A few examples of appraisal values for
EMILY AND THE WHITE DOE

• COPELAND PARIAN FIGURE GROUP
  COPELAND PARIAN FIGURE GROUP AFTER F.M. MILLER 'EMILY AND THE WHITE DOE' Impressed Copeland Copyright Reserved and F.M. Miller; 19 x 13 1/2 x 9 3/4 in.
• EMILY MARSHALL (US, 20TH C.) "White
  EMILY MARSHALL (US, 20TH C.) "White Pines, 1960", oil on canvasboard, signed lower right, titled and dated verso, an abstract monochromatic depiction of a forest, in a pine cove form frame, OS: 34" x 25 3/4", SS: 29 1/2" x 21 1/2".
• Two Rosenthal white porcelain
  Two Rosenthal white porcelain figural groups: nymph and child with doe 1) nymph - modeled as classical crouching female nude stamped green mark 6 in. H.; 2) girl with doe - modeled as girl holding flowers away from deer green stamp mark 6 1/2 in. H. Estimate $ 150-250 Nymph - has nicotine stains; girl with doe - has grease pencil numbers underneath.
• EMMI WHITEHORSE "FIELD OF BIRDS"
  EMMI WHITEHORSE "FIELD OF BIRDS" M/M ON CANVAS Emmi Whitehorse (American / New Mexico b. 1956), "Field of Birds" 1992, mixed media on paper laid on canvas, depicting abstract Native American imagery of birds in a field, signed, dated, and titled en verso. Note Accompanied by LewAllen Gallery Santa Fe, New Mexico receipt from 1992, and two artist's pamphlets. Approx. canvas h. 51.25", w. 78", d.
• After H. White THE SIBERIAN
  After H. White THE SIBERIAN RABBIT Chromolithograph by F. Waller. Estimate: $50  - $75
• THE WHITE RABBIT IN
  THE WHITE RABBIT IN WONDERLAND.The White Rabbit in Wonderland. Mill Valley, Calif.: Joseph McHugh, East Totem West/Orbit, 1967. Color headshop poster bearing psychedelic imagery borrowing from Lewis Carroll's fairy tale. 35 x 23". A.
• EMMI WHITEHORSE, JACKSTRAW,
  EMMI WHITEHORSE, JACKSTRAW, 2000Emmi Whitehorse, (Diné [Navajo], b. 1956) Jackstraw, 2000, lithograph, edition 14 of 75 editioned in graphite lower left: 14/75 signed in graphite lower right: E [illegible] it [illegible] Printed for The Women of the West Museum Expanded Visions Project involves four internationally renowned artists selected to work with master printer Bud Shark on a suite of original prints created exclusively for the museum. lithograph, edition 14 of 75 Dimensions: 22 x 30 in. (55.88 x 76.20 cm.), Frame: 31 1/2 x 39 1/4 in. (80.01 x 99.70 cm.) Provenance: Private Collection, Colorado
• SARAH EMERSON, "DRIFT" WOLVES &
  SARAH EMERSON, "DRIFT" WOLVES & CROWS O/C 2010 Sarah Emerson (American b. 1974), "Drift", 2010, acrylic on canvas, depicting a wolf in the snowy forest surrounded by crows after killing a deer, apparently unsigned, unframed. Provenance: From the Private Collection of Ruth West, Atlanta, Georgia. Approx. h. 30", w. 24.125" (canvas).
• EMILY DE CANTEBRANA EDWARDS (TEXAS,
  EMILY DE CANTEBRANA EDWARDS (TEXAS, 1888-1980), STILL LIFE OF WHITE FRANGIPANI, 1929., WHITE-LINE COLOR WOODCUT PRINT ON JAPAN, 11" X 8.5". FRAMED 21.5" X 18.75".EMILY DE CANTEBRANA EDWARDS, Texas, 1888-1980, Still life of white frangipani, 1929. From a small edition. Signed and dated in pencil lower right. Dimensions: White-line color woodcut print on Japan, 11" x 8.5". Framed 21.5" x 18.75". Provenance: Notes:Emily Edwards, artist, art historian, teacher and co-founder of the San Antonio Conservation Society, was born in San Antonio on October 7, 1888, the third of five children of Frank Mudge and Lillian (Brockway) Edwards. Her mother died in 1895. From 1898 to 1902 Emily and her three sisters boarded at the Ursaline Academy, where her talents as an artist were first manifested in sketches she made at an early age. She subsequently attended the San Antonio Female Institute for two years and studied drawing with sculptor Pompeo Coppini.In 1905 she moved to Chicago, where she stayed with relatives and attended the Art Institute of Chicago; she studied with Enella Benedict, Ralph Clarkson, Harry Walcott and John Vanderpoel. In her second year there she began working at the institute to pay her tuition. She also taught volunteer classes at Hull House, the settlement house established by Jane Addams, and taught at several girls' schools. From 1915 to 1917 she taught at the Francis Parker School, where the approach to learning through experience influenced her own teaching methods.In 1917 Edwards returned to San Antonio to teach art at Brackenridge High School. In 1920 she taught at a mountain mission in Charles Town, West Virginia, then worked as a designer in a New York City theater for a short period of time. She subsequently made puppets and staged puppet shows in Provincetown, Massachusetts. She taught at Hull House again before returning to San Antonio in the early 1920s.In 1924 Edwards and Rena Maverick Green co-founded the San Antonio Conservation Society. As its first president (1924–26), Edwards led the society's crusade to prevent the river bend area from being paved over by the city. In 1926 she produced an annotated historical map of San Antonio to raise funds for the society and staged a puppet show for the city council based on a childhood fable, The Goose that Lays the Golden Eggs, in which the goose represented the unique character ("local peculiarities") of San Antonio, while its golden eggs symbolized missions, tourists, natural beauty and civic pride. The original script called for hand-crafted puppets that resembled the city commissioners, who mediated an argument between Mr. and Mrs. San Antonio regarding the goose. The show was a hit, and the river was saved for posterity (see San Antonio River Walk [Paseo del Rio]).During the summers of 1925 and 1926 Emily Edwards traveled with a friend to Mexico, where she met the muralist Diego Rivera, who became a life-long friend. Her studies with Rivera stimulated an interest in Mexican murals, and Edwards subsequently spent ten years in Mexico, sketching in small villages and conducting research for a book on Mexican mural painting from the pre-Columbian era to modern times. She published a pamphlet, "The Frescoes by Diego Rivera in Cuernavaca" (1932), and a tourist guide, "Modern Mexican Frescoes" (1934), which was accompanied by a map to frescoes in the center of Mexico City. In 1932 she published a map of Mexico City, which was later reprinted and in the 1990s was displayed for sale at the San Antonio Museum of Art.During the 1930s Edwards established a modest reputation as an artist, exhibiting watercolors and color block prints of landscapes, children and Mexican subjects in Texas and New York. One of her prints was included in an International Exhibition of Prints in London. During her years in Mexico she was married to Librado de Cantabrana, with whom she had a child who died in infancy. She was divorced by the late 1930s, when she moved to Chicago to head the art program at Hull House.
• After Walter Inglis Anderson
  After Walter Inglis Anderson (American/Mississippi, 1903-1965) "Doe Rabbit", hand-colored woodblock print, sight 37-1/2" x 20", printed from the original block by Carolyn Anderson, colored by Adele Anderson Lawton, bears label en verso "Shearwater Prints/Doe Rabbit A-6/Walter I. Anderson/Printed from the original block by Carolyn Anderson/Painted by Adele Anderson Lawton". Glazed and framed.
• Sarah White 1800 needlework
  Sarah White 1800 needlework sampler, alphanumeric with verse reading "If you desire to worship God aright, first in the morning pray and last at night, Crave for his blessings on your labours (all) and in distress for his assistance call...", signed Sarah White, Her Work, July 29th 1800, with bird in tree, dogs, bouquet, butterfly and potted flowers in vine surround,in velvet trim, 12-5/8"H x 10-1/4"W sight, 16-1/2"H x 14"W framed
• Emilie Dorothy Willson (British
  Emilie Dorothy Willson (British 1867-1918)/Ducks at a Stream/signed and dated 1900/oil on board, 30cm x 42cm
• 2PC VINTAGE STUFFED ANIMALS,
  2PC VINTAGE STUFFED ANIMALS, RABBITSTwo perky synthetic fur rabbits. The largest with the bow tie is 10.5"H. The Boyds bear is named Emily, wearing a Native American themed outfit. They both have moveable limbs. Issued: 20th c. Condition: Age related wear.
• EMILY BURLING WAITE(American,
  EMILY BURLING WAITE(American, 1887-1980) Tying the Shawl, signed lower left "Emily Burling Waite", 39 x 32-1/2 in.; fine reproduction carved gilt wood and composition frame, 41-1/2 x 49 in. Provenance: Vose Galleries, Boston, Massachusetts (labels verso); R.H. Love Galleries, Chicago, Illinois (label verso); Private Huntsville, Alabama Collection Note: Exhibited: The Genteel Tradition in American Painting, The Huntsville Museum of Art, Huntsville, Alabama, October 26, 1997 - January 4, 1998; R.H. Love Galleries, Chicago, Illinois, February 14, 1998 - March 28, 1998 (labels verso). Condition: original stretchers and tacking edge, crackle, wear from frame edges and some consequent paint loss at upper edge; frame with wear and areas of loss to gilt
• Two Eskimo dolls dressed in
  Two Eskimo dolls dressed in animal fur jackets with hoods and leather mittens. 17"h.
• Vera White (American 1888-1966)
  Vera White (American 1888-1966) watercolor of irises 14 1/2" x 10". ?
• WHITE, MINOR (1908-1976) Windowsill
  WHITE, MINOR (1908-1976) Windowsill Daydreaming. Estimate:$3,000-$5,000
• CAPONIGRO, PAUL (b. 1932) Running
  CAPONIGRO, PAUL (b. 1932) Running White Deer, Wicklow, Ireland. Estimate:$2,500-$3,500
• ELIZABETH WHYTE
  ELIZABETH WHYTE SCHULZE(Wisconsin, born 1948) Josephine, 2005, signed on tail of dog "e.w. schulze 05", large woven raffia, reed and acrylic paint basket, depicting mythical wolf, figural and abstract decoration in multi colors, 26 x 15 in. Provenance: Mobilia Gallery, Cambridge, Massachusetts, purchased in 2007 for $6,300 (accompanied by inventory document and receipt); Jerry and Deena Kaplan Collection of Modern Art and Crafts Condition: in overall good condition, dirty to interior
• AFTER JAMES WHISTLER: LITTLE
  AFTER JAMES WHISTLER: LITTLE WHITE GIRL Mezzotint in colors on paper engraved by Clifford Adams published 1922 edition 250; signed in pencil lower right. 20 x 13 in. (sight). Estate of Katherine W. Mellon Stonington CT.
• EMMI WHITEHORSE (NATIVE AMERICAN
  EMMI WHITEHORSE (NATIVE AMERICAN / DINE, B. 1957) "RINCON MARQUEZ", SERIES MAY 1987, #627 Mixed media on paper mounted on canvas. Signed (lower right). Signed and titled (on reverse).Artist BioEmmi Whitehorse (Native American /Dine, b. 1957)Emmi Whitehorse is a Native American painter and printmaker. She was born in Crownpoint, New Mexico and is a member of the Navajo Nation. Whitehorse’s paintings draw upon a personal iconography, based on her reflections of her natural surroundings. She brings together Navajo cosmological perspectives with abstraction in her work. She has described her work as having a sense of chaos and randomness.
• A doll's pram painted white
  A doll's pram painted white
• DON BALKE (B. 1933) "WHITE-TAILED
  DON BALKE (B. 1933) "WHITE-TAILED JACK RABBIT"Don Balke (North Carolina, B. 1933) "White-tailed Jack Rabbit and Elm" Signed lower left. Original Watercolor on Paper laid on Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This art was originally published in the limited edition collection of philatelic proofcards issued by Fleetwood and the National Audubon Society for the Wildlife of the 50 States. This young White-tailed Jack Rabbit sits warily in the long grass amid the fallen leaves of North Dakota's state tree, the graceful American Elm. Heavily preyed upon by everyone from coyotes to man, Jack Rabbits have developed an extraordinary sense of danger. With their large ears twitching at the slightest sound, they peer cautiously over the tall grass. When the noise is resumed, Jack Rabbits take a few gentle hops. Suddenly, like kangaroos, these champion track stars execute a few high flying leaps with their long hind legs and rocket away from their enemies. Like Varying Hares, White-tailed Jack Rabbits also change their coats with the seasons for camouflage. In winter their fur becomes almost pure white, and in the summer a seasonal brown coat will become tinted with gray. In between these seasons, Jack Rabbits mate. Males actually stand toe to toe with one another and slug it out for the females. Once the winners of the bouts are determined, females begin making nests lined with fur from their bellies. Forty days later a litter, usually of four babies, is born. Within minutes, young Jack Rabbits begin hopping about, learning quickly to run and dodge enemies. Because these agile furry creatures retain such a high birth rate, overpopulation sometimes becomes a problem. But eventually, disease and starvation take their toll and the Jack Rabbit populations decline to normal levels. Image Size: 12.25 x 13.75 in. Overall Size: 20.25 x 23 in. Unframed. (B06388) Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• After Clara Maria Pope SINGLE WHITE
  After Clara Maria Pope SINGLE WHITE CAMELLIA, SINGLE RED CAMELLIA BUFF OR HUMES BLUSH CAMELLIA Two color photoreproductions Estimate:$100-$150
• White Decoy by Cheryl Laemmle
  White Decoy by Cheryl Laemmle Cheryl Laemmle (American b. 1947). ?Oil on canvas unframed but with surround titled and dated?1981 on label verso; 54 x 72 in. Daniel Jacobs and Derek Mason CollectionEx The New Museum NYC
• Emlen Pope Etting, Jr.
  Emlen Pope Etting, Jr. (PA/FR.1905-1993) oil on canvas titled "White Horses" and dated "61" 22" x 29.5" sight size / 30.5" x 38" overall
• WHITE FAWN. NATIVE AMERICAN WOMAN
  WHITE FAWN. NATIVE AMERICAN WOMAN CABINET CARD.White Fawn. Native American Woman Cabinet Card. New York: Eisenmann, ca. 1880. Sepia-toned cabinet card of White Fawn, apparently signed by the performer in dark ink in the margin. Light spotting on photograph and some chipping on card edge. 4 _ x 6 _". Good.
• Kim Howie (American 20th century)
  Kim Howie (American 20th century) White Chocolate Rabbit 2001 oil on board signed Kimberly Howie and dated (lower right) 24 x 16 inches.
• 19th c. needlework sampler having
  19th c. needlework sampler having numbers alphabet verse and name ''Emily Wright .... 1853'' sight 18'' x 17''.
• DISNEY ORNAMENT, WHITE RABBIT,
  DISNEY ORNAMENT, WHITE RABBIT, ALICE IN WONDERLANDWhite Rabbit stands cautiously on one leg holding a pocket-watch and umbrella. Ceramic ornament with gilt pocket-watch chain and wire rim spectacles. From Disney's film 'Alice in Wonderland'. Quote on bottom - "No Time to Say Hello-Goodbye!". #disney #whiterabbit
• (DICKINSON EMILY) LOOMIS TODD MABEL
  (DICKINSON EMILY) LOOMIS TODD MABEL et al Autographed letter signed (''Mabel Loomis Todd'') editor of the posthumously published editions of Emily Dickinson's poems four pages on a bifolium October 26 1896. To Nathan Dole fellow editor commenting on the poem ''A Wounded Deer.'' [Together with:] Autograph postcard from Nathan Dole and wife signed (''Nat and Helen'') depicting ''The Home of Emily Dickinson Amherst Mass.'' [Also together with:] Autographed postcard signed (''T. W. Higginson'') [Thomas Wentworth Higginson] regular correspondent and literary mentor of Emily Dickinson October 15 1896 to Nathan Dole address docket to verso regarding Emily Dickinson's syntax. [And:] The Life and Times of Stephen Higginson. By Thomas Wentworth Higginson. Boston and New York: Houghton Mifflin 1907. 8vo gilt-lettered green cloth. Inscribed by the author on the f.f.e.p. Wear to boards; ends bumped; otherwise good.
• TWO JAMIE WYETH COLOR ETCHINGS,
  TWO JAMIE WYETH COLOR ETCHINGS, 1981 Two Jamie Wyeth (American b. 1946), color etchings in a folio, comprising 'S.O.S.' and 'White Leghorns', both editioned in pencil to lower left, Publishers Proof 3/3, both signed in pencil to lower right, both have an artist's copyright stamp en verso dated 1981. Approximate dimensions: 'White Leghorns', image h. 17.625", w. 21.625"; 'S.O.S.', image h. 15.75", w. 19.75"; paper h. 26.5", w. 30.125" (both)
• White mink stole together with mink
  White mink stole together with mink collars and other mink stoles. ?
• DON BALKE (B. 1933) "WHITE-TAILED
  DON BALKE (B. 1933) "WHITE-TAILED DEER"Don Balke (North Carolina, B. 1933) "White-tailed Deer" Signed lower left. Original Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood commemorative cover for Balke's Baby Wildlife of the 50 States, postmarked December 12, 1984. In a dense thicket deep in the woods of Pennsylvania, a pair of reddish-brown fawns lie still, their white-dappled backs blending almost perfectly with the shadows and fallen leaves about them. Resting quietly in the forest, they are waiting patiently for their mother, a fully-grown White-tailed Deer, who has gone for food and drink. She must eat well, for when she returns, she will nurse her twins -- sometimes triplets -- with milk that contains three times the protein and fat found in cow's milk. On such hardy fare, the tender young fawns grow quickly. Their first few steps on long, thin, wobbly legs are quite a struggle -- often accompanied by some awkward splats on the ground -- as all four feet go out from under them. But determination and a little persistence pay off. For soon, these beautiful young fawns are gracefully frolicking through the shaded thicket, running and jumping about, and nuzzling their mother in a show of loving affection. She will suckle them until fall when it is time for her to mate again. In the meantime, they will acquire a taste for the lush, green grass, leaves, moss, tree bark and tender young buds that will make up their adult diet. Growing to a height of four feet at the shoulder and weighing about two hundred pounds, the White-tailed Deer can run more than thirty miles an hour, with an innate ability to jump obstacles up to eight feet high and leap crevices thirty feet wide. Both fawns and adults are enchanting beasts of the thick Pennsylvania woodlands. Image Size: 11 x 12.5 in. Overall Size: 19.25 x 21 in. Unframed. (B09210) Condition: - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. - Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview. - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. - All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings. - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
• Janeen Schissler (American, b.
  Janeen Schissler (American, b. 1957) Morning Doves, 1995 watercolor signed Janeen Schissler (lower left) 8 x 11 inches The Laumeister Collection from The Bennington Center for the Arts, Bennington, Vermont
• WHITE Doris (American 1924-1995):
  WHITE Doris (American 1924-1995): Abstract Composition OIL/Canvas 50'' x 36'' signed and framed 53'' x 39 1/2''.