORTRAITS OF JACOB RESOR AND MRS. JACOB RESOR, C. 1800, OIL ON CANVAS, IN MATCHING MOLDED AND GILDED FRAMES, MRS. RESOR IS DRESSED IN A SHEER LACE BONNET AND COLLAR, MR. RESOR WEAR A DARK OVERCOAT WITH...American School portraits of Jacob Resor and Mrs. Jacob Resor, c. 1800, oil on canvas, in matching molded and gilded frames, Mrs. Resor is dressed in a sheer lace bonnet and collar, Mr. Resor wear a dark overcoat with ample brass buttons and white shirt and cravat underneath, both middle-aged and painted on a toned background, no signature viewed, both with paper labels applied verso from Clossons Gallery, 421-423 Race Street, Cincinnati, with pencil inscriptions of subject's names as well as "lent by Misses Resor, 254 Greendale, Clifton", both frames with repairs and damages, both portraits with old damages including scattered small losses throughout, Mr.Resor's portrait with more vigorous loss especially to the bottom half of portrait, both frames and portraits sold as is, ss: 26 1/2" x 21 1/2"; and ss: 26" x 21 1/2".
WOLF KAHN, (AMERICAN, 1927-2020), BARNWOLF KAHN, (AMERICAN, 1927-2020), BARN AT THE EDGE OF THE WOODS III, 1973, OIL ON CANVAS, 36 X 52 IN., 37 X 53 IN.WOLF KAHN, (American, 1927-2020) Barn at the Edge of the Woods III, 1973, oil on canvas signed W. Kahn lower right; titled and dated verso 1973, oil on canvas Dimensions: 36 x 52 in., 37 x 53 in. Provenance: Harcus Kracow Gallery, Boston, MA; purchased from the above by a Massachusetts Lady, ca. 1973-5. This striking Wolf Kahn landscape has remained in the same family since it was purchased soon after it was painted in 1973. The work represents a significant turning point for the artist, as it was in the early 70s that he moved away from the muted, tonal palette to the arrestingly bright colors for which he is best known. In the 1950s and 60s, Kahn's landscapes were dominated by greys, blues, and purples, built up into dense, textured compositions. In 1968, Khan and his wife bought a farm in West Brattleboro, Vermont, spending their summers painting en plein air. The foggy atmospheres of his 1960s works gave way to an explosion of color in the early 1970s, with bright yellows and rich purples dominating his oeuvre and barns becoming a constant theme, adding hints of man-made geometry to the natural landscape. Barn at the Edge of the Woods epitomizes this shift, with the bold goldenrod foreground in harmonious concert with the vibrant purple highlights in the trees. Khan's maturing style of the early 70s was celebrated in a November 19, 1972 New York Times review of the artist's show at the Grace Borgenicht Gallery in New York. Of the artist, Peter Schjeldahl wrote, "He is an artist concerned primarily with the direct, sensual experience of color…his colors are brilliant and often searing - hot magenta shadows and grass of acidic yellow-green. These are not colors that sunlight finds in nature: they are colors that an aroused sensibility finds, with joy, in the act of painting." The aroused sensibility seen in Kahn's interpretation of the landscape that Schjeldahl observed in 1972 is still felt today when examining the artist's works from this period. With arresting, invigorating colorwork, Barn at the Edge of the Woods invites the viewer into Kahn's perspective with an intimacy and immediacy that feels as fresh as it did when the work was painted fifty years ago. Condition: Overall good condition. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
CHARLES MORRIS YOUNG (1869-1964)On DarbyCHARLES MORRIS YOUNG (1869-1964)On Darby Creek, 1925
signed and dated "Chas Morris Young" lower right
oil on canvas, 29 1/4 by 40 in.
Edward T. Stotesbury P.A.F.A. Prize, 1925
Charles Morris Young’s enduring legacy is for fox hunting scenes in the Pennsylvania countryside. Born in Gettysburg in 1869, Young saved for years to attend the Pennsylvania Academy of the Fine Arts in Philadelphia (PAFA), where he enrolled in 1891. During his time there, he was awarded the Charles Toppan Prize for the most promising student. In 1897 Young traveled to Paris for further training, at the Academie Colarossie and through studio visits. He married fellow artist Eliza Coxe in 1903, spent two summers at Giverny, and returned to live in Jenkintown, Pennsylvania, in 1905.
Beloved for his Impressionist landscape compositions often featuring wintry sporting scenes, Young moved to Radnor, on the Main Line. He was a member of the National Academy of Design in New York, where he exhibited regularly until the 1950s. He won at least five awards at major exhibitions throughout the early 1900s, and showed at the Boston Art Club and the Art Institute of Chicago, among other important venues.
In 1925, Young exhibited this painting at PAFA and won the Stotesbury Award. “This award was established by Edward T. Stotesbury, a member of the board of directors. It was given to the artist whose painting, or group of paintings, was, in the opinion of the jury, the most important contribution to the exhibition,” PAFA notes. Consequently, a photograph of the work is in the archive, along with several original paintings by Young in the permanent collection, including “Fox Hunters at White Horse.” Tragically, a good portion of Young's paintings, brought together from private collectors for a biographical film, burned in a house fire towards the end of his life.
“On Darby Creek” is a masterwork of sporting art by this important regional art specialist. The Darby Creek watershed flows through Radnor and into the Delaware River. It is a much-loved freshwater artery. Young’s vigorous brushstrokes capture the light and shadow on the snowy ground, and the red coat of the hunter reflects in the creek. The quintessential architecture of the house and stone bridge further capture the essence of the landscape.
Provenance: Private Collection, Nantucket
Exhibited: Philadelphia, Pennsylvania, "Annual Exhibition," Pennsylvania Academy of the Fine Arts, 1925.
JEAN PAUL RIOPELLE, CC, GOQ, RCA (1923-2002)JeanJEAN PAUL RIOPELLE, CC, GOQ, RCA (1923-2002)Jean Paul Riopelle, C.C., G.O.Q., R.C.A., "Nouvelles impressions no 81", oil on canvas, signed 'r' lower right, verso signed 'riopelle' on canvas, inscribed ‘NI 81’, "Y17903" on stretcher. Exhibition label for the Montreal Museum of Fine Art Art Sales and Rentals Service. 6 3/8" x 9 1/2". Provenance: Jean Duchesneau Inc., Montreal Museum of Fine Arts Sales and Rentals Service, Private Collection. Note: This work is accompanied by an authentication email from Yseult Riopelle stating that this work is in Catalogue Raisonné Tome 5, (1972-1979), page 232, along with a photograph with note from the Montreal Museum of Fine Art. ESSAY: In 1977, following a knee injury, Riopelle turned to small-format paintings, resulting in the expressive "Nouvelles impressions" series. In this fine, jewel-like painting all of Riopelle’s vigorous palette-knife strokes and strong textures can be seen.
"ACME HAIR VIGOR" BENT GLASS LABEL TONIC"ACME HAIR VIGOR" BENT GLASS LABEL TONIC BOTTLE."Acme Hair Vigor" Bent Glass Label Tonic Bottle. Marked "Phil. Eisemann" (Lancaster, PA). 9" high overall.
Condition:
Very good with tiny line at bottom of label.
T.K. FAIRLESS OIL ON CANVAS STILL LIFET.K. FAIRLESS OIL ON CANVAS STILL LIFE PAINTING.Oil on Canvas Still Life Painting Signed "T.K. Fairless" Lower Right. (Thomas Kerr Fairless, 1825–1853), landscape-painter, born in 1825 at Hexham, Northumberland, was one of the sons of Joseph Fairless of Hexham, a well-known and popular antiquary, whose name is inseparably connected with the history of Northumbrian antiquities. Young Fairless showed an early predilection for art, which was encouraged by his parents. He was a great student of Bewick's vignette engravings, and for some time worked under Bewick's pupil, Nicholson, a wood-engraver, at Newcastle. Being dissatisfied with his progress he came to London, with the intention of making art his profession, and devoted himself to landscape-painting. His works were executed in a broad and vigorous manner, with a fine idea of color and exquisite feeling for the beauties of country scenery, gathered during the summer days among the woods and pastures of England. From 1848 to 1851 he was an exhibitor at the Royal Academy, the British Institution, and the Suffolk Street Gallery. He had considerable practice as a teacher of drawing and painting. He also painted sea-views and still life's. He intended practicing his art in Scotland, however with poor health in Hexham he died on 14 July 1853, in his twenty-eighth year. Image size 9-1/4" x 13", in an ornate gilt frame, 17-1/2" x 21-1/2" overall.
Condition:
Condition: : Painting is good with craquelar, frame has minor losses.
MICHAEL SUTTY LIMITED FIGURE MARUJAMICHAEL SUTTY LIMITED FIGURE MARUJA THE STRONGA rare study based on the painting of Sir William Flint of a woman holding two water pitchers.
Although the limited edition size of 350 is listed, very few of these figures were actually made. Includes original certificate, photograph, and letter from the studio. The painting by Sir William Flint, completed in 1935, depicts a semi naked young woman demonstrating her incredible strength to a group of Spanish peasants. The fact that she can lift, outstretched from her arms, what we perceive as full jugs of water, denotes not only her strength, but also her beauty and vigor. The title, Maruja the Strong, is a play on words, as Maruja is not only a variant of the female name Maria, but is also a slang word in Spanish for 'good wife'. #maruja #femaleempowerment
Artist: Michael Sutty
Issued: 1992
Dimensions: 13"W x 14.5"H
Edition Number: 2 of 350 Manufacturer: Michael Sutty Limited
Country of Origin: England
Condition:
Good
SWAROVSKI CRYSTAL FIGURINE, CHINESESWAROVSKI CRYSTAL FIGURINE, CHINESE ZODIAC TIGER 100298...Lead crystal 1st generation zodiac tiger in crystal silver shade, standing with charisma and gleaming morada sahara crystal eyes. Vigorously standing on a clear crystal base which features the name in English and Chinese seal script. Swarovski etched backstamp.
Artist: W Quian and Z Shao Fei
Issued: 2009-2017
Dimensions: 2.5"L x 3"W x 3.25"H
Manufacturer: Swarovski
Country of Origin: Austria
Condition:
Age related wear.
RAINIER BEER TIN SERVING TRAY, "STRENGTH"RainierRAINIER BEER TIN SERVING TRAY, "STRENGTH"Rainier Beer tin advertising serving tray depicting a woman lounging against a bear with words on rim: "Vigor / Strength / Purity". Printed at base, "1913 by the Seattle Brewing and Malting Company - 1702." Dimensions: 13.25" diameter. Processing and shipping within the continental U.S. $45.00 plus 1.5% replacement cost insurance. Please note we do not accept credit cards.
Condition:
Scattered scratches, wear and small dent over surface. Old tape and tape residue verso. Witherells strives to provide as much information and photographs as possible but encourages in-person inspection by bidders. Condition: statements are only for general guidance and should not be relied upon as complete statements of fact and do not constitute a representation, warranty or assumption of liability by Witherells. All lots are sold "AS IS" under the Terms & Condition: s.
ANTIQUE DICE POCKET WATCH GAME.AntiqueANTIQUE DICE POCKET WATCH GAME.Antique Dice Pocket Watch Game. French, early twentieth century. A twist of the stem causes the platform to spin, shaking the miniature dice vigorously against the metal sides and glass cover. 2” diam. Nickel-plated case. Fine working condition.
THE GREEN BALL MACHINE AUTOMATON.TheTHE GREEN BALL MACHINE AUTOMATON.The Green Ball Machine Automaton. Stithians, Cornwall: Paul Spooner (designer) and Matt Smith (builder), 1993. Depicting a washing girl who rubs vigorously to the top of a washing machine until a ball spurts out and into the basin at the foot of the staircase. As the ball emerges, the girl looks up at the viewer and her ponytails flare out. Mounted to wooden base with electrical mechanics underneath, accompanied by screw-on mirror-backed Plexiglas case. Working condition (tested with manual crank only). Approx. 18 x 12 x 16”.
AMERICAN COUNTRY TIGER MAPLE LADDERBACKAMERICAN COUNTRY TIGER MAPLE LADDERBACK ARM CHAIRwith elongated finials, four arched slats, vigorous striped maple grain. 42" high, 23 1/2" wide, 21" deep. Damage to splint seat, fitted with cushion above splint.
AMERICAN CLASSICAL TIGER MAPLE CARVEDAMERICAN CLASSICAL TIGER MAPLE CARVED CHESTwith vigorous tiger figure, mahogany paneled sides, and leaf/acanthus carved legs and side turnings. 41" high, 44" wide, 20" deep. Age and use wear, patch to rear of top where back splash possibly removed. Property of an Essex CT estate.
Condition:
Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction.com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
A PROMOTIONAL MAP AND LAYOUT FOR THEA PROMOTIONAL MAP AND LAYOUT FOR THE CREATION OF A PROP...A PROMOTIONAL MAP AND LAYOUT FOR THE CREATION OF A PROPOSED TEXAS CITY, "Iowa Park, Wichita County, Texas," DES MOINES, IOWA, CIRCA 1888, color lithograph on paper, "Iowa Park, situated in the center of Wichita County, Texas, and directly on the line of the Denver, Texas, Fort Worth R.R....Located at Iowa Park, Texas. For particulars, price of town lots, etc., address J. Kennedy, President, Iowa Park, Texas. D. C. Kolp, Secretary, Des Moines, Iowa.," published for the Texas Pan-Handle Company, printed by "State Lith. & Eng. Co., Des Moines, IA," an illustration of a three story projected (likely never built) hotel and business block, "The Cameron," advertises, "This hotel will contain all modern conveniences known: electric light, steam heat, elevators, ventilators, artesian water, baths, fire alarms, water system, garbage crematory, & etc. A resort in winter and summer. Being far away from blighting blizzards in winter and of sufficient altitude, and not far enough south to be scorched by summer suns. A sanitarium for the feeble, while the robust retain their usual vigor. 34" x 27" Note: Judge Jesse A Kennedy (1824-1908). Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Some creases as issued, mild toning and fading of color, overall in good to very good 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.” NO REFUNDS will be issued based on condition.
JOHN JAMES AUDUBON (AMERICAN 1785-1851)JOHN JAMES AUDUBON (AMERICAN 1785-1851) A LITHOGRAPH, "...JOHN JAMES AUDUBON (American 1785-1851) A LITHOGRAPH, "Lynx Rufus., Var Maculatus, Horsfield & Vigors," PHILADELPHIA, 1846, hand colored lithograph on paper, "Drawn from Nature by J.J. Audubon.," lithographed, printed and colored by J.T. Bowen (English/American 1801-1856), Plate XCII, No. 19. 20" x 26" Provenance: Property from a Corporate Collection, Houston, Texas.
Condition:
A small abrasion upper center, some fading of color, minor handling creases, two water drops in hills, 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.
LOUISE MILLER CLARK ABSTRACT OIL PAINTINGLouiseLOUISE MILLER CLARK ABSTRACT OIL PAINTINGLouise Miller Clark (American, 20th/21st c). Oil on canvas abstract composition made up of vigorous strokes in shades of black, yellow, and orange. Signed along the lower left.
Height: 36 in x width: 28 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.
LOWELL HERRERO ACRYLIC ON CANVAS "CRANBERRYLOWELL HERRERO ACRYLIC ON CANVAS "CRANBERRY HARVEST"Lowell Herrero (American 1921-2015) Acrylic on Canvas "Cranberry Harvest" , signed lower right Herrero, with full signature and dated 1989 on reverse of canvas; in molded wood frame with gilt liner
24 in. x 30 in. Framed 28 in. x 33.75 in.
Lowell Herrero's life has spanned the Great Depression, the Second World War, the rise of Silicon Valley, and the dawn of the twenty-first century. Passion for living invigorates Lowell Herrero's art, as he saturates canvases with the plentitude of sensuous landscapes, mingled with the actors who move about them. Lowell Herrero is a singularly applauded American artist and illustrator, who has exhibited in prestigious Galleries on both coasts.
As an AMERICAN ILLUSTRATOR, the artist's clients include: San Francisco Chronicle, American Coast Guard, Shell Oil Co, Bank of America, The Franklin Mint, Chevrolet, Pillsbury, Morton Salt, Zee Products, Lang, Milk Advisory Board, Matson Navigation, Delta Steamship Lines, LA Dodgers and Wells Fargo Bank.
Various museum exhibitions and awards include a 2007 solo exhibition and retrospective, The Napa Valley Museum, CA. CATALOG; Greenwich Workshop Press
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.
MALVINA HOFFMAN PLASTER RELIEF, PAVLOVAMALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966)
Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet 'Bacchanale'", 1911-1914, possibly a working artist's proof, cast plaster, 26- x 16 x 2 in.
Note:
"Blame it on the Bacchanale. Or rather, celebrate the Bacchanale, danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become ?one of the few women to reach first rank as a sculptor,? as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband?s great aunt.)
The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine?s Cl?opŸtre. Set to Glazunov?s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux, which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina?s signature works.
Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale, in which Pavlova, ?so petite and lissome,? and Mordkin, ?well formed and virile,? swept onto the stage, then ?let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches ? Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.?
Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin.
In 1912, Hoffman?s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking.
Hoffman wouldn?t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York?s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin?s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States.
When Kahn?s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman?s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman?s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued.
On her return to Europe, Hoffman designed many of Pavlova?s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman?s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale, which he called ?a great thing of beauty, like the Greeks created.?
The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended.
In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil.
Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman?s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, ?My light is blotted out.? She kept the frieze of the Bacchanale, which had taken 15 years to complete, in her studio for the rest of her life.
After Hoffman?s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library."
-Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/)
Provenance: Estate of the Artist
Condition:
missing lower left corner, other chips and abrasions, surface dirt, inscribed with numbers, some sticker accretion
MALVINA HOFFMAN PLASTER RELIEF, PAVLOVAMALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966)
Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale , 1911-1914, possibly a working artist's proof, cast plaster, 25-1/2 x 21-1/2 x 2-1/2 in.
Note:
"Blame it on the Bacchanale . Or rather, celebrate the Bacchanale, danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.)
The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre . Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux, which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works.
Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale , in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.”
Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin.
In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking.
Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States.
When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued.
On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.”
The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended.
In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil.
Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life.
After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library."
-Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/)
Provenance: Estate of the Artist
Condition:
chips and abrasions, surface dirt, inscriptions, sticker accretion
MALVINA HOFFMAN PLASTER RELIEF, PAVLOVAMALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966)
Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale , 1911-1914, possibly a working proof, polychromed cast plaster, 26-1/4 x 28-3/8 x 2-1/2 in.
Note:
"Blame it on the Bacchanale . Or rather, celebrate the Bacchanale , danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.)
The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre. Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux, which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works.
Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale, in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.”
Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin.
In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking.
Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States.
When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued.
On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.”
The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended.
In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil.
Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life.
After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library."
-Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/)
Provenance: Estate of the Artist
Condition:
chips and abrasions
MALVINA HOFFMAN PLASTER RELIEF, PAVLOVAMALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966)
Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale , 1911-1914, possibly a working artist's proof, cast plaster, 25-7/8 x 29-1/2 x 2-1/2 in.
Note:
"Blame it on the Bacchanale. Or rather, celebrate the Bacchanale , danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.)
The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre . Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux , which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works.
Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale, in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.”
Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin.
In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking.
Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States.
When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued.
On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.”
The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended.
In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale , which features Pavlova and Mordkin holding aloft a billowing veil.
Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life.
After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library."
-Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/)
Provenance: Estate of the Artist
Condition:
chips and abrasions, surface dirt, inscriptions, sticker accretion, cracks and repairs
MALVINA HOFFMAN PLASTER RELIEF, PAVLOVAMALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966)
Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale, 1911-1914, possibly a working proof, polychromed cast plaster, 26 x 30-1/4 x 2-1/2 in.
Note:
"Blame it on the Bacchanale . Or rather, celebrate the Bacchanale, danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.)
The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre . Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux , which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works.
Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale , in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.”
Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin.
In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking.
Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States.
When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued.
On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.”
The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended.
In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil.
Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life.
After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library."
-Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/)
Provenance: Estate of the Artist
Condition:
chips, cracks, abrasions
ELLEN ADLER, AM B. 1927, STILL LIFEELLEN ADLER, AM B. 1927, STILL LIFE W DAISIES O/CEllen Adler, American, b. 1927, "Still Life with Daisies", oil on canvas, signed. PROVENANCE: Purchased from the FAR Gallery in April 1977, receipt to accompany the lot. NOTE: As the artist's exhibition at the gallery above was closing, Hilton Kramer of the New York Times wrote "Ellen Adler (FAR, 746 Madison Avenue at 65th Street): There is an appealing freshness and vigor in Ellen Adler's painting, especially in the many still lifes of pots, pitchers, bowls and dishes gathered in the studio on tables and shelves. If there are no audacities in the work and little attempt to make us see something we have not seen before, there is an admirable clarity and steadiness in the observation and in the painterly rendering of objects and the spaces they occupy.", May 13, 1977. (The artist is the daughter of Stella Adler, the creator of the "Method" school of acting.) 40x30, framed 42x32
(MWEI82)(TC)
ELLEN ADLER, AM B. 1927, "STUDIO SHELFELLEN ADLER, AM B. 1927, "STUDIO SHELF NO. 1" O/CEllen Adler, American, b. 1927, "Studio Shelf No. 1", oil on canvas, signed. PROVENANCE: Purchased from the FAR Gallery in April 1977, receipt to accompany the lot. NOTE: As the artist's exhibition at the gallery above was closing, Hilton Kramer of the New York Times wrote "Ellen Adler (FAR, 746 Madison Avenue at 65th Street): There is an appealing freshness and vigor in Ellen Adler's painting, especially in the many still lifes of pots, pitchers, bowls and dishes gathered in the studio on tables and shelves. If there are no audacities in the work and little attempt to make us see something we have not seen before, there is an admirable clarity and steadiness in the observation and in the painterly rendering of objects and the spaces they occupy.", May 13, 1977. (The artist is the daughter of Stella Adler, the creator of the "Method" school of acting.) 24x30, framed 26x32
(MWEI81)(TC)
JOHN COLLINS PHOTO - EXHIBITED AT 1933JOHN COLLINS PHOTO - EXHIBITED AT 1933 WORLD'S FAIRJohn F. Collins (American, 1888-1990). Bromoil gelatin silver print photograph, 1927. A striking "Machine Age" photograph of an adding machine by John F. Collins that was exhibited in the International Photographic Salon at the 1933 A Century of Progress World's Fair in Chicago. In this work, Collins took an everyday object and transformed it to a work of modern art by focusing on shapes and sharp contrasts between light and dark in his photograph. Collins' magical use of light created a marvelous shadow beyond the adding machine, presenting an elegant silhouette. Throughout the 1920s, Collins used avant-garde photography to zoom in on modern tools of technology with a studio camera of his own design that he called Big Bertha, oftentimes creating a sacred visual aura to elevate everyday objects as we see in this photo. Size of photo: 10.875" L x 13.875" W (27.6 cm x 35.2 cm) Size of matte: 15.25" L x 16.25" W (38.7 cm x 41.3 cm)
John F. Collins was part of the first generation of 20th century American photographers - along with Edward Steichen, Charles Sheeler, and others - who employed avant-garde ideas into their commercial work and saw no distinction between fine and applied photography, much like the Bauhaus and Constructivist photographers in Europe. His creations reflected the Machine Age when modernists paid homage to America's glistening man-made environment and mechanical forms - everything from streamlined automobiles, airplanes and locomotives to skyscrapers and bridges and yes, even seemingly ordinary objects like typewriters and adding machines! What's more, this piece was exhibited at the 1933 Chicago World's Fair, and technological innovation was the theme of the fair. Its motto was "Science Finds, Industry Applies, Man Adapts", conveying the idea that science and American life were intertwined.
"Collins's work was usually simple, elegant, refined in conception and highly dramatic. The pictures emphasized Cubist flattened space, overlapping planes of light, vigorous and subtle tones and textures, to accentuate boldly the forms of the objects, which were treated as abstract shapes. Collins's powerful graphic images called attention to the uniqueness of each object, emphasizing 'the thing itself.' This was the core and heart of avant-garde photography of the 1920s." ("John F. Collins Photographs 1904-1946" Photofind Gallery Inc. 1987)
This photograph once belonged to pioneering collector and patron of the arts, Ginny Williams. Sotheby's hosted a series of auctions featuring art and photography in the Ginny Williams Collection in June and July of 2020. Their press release began as follows, "Born in rural Virginia in 1927, Ginny moved to Denver, Colorado in the late 1950s with her husband, Carl Williams. An avid photographer herself, who studied with Austrian-American photojournalist and photographer Ernst Haas, her collecting journey began with classical figurative photography. Her passion and keen eye eventually prompted her to open her namesake gallery in Denver in the 1980s. While her passion for photography never waned, remaining a primary focus of both her gallery and private collection, her voracious curiosity quickly widened her curatorial focus. Over time, Ginny became increasingly courageous and experimental in her selections, venturing into Abstract Expressionism and Contemporary Art and following her artists themselves through gallery shows and museum exhibitions. As the years passed, Ginny became as much of a trailblazer as the artists she collected."
Provenance: private Idledale, Colorado, USA collection; ex-Ginny Williams collection of Denver, Colorado
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#171273
Condition:
Minute loss to tip of upper left corner that only effects the white border of the photograph. Minor crease marks as shown. John F. Collins stamp on the verso. "1927 VINTAGE $1200" and "PF3857" handwritten in pencil on verso. Set in a matte that shows some age wear with stains, toning, and missing corner mount. Matte has a World's Fair sticker on the verso that reads, "EXHIBITED INTERNATIONAL PHOTOGRAPHIC SALON 1933 A CENTURY OF PROGRESS CHICAGO WORLD'S FAIR CHICAGO CAMERA CLUB" - in addition, "pg 328" is handwritten in pencil on the verso of the matte.
CHINESE SONG DYNASTY STONE BUDDHA HEAD**FirstCHINESE SONG DYNASTY STONE BUDDHA HEAD**First Time At Auction**
East Asia, China, Song Dynasty, ca. 960 to 1270 CE. A sensitively hand-carved stone Buddha head, a piece from a larger sculpture that perhaps resided in a shrine or temple, enveloped in nice remains of green and red pigments. The visage is serene, the eyes cast downwards nearly closed, and the fleshy lips with slightly upturned edges. The coiffure is arranged in dozens of nodules, each craved with four lines to add swirling texture and indicate the upwards path towards the sun. His long ears droop downwards, having previously been stretched by heavy earrings and indicating his divinity and enlightenment. Size: 5.7" W x 9.5" H (14.5 cm x 24.1 cm); 12.8" H (32.5 cm) on included custom stand.
Social life during the Song period was vibrant. Citizens gathered to view and trade precious artwork, the populace intermingled at public festivals and private clubs, and cities had lively entertainment quarters. The spread of literature and knowledge was enhanced by the rapid expansion of woodblock printing and the 11th-century invention of movable-type printing. Technology, science, philosophy, mathematics, and engineering flourished over the course of the Song. Philosophers such as Cheng Yi and Zhu Xi reinvigorated Confucianism with new commentary, infused with Buddhist ideals, and emphasized a new organization of classic texts that brought out the core doctrine of Neo-Confucianism. Although the institution of the civil service examinations had existed since the Sui dynasty, it became much more prominent in the Song period. The officials who gained power by succeeding in the exams became a leading factor in the shift from a military-aristocratic elite to a bureaucratic elite. During the Song Dynasty, China expanded its trade along the Silk Road and South and Central Asian Buddhist proselytizers brought many sculptures and paintings of the Buddha into the country.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Provenance: private Hawaii, USA collection; ex-M. Kobiashi collection, Hawaii, USA, 1960-2000
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#177594
Condition:
Fragment of a larger piece. Professional repairs and restoration to ears with areas of chipping and minor losses. Expected surface wear commensurate with age. Otherwise, excellent with nice remains of pigments and detail.
JOE TALIRUNILI STONECUT - WHITE OWLJOE TALIRUNILI STONECUT - WHITE OWL & LEMMING (1962)Joe Talirunilik (Inuit, 1893-1976, Disc Number E9-818). "White Owl and Lemming" stone cut, Povungnituk, 1962. Edition 25 of 30. Signed, numbered, and dated in pencil below image. Also signed in cartouche with syllabics. A striking stonecut print by Inuit artist Joe Talirunilik (also Talirunili) published in "Art of the Eskimo: Prints" (1974) with the following description, "Composing his image in terms of positive and negative space, Joe gives a clear vision of the proud nocturnal hunter, the owl. Its prey is humorously indicated in the corner. With an admirable sense of integrity, Joe allows the mass of the stone to frame the subject. The syllabics in the cartouche give the name of the artist." Size: 19.125" L x 17" W (48.6 cm x 43.2 cm)
About the artist: "Born about 1898 at the place called Niaqunna (headache) near the mouth of the Qugaaluk River south of Povungnituk; his father was Putugu (big toe) and his mother Pualu (mitten). While still an infant, Joe took part in the desperate journey during which thirteen Eskimo families saved their lives by paddling a makeshift umiak through the breaking ice-floes to the Ottawa Islands. He is the last survivor of the forty Eskimoes involved in that epic voyage. Joe and his family moved to Povungnituk in 1963. Bug and burly, a hunter/trapper all his life, he is still vigorous in his seventies and is the hero of many an Arctic adventure, several of which he has illustrated in carvings and prints." ("Arts of the Eskimo: Prints" General Editor Ernst Roch; Texts by Patrick Furneaux and Leo Rosshandler, Published by Signum Press, Montreal in association with Oxford University Press, Toronto, p. 25)
Published in "Arts of the Eskimo: Prints" General Editor Ernst Roch; Texts by Patrick Furneaux and Leo Rosshandler, Published by Signum Press, Montreal in association with Oxford University Press, Toronto on page 135 and back cover.
Provenance: private Greenwood Village, Colorado, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#178684
Condition:
Signed, numbered, and dated in pencil below image. Also signed in cartouche with syllabics. Embossed stamp at lower right of paper. Stamped "Povungnituk Cooperative Society Pr. Quebec Canada 1962" on verso. Minor crease marks and a couple of minute stains that do not impact the central image. A few minute tears to bottom edge of paper that also do not impact the central image. Normal toning to paper commensurate with age. Overall, a strong stonecut image by Talirunili.
AYER'S HAIR VIGOR? LITHOGRAPH ON TINAYER'S HAIR VIGOR? LITHOGRAPH ON TIN ADVERTISEMENT: Lithograph, sight size 19.50'' x13.50'', framed 22.50'' x 16.50''.
CONDITION: Scattered flecks of loss.
TSONGA DANCE STAFF
SOUTH AFRICA carvedTSONGA DANCE STAFF
SOUTH AFRICA carved wood, the long shaft leading to an off-set finial with raised ridges and incised zig-zag border81cm longBernice and Terence Pethica Collection, United KingdomPublished:Klopper, Nettleton and Pethica, The Art of Southern Africa, The Terence Pethica Collection, 2007, p. 178-179, n° 88Note:"The slightly off-centre placement of the head of this dance staff imparts a quirky individuality that contributes to the overall vitality of its form. Because staffs like these had to withstand vigorous beatings against small dance shields on festive occasions like weddings and celebrations in honour of ancestors, they were commonly made from hard woods. This also helps to explain why the carving of decorative details like the fluting and zig-zag motifs on this example are fairly robust." Klopper, Nettleton and Pethica, 2007.
PALE CELADON JADE AND HARDWOOD HAT STAND
QINGPALE CELADON JADE AND HARDWOOD HAT STAND
QING DYNASTY, 19TH CENTURY ? ?????????????the domed jade hat rest carved in high relief with two vigorously depicted five-clawed dragons in pursuit of each other, all on a ground of swirling clouds and surmounted by a large spinach-green jade knop finial, the rest raised on a slender hardwood stand supported on a thick circular base(1)the jade disc: 11.5cm diameter; 24cm high overall
HENAN RUSSET-PAINTED BLACK-GLAZED JAR
NORTHERNHENAN RUSSET-PAINTED BLACK-GLAZED JAR
NORTHERN SONG TO JIN DYNASTY ???? ??????????the globular body rising to pronounced rounded shoulders and surmounted by a narrow flanged neck, freely painted on the exterior in bold russet-iron brush strokes with stylised phoenix or bird motif against a thick, glossy black glaze, extending to the interior and the base, leaving only the foot ring unglazed, revealing the pale brown stoneware body(1)21.5cm highNote: Ovoid jars of this type, with this distinctively small, double-ringed mouth, are termed xiaokou ping(small-mouthed bottles), and were probably used for storing wine and other liquids. Typically dark-glazed, such bottles are often painted in russet and in this instance decorated with an abstract phoenix design. Birds in flight, or abstract floral decoration, rendered with vigorous, calligraphic strokes, are also characteristics of these jars.A jar of this type, with floral decoration rather than the birds on the shoulder of the present jar, in the collection of Dr Robert Barron, is illustrated by R.D. Mowry in Hare's Fur, Tortoiseshell, and Partridge Feathers, Cambridge, 1996, p. 165, no. 55, and subsequently sold at Christie's New York, 30 March 2005, lot 303. Compare also a related jar of larger size from the Robert H. Ellsworth Collection, sold at Christie's New York, The Collection Of Robert Hatfield Ellsworth Part I - Masterworks Including Indian, Himalayan And Southeast Asian Works Of Art, Chinese And Japanese Works Of Art, 17 March 2015, lot 19. Another jar of similar form and similarly decorated with phoenix, was in the Linyushanren collection and sold at Christie's Hong Kong, 2 Dec 2015, lot 2823.
DALI, Salvador, (Spain, 1904-89): ''VigorDALI, Salvador, (Spain, 1904-89): ''Vigor of Youth'' from the Portfolio ''Cycles of Life'', Photo-liths of collage and etching, sight size 13'' x 13.25'', pencil signed lower right, Roman numeral numbered lower left 258/300, framed, 20.25'' x 20.25''.
CONDITION: Minor toning, darkening along margin edges, not examined out of the frame.
COLOR PHOTOGRAPH OF SHAKESPEARE IN KABULCOLOR PHOTOGRAPH OF SHAKESPEARE IN KABUL CIRCA 2005 18" X 27" SIGHT. FRAMED 26.5" X 35".COLOR PHOTOGRAPH OF SHAKESPEARE IN KABUL, Circa 2005, AP photograph. Depicts an audience viewing a scene from "Love Labours Lost" in the Babur Garden of Kabul, Afghanistan. Dimensions: 18" x 27" sight. Framed 26.5" x 35". Provenance: The play had been adapted and translated to Dari, using Afghanistan as the backdrop to re-invigorate a once thriving theatre community while helping to restore and promote peace among fellow Afghans. Running for five nights, this photograph depicts the finale in a war-torn park that houses the remains of the tomb of the founder of the Moghul empire which ruled India for 300 years.This photograph and the story can be found in Shakespeare in Kabul,, by Stephen Landrigan and Qais Akbar Omar, published by Haus in 2012.