- BOOKS ON JEWELRY, 8 Group of art reference
BOOKS ON JEWELRY, 8 Group of art reference / coffee table books on Jewelry comprising - The Bakelite Jewelry Book by Corrine Davidov and Ginny Reddington Dawes / Abbeville Press Jewelry: The Body Transformed by Melanie Holcomb / Metropolitan Museum of Art & Yale University Press Costume Jewelry: The Great Pretenders by Lyngerda Kelley and Nancy Schiffer / Schiffer Publishing American Jewelry: Glamour and Tradition by Penny Proddow and Debra Healy / Rizzoli Twentieth Century Jewelry by Barbara Cartlidge / Abrams Art Deco Jewelry by Sylvie Raulet / Rizzoli Art Nouveau Jewelry by Vivienne Becker / Dutton Maharajas? Jewels by Katherine Prior and John Adamson / Assouline
- BOOKS ON JEWELRY, 8 Group of art reference
BOOKS ON JEWELRY, 8 Group of art reference / coffee table books on Jewelry comprising - The Bakelite Jewelry Book by Corrine Davidov and Ginny Reddington Dawes / Abbeville Press Jewelry: The Body Transformed by Melanie Holcomb / Metropolitan Museum of Art & Yale University Press Costume Jewelry: The Great Pretenders by Lyngerda Kelley and Nancy Schiffer / Schiffer Publishing American Jewelry: Glamour and Tradition by Penny Proddow and Debra Healy / Rizzoli Twentieth Century Jewelry by Barbara Cartlidge / Abrams Art Deco Jewelry by Sylvie Raulet / Rizzoli Art Nouveau Jewelry by Vivienne Becker / Dutton Maharajas? Jewels by Katherine Prior and John Adamson / Assouline
- CONTEMPORARY ACRYLIC Contemporary acrylic,
CONTEMPORARY ACRYLIC Contemporary acrylic, gouache and cotton pictograph painting by Ginny Hogan, framed and matted, sight 3.5"h x 5"w; framed 9.75"h x 11.75"w.
- Ginny Ruffner. Venetian Works Rediscovered:
Ginny Ruffner. Venetian Works Rediscovered: Venus Disguised as a Pool Shark. 1989, hand-blown glass, painted wood. 18½ h × 8½ w × 5 d in. result: $2,000. estimate: $2,000–3,000. This work was executed in collaboration with Vistosi in Murano, Italy and is accompanied by the original signed drawing measuring 30 h x 22 w inches (sight). Sold with a digital copy of the original invoice. Provenance: Acquired in 1996 from Meyerson & Nowinski, Seattle | Private Collection | Thence by descent
- Ginny Ruffner b.1952. The Wired House.
Ginny Ruffner b.1952. The Wired House. 1996, painted hand-blown glass and mixed media. 21 h × 13 w × 13 d in. estimate: $3,500–5,000. Provenance: Acquired directly from the artist by the present owner
- TWO FOLK ART MINIATURE WOOD FOWL FIGURES.Two
TWO FOLK ART MINIATURE WOOD FOWL FIGURES.Two Folk Art Miniature Carved and Painted Wood Fowl Figures. Ginny rooster and male pheasant. Tallest 5-3/4"h. Condition: : Fair, both heads broken off and glued, losses to tails.
Condition:
Condition: : Fair, both heads broken off and glued, losses to tails.
- GINNY RUFFNER(Washington/Georgia, born
GINNY RUFFNER(Washington/Georgia, born 1952)
Drama of Chaos, 1989-90, apparently unsigned, glass and prismacolor pencil sculpture with tragedy and comedy masks intertwined with flowers, hands and shapes, 17 x 14 x 13 in.
Provenance: Maurine Littleton Gallery, Washington, D.C., purchased in 1997 for $9,050 (accompanied by inventory document, receipt, and information on artist); Jerry and Deena Kaplan Collection of Modern Art and Crafts
Condition:
overall good condition, a few areas of discoloration to glass, some minor scratching, dusty
- ARTHUR ROTHSTEIN (1915 - 1985) "DUST
ARTHUR ROTHSTEIN (1915 - 1985) "DUST STORM"Arthur Rothstein (American, 1915 - 1985)
"Dust Storm, Cimarron County, Oklahoma" - Gelatin Silver Print.
Pencil signed and numbered (251/300) lower right. Ginny Williams Gallery Label
Image Size: 19 x 19 in.
Sheet Size: 24.25 x 20 in.
Unframed.
Condition:
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- 7 BARBARA VAN CLEVE PHOTOS - RANCH LIFE,
7 BARBARA VAN CLEVE PHOTOS - RANCH LIFE, 1980SBarbara Van Cleve (American, b. 1935). "Filly Chasing" "Running Before the Storm"; "Noon Break"; "Running Horses"; "Team Roping Motion"; "Tough Hombres" and "Barbara Page VanCleve - Photographer and Horsewoman", 1980s. A fabulous ensemble of 7 black and white photographs - 6 depicting ranch life by Barbara Van Cleve - and one depicting a portrait of Van Cleve holding her camera below an antlered skull. Born and raised in Montana on the Lazy K Bar Ranch beneath the Crazy Mountains, Van Cleve has shot photographs on horseback, traveling from Montana to New Mexico, chronicling the ranchers' way of life she has known since childhood. Van Cleve shot on horseback, because she aimed to give the viewer that privileged vantage point, as if we too are on horseback taking in all the action of ranch life, watching cowboys move cattle toward the corrals as the animals kick up dust from the earth and the sun glows early in the morning. Through her photography, Van Cleve shares the ranchers' commitment to preserve this way of life. Size of each sheet: 10" L x 8" W (25.4 cm x 20.3 cm)
Van Cleve's words capture the beauty that she sees in the Montana landscape, even in simple, oftentimes overlooked details, such as the dust kicked up by the animals. "To see the dust. So many people think of dust as just dirt, you know, airborne dirt, but it isn't. It's a wonderful diffusion screen for the light. It softens things; it outlines things; it indicates a direction of where either horses or cattle are moving in this vast landscape of ours. And that's part of everything that I'd like people to see and that I try to make them see through my photographs." ("Capturing Grace: A Portrait of Barbara Van Cleve," 1993)
Artist Biographical Statement: "Barbara Van Cleve’s heritage is rich with family history and firsthand experience. Her family’s ranch, the Lazy K Bar, was founded in 1880 on the east slopes of the Crazy Mountains near Melville, Montana. As a photographer, she has held a camera since she was 11 years old when her parents gave her a 'Brownie' camera and a home developing kit. Her youthful interest in photography soon grew into a lifelong commitment. Ranch work also began early for Barbara. Barely six, she could be found helping at the corrals or sitting astride a horse. Ever since she has been documenting the 'true grit' and romantic beauty of her experiences on the ranch and on other ranches in the West. Along the way, she earned an MA in English Literature at Northwestern University in Evanston, Illinois; she has been a Dean of Women at DePaul University in Chicago, Illinois; and she taught English Literature, and later photography, for over 25 winters at DePaul University, Loyola University and Mundelein College, all in the Chicago area. At the same time photography continued to be a passionate avocation. In her free time, she worked for Rand McNally as a textbook photographer and also established her own stock photography agency. The long summers were usually spent on the family ranch in Montana. She moved to Santa Fe in late 1980 to concentrate on photography full time and had her first major exhibition in the fall of 1985. Since that time she has had over 60 one-person shows and has been in over 100 group shows. Her work is in public and private collections in the United States as well as internationally. Her photography has been published in Roughstock Sonnets, (with poetry by Paul Zarzyski), Way Out West, and Cowboys: A Horseback Heritage. KOAT-TV, an ABC affiliate in Albuquerque, New Mexico produced and aired a thirty-minute video documentary, 'Barbara Van Cleve: Capturing Grace', in 1993. In the Fall, 1995 her book, 'Hard Twist: Western Ranch Women' was published by Museum of New Mexico Press, and she was inducted into the Cowgirl Museum and Hall of Fame in Fort Worth, Texas. 'All This Way for the Short Ride' (with poet Paul Zarzyski) was published by the Museum of New Mexico Press in 1997. 'Holding the Reins' written by Marc Talbert and illustrated with her photographs about ranch girls was published by Harper Collins in February 2003. She moved back to Big Timber, Montana, her home town, where she has her studio and is close to the family ranch. Her most recent book, 'Pure Quill' published in 2016, encompasses her remarkable photographic career including a generous selection of photographs and the stories behind them." (artist's website)
Provenance: private Idledale, Colorado, USA collection; ex-Ginny Williams 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.
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.
#171299
Condition:
Handwritten titles and artist's labels/stamps on the verso of ranch photos. Portrait has "BARBARA PAGE VanCleve - Photographer and horsewoman. 7-86" handwritten at bottom. Notes "CROP OUT" ON "Filly Chasing" and the size of these photos suggest that these photos were used for a publication.
- ICONIC SIGNED ARTHUR ROTHSTEIN PHOTO,
ICONIC SIGNED ARTHUR ROTHSTEIN PHOTO, DUST STORM (1936)...Arthur Rothstein (American, 1915-1985). "Dust Storm, Cimarron County, Oklahoma" gelatin silver print, 1936 printed 1981, edition 107/300. An iconic photograph by Arthur Rothstein that he shot for the Resettlement Administration, an American federal agency (later known as the Farm Security Administration or FSA) designed to address the harsh effects of the Depression Era. Arthur Rothstein was one of the most important photographers of this period. In this black and white, large-scale photograph Rothstein depicted a farmer and his two children struggling to combat the elements during a severe dust storm typical of The Dust Bowl which devastated the farmlands of the Great Plains throughout the 1930s, transforming verdant prairies into deserts and unleashing catastrophic dust storms that tested farmers' resolve. Size of image: 19" L x 18.875" W (48.3 cm x 47.9 cm) Size of sheet: 24" L x 20.125" W (61 cm x 51.1 cm)
According to Phaidon Press' The Photography Book, "The farmer and his eldest son are pressing forward energetically into the wind, while the younger child - struggling to keep up - shields his eyes to protect them from the dust. The child's gesture is the key to this scene, for it makes sense of the abraded foreground and the bleak, dust-filled sky. Without that defensive gesture, the whole picture would amount to little more than a fragment of derelict countryside. Rothstein asks his audience not to stand back and analyze but to imagine in their bodies what it might actually feel like to live in such a pitiless landscape. The photographer himself suffered eye damage due to exposure to the dust of Oklahoma, an area badly affected by drought and dust storms. This picture, taken by Rothstein for the Resettlement Administration (an American government agency set up to cope with the impact of the Depression and later known as the Farm Security Administration), became an American icon and one of the great motifs of the 1930s." (The Photography Book, Phaidon Press)
In Rothstein's words, "The farmer and his two little boys were walking past a shed on their property, and I took a photograph of them with the dust swirling all around….it showed an individual in relation to his environment." Interestingly, Rothstein later noted that this dust storm scene was actually a reenactment designed to present the harrowing conditions many farmers faced during the Dust Bowl. According to the Middlebury College Museum of Art, "A few years after taking the picture, the photographer described how he directed the man and his boys to act out what a storm would be like. He asked the boy on the right to put his arms over his eyes and the father and older son to lean forward as if walking into a powerful storm. The dilapidated shed behind them speaks to the poverty of the times, although in reality the family's barn and farmhouse were much sturdier structures. While the photograph captures the dire circumstances in which many farmers found themselves, it is the result of what Rothstein called 'direction in a picture story' rather than a document of an actual dust storm."
This photograph was in the collection of pioneering 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.
#171277
Condition:
Hand signed and numbered in pencil on lower right margin. "FALK LEEDS" embossed stamp on lower left margin. Crease marks here and there, most to margins and peripheries as shown.
- JOHN COLLINS PHOTO - EXHIBITED AT 1933
JOHN 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.
- PORTFOLIO OF 10 FSA PHOTOS W/ COVER
PORTFOLIO OF 10 FSA PHOTOS W/ COVER (1930S)Arthur Rothstein (American, 1915-1985). A portfolio of 10 FSA (Farm Security Administration) photographs with images by Walker Evans, Dorothea Lange, Ben Shahn, and Arthur Rothstein (1935-1939) printed later under the supervision of Arthur Rothstein for The Photographic Historical Society of New York by Berkey K&L, New York. Rothstein himself selected the images in this portfolio, because he believed they were the "most representative of each photographer's work." The ensemble also includes the original portfolio cover that features Rothstein's informative essay. According to Rothstein, "the FSA photographers accomplished their mission to inform the public about rural conditions", "had a great effect on the emerging practice of photojournalism and visual communication", and "played an important part in promotion the recognition of photography as a respected and mature art form." Size of sheets: 14" L x 11" W (35.6 cm x 27.9 cm) w/ some in landscape orientation Size of portfolio cover: 14.25" L x 11.625" W (36.2 cm x 29.5 cm)
The portfolio of photographs Includes the following photographs: Ben Shahn "Linworth, Ohio" (1935); Ben Shahn "Sheriff's Deputy, Morgantown, W. Va." (1935); Dorothea Lange "Migrant Mother, Nipomo, California" (1936); Dorothea Lange "Hoe Culture" (1936); Arthur Rothstein "Badlands, South Dakota" (1936); Arthur Rothstein "Dust Storm, Cimarron County, Oklahoma" (1936); Arthur Rothstein "Sharecropper's Wife and Child, Arkansas" (1935); Arthur Rothstein "Farmer and Wife, Colorado" (1939); Walker Evans "Bud Fields Family, Alabama" (1936); Walker Evans "Bethlehem, Pennsylvania" (1935)
Arthur Rothstein's essay on the portfolio cover describes the history and purpose of the Farm Security Administration (FSA - initially called the Resettlement Administration) - one of President Roosevelt's government agencies under the New Deal program which was designed to address the harsh effects of the Depression Era on American farmers. According to Rothstein, Roy Stryker who played a major role in the federal agency but interestingly was not a photographer, "believed that photographs have the power to move men's minds".
Arthur Rothstein was the first photographer to join the FSA, and he was later joined by Walker Evans, Dorothea Lange, and Ben Shahn as well as Gordon Parks, John Vachon, Russell Lee, Marion Post Wolcott, Jack Delano, John Collier Jr., and Carly Mydans. In Walker's words, "The FSA style of photography was influenced initially by Walker Evans. His approach was one of frank, honest reality often characterized by a direct frontal view. . . Dorothea Lange's style was different. Her photographs probed deeply with sincere emotion and sympathy into her subjects so that a feeling of compassion was evoked. Her use of the reflex camera made it possible to capture the fleeting expression that had greatest meaning. / The art of Ben Shahn was always political and an affirmation of his social views. He made photographs with a Leica 35mm camera in order to have visual notes for his paintings. His photographs are selections of the significant, powerful fragments of the whole scene which make even more effective statements because of the perception of his artist's eye. / My own work was strongly influenced by Evans, Lange and Shahn. Roy Stryker also made me aware of the need to understand the subject and to tell the story in visual terms. Evans demonstrated to me that design and composition can enhance the effect and make the message clear. Lange showed me that people can be portrayed with beauty, dignity and sympathy even when they are in misery. Shahn's ability to select the revealing detail and his sense of social justice made a profound impression on me."
This portfolio of FSA photographs was in the collection of pioneering 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.
#171268
Condition:
Nine of the ten photographs have a label on the verso that includes title, photographer, and date followed by "SELECTED AND PRINTED UNDER THE SUPERVISION OF ARTHUR ROTHSTEIN / PHOTOGRAPHIC PRINTS BY BERKEY K + L CUSTOM SERVICES, INC. / Published by The Photographic Historical Society of New York Inc." Minor creases to the peripheries of photos. Slight stains to the margins of a few, but very minor. Portfolio has normal age wear with expected creases, toning, minor stains, and nicks/tears to peripheries and fold seams, but still serves as a trifold and feature's Arthur Rothstein's informative essay as well as the frontispiece which includes the Photographic Historical Society of New York's wonderful graphic of a photographer and the following text on the frontispiece, "The Photographic Historical Society of New York, Inc. presents FSA FARM SECURITY ADMINISTRATION Selected and Printed under the Supervision of ARTHUR ROTHSTEIN Photographic Prints by BERKEY K&L, New York"
- SIGNED RUTH ORKIN PHOTO "AMERICAN GIRL
SIGNED RUTH ORKIN PHOTO "AMERICAN GIRL IN ITALY" (1951)...Ruth Orkin (American, 1921-1985). "American Girl in Italy" photograph, 1951. Hand-signed on lower right. Following an assignment for LIFE magazine in Israel with the Israeli Philharmonic, Ruth Orkin traveled to Italy where she met the subject of this photo, Nina Lee Craig, in Florence. Nina was an American art student, the two women became friends, and this piece was part of Orkin's series entitled "Don't Be Afraid to Travel Alone" featuring images of what women traveling solo in Europe experienced. In this photo, Orkin presents the 23 year old Craig, as she quickly strolls past a group of gawking men on the sidewalk, all the while gripping her handbag and shawl. This iconic photo has raised many questions over the years. Was it staged? Was Craig breezing by those men, because she felt threatened or was she oblivious to their ogling? For some interesting answers and more history about this iconic photo, please read the extended description below. Size of image: 8.125" L x 12.125" W (20.6 cm x 30.8 cm) Size w/ border: 11.125" L x 14" W (28.3 cm x 35.6 cm) Size of matte: 15.875" L x 19.875" W (40.3 cm x 50.5 cm)
According to a recent CNN interview, Nina Lee Craig insisted that the iconic photo was not staged and that she did not feel threatened by the men around her. Rather, Craig and Orkin's daugher Mary Engel agreed that the photo was intended to represent "independence, freedom, and self-determinations." Orkin was conducting a photo shoot of their adventures, showing people what it was like for women to travel alone in Europe. They shot for 2 hours in Italy, parted ways, and reconnected in Paris and Venice, taking more photos. The series appeared in Cosmopolitan magazine in 1952 in a photo essay entitled, "When You Travel Alone…" The caption for "American Girl in Italy" was as follows: "Public admiration … shouldn't fluster you. Ogling the ladies is a popular, harmless and flattering pastime you'll run into in many foreign countries. The gentlemen are usually louder and more demonstrative than American men, but they mean no harm." Of course, today many will have a different interpretation, and the photo may inspire discussions about harassment and feminism; however, during its time, Orkin and Craig believed they were challenging gender roles. According to Craig, "I look at it and I'm taken right back and it was wonderful. I was an art student. I was carefree. I was 23 and the world was my oyster." Craig and Orkin were kindred spirits who became lifelong friends. (Source: "The real story behind 'An American Girl in Italy'" by Emanuella Grinberg, CNN, March 30, 2017)
According to the Ruth Orkin Photo Archive, "Ruth Orkin was an award-winning photojournalist and filmmaker. Orkin was the only child of Mary Ruby, a silent-film actress, and Samuel Orkin, a manufacturer of toy boats called Orkin Craft. She grew up in Hollywood in the heyday of the 1920s and 1930s. At the age of 10, she received her first camera, a 39 cent Univex. She began by photographing her friends and teachers at school. At 17 years old she took a monumental bicycle trip across the United States from Los Angeles to New York City to see the 1939 World's Fair, and she photographed along the way.
Orkin moved to New York in 1943, where she worked as a nightclub photographer and shot baby pictures by day to buy her first professional camera. She worked for all the major magazines in 1940s, and also went to Tanglewood during the summers to shoot rehearsals. She ended up with many of the worlds' greatest musicians of the time including Leonard Bernstein, Isaac Stern, Aaron Copland, Jascha Heifitz, Serge Koussevitzky and many others.
In 1951, LIFE magazine sent her to Israel with the Israeli Philharmonic. Orkin then went to Italy, and it was in Florence where she met Nina Lee Craig, an art student and fellow American, who became the subject of 'American Girl in Italy.' The photograph was part of a series originally titled 'Don't Be Afraid to Travel Alone' about what they encountered as women traveling alone in Europe after the war.
On her return to New York, Orkin married the photographer and filmmaker Morris Engel. Together they produced two feature films, including the classic 'Little Fugitive' which was nominated for an Academy Award in 1953. From their New York apartment overlooking Central Park, Orkin photographed marathons, parades, concerts, demonstrations, and the beauty of the changing seasons. These photographs were the subject of two widely acclaimed books, 'A World Through My Window' and 'More Pictures From My Window.' After a long struggle with cancer, Orkin passed away in her apartment, surrounded by her wonderful legacy of photographs with the view of Central Park outside her window."
For more about this photo, read "Ruth Orkin, American Girl in Italy, The Making of a Classic" (2005).
This photograph was in the collection of pioneering 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.
#171270
Condition:
Photo is hand signed by the photographer on the lower right margin. The image is vivid and strong. It is set in a protective matte.
- "BLUMENFELD COLOR: THE AGE OF ELEGANCE"
"BLUMENFELD COLOR: THE AGE OF ELEGANCE" PORTFOLIOErwin Blumenfeld (American of German origin, 1897-1969). "Blumenfeld Color: The Age of Elegance" limited edition portfolio - Hamburg: PPS.Galerie F.C. Gundlach, 1940s to 1950s, printed in 1984. A "Blumenfeld Color" portfolio of 10 dye-transfer prints, each one presenting an Erwin Blumenfeld estate copyright stamp and numbered edition 6/50 or 17/50 in pencil on the verso. Also included is the printed title/plate list/colophon, with edition 17/50 in pencil. The portfolio comes with its red linen clamshell box presenting the title in purple lettering. Erwin Blumenfeld was an innovative artist who created an impressive body of work in the 1940's and 1950's that including drawings, collages, and photography - dazzling an international audience with his portraits, nudes, advertising campaigns, and remarkable fashion photography. Size of images: various sizes to 12.75" L x 10" W (32.4 cm x 25.4 cm)
The plates of this portfolio include: (1) Decollete, Cover Study, New York, 1950s - ed. 6/50 (2) Distorted Nude, New York, 1950s - ed. 17/50 (3) Model and Mannequin, Cover Study, New York, 1945 - ed. 17/50 (4) Broken Mirror, New York, early 1940s - ed. 17/50 (5) Water Effect, Cover Study, New York, early 1950s - ed. 17/50 (6) Study for an Advertising Photograph, New York, 1948 - ed. 6/50 (7) Line on Face, New York, between 1947 and 1949 - ed. 17/50 (8) Lisette behind Fluted Glass, New York, around 1943 - ed. 17/50 (9) Cubistic Purple Nude, New York, 1949 - ed. 6/50 (10) Three Times Petersen, Study for a Fashion Page, New York, late 1940s - ed. 17/50
Also included is the PPS.Galerie F.C. Gundlach portfolio colophon which states, "The PPS.Galerie F.C. Gundlach is proud to announce the publication of a limited edition portfolio: BLUMENFELD COLOR / There was not a more original photographer in the 1940's and 1950's than Erwin Blumenfeld. Throughout his career he tested the limits of this medium with his innovative black and white and color pictures. / During the 1950's Blumenfeld experimented with his transparencies to make prints which were similar to the best of his avant-garde black and white work. Unfortunately, the few Type C prints which remain have faded and an important aspect of Blumenfeld's work has been overlooked simply because prints do not exist. / Using the archivally preferable dye transfer process, the PPS. Galerie F.C. Gundlach has been able to produce a portfolio which, in the estate's estimation, faithfully reconstitutes the artist's original efforts. / 50 sets of BLUMENFELD COLOR, numbered 1 through 50, and 7 Artist's Proof sets, numbered AP I through AP VII, have been produced from the original transparencies under the supervision of the Blumenfeld estate. No further prints will be produced. The dye transfer prints were made by Creative Colour GmbH, Hamburg. Each print is stamped verso and initialled by the publisher. PPS.Galerie F.C. Gundlach, Hamburg, in 1984."
This portfolio was in the collection of pioneering patron of the arts, Ginny Williams. Sotheby's hosted a series of auctions featuring art and photography from the Ginny Williams Collection in June and July of 2020. The Sotheby's press release provided the following biographical statement, "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
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.
#171269
Condition:
The ten dye-transfer prints are in excellent condition with vibrant color and no fading. Nine of the ten prints are matted (occasional marks on a few mattes). The unmatted print is in a protective plastic sleeve. All have the estate copyright stamp on the verso. All are numbered edition 6/50 or 17/50 in pencil on the verso. Three prints are edition 6/50 and seven are edition 17/50 (see extended description to complete list). Red linen clamshell case is generally excellent, very minor wear.
- ANSEL ADAMS "MOONRISE, HERNANDEZ, NEW
ANSEL ADAMS "MOONRISE, HERNANDEZ, NEW MEXICO" (1941)Ansel Adams (American, 1902-1984). "Moonrise, Hernandez, New Mexico" gelatin silver print, 1941. "Moon, Hernandez, New Mexico" was shot by Ansel Adams in the late afternoon on November 1, 1941 in the unincorporated community of Hernandez, New Mexico from a shoulder of highway US 84 / US 285. Interestingly, Adams had no idea that it would become his most popular image! This iconic work captures Adams' poetic artistry. The moon rises over a stark valley, and mountain peaks pierce the magical sky above, their verticality echoed by the countless white crosses in the church yard. According to the Ansel Adams Gallery, "To this day, it remains an enduring distillation of the American West—its desolate landscapes, its serrated peaks, its pioneering inhabitants." Size: 15" L x 18.875" W (38.1 cm x 47.9 cm) Size of matte: 23.25" L x 26.75" W (59.1 cm x 67.9 cm)
"Moonrise, Hernandez, New Mexico" has been collected by elite collectors and museums such as the Museum of Modern Art (MOMA) in New York City (object number 467.1964). According to the MOMA curatorial statement, "Ansel Adams was deeply interested in the visual nuances made possible by photographic technology and in registering the ways that the various stages of the photographic process could be controlled by the photographer, from the exposure of the negative to its development in the darkroom. This print is one of the first of many that he made from a single negative. Attempting to convey the intensity of his experience watching the moon rise over this austere landscape, Adams progressively increased the contrast in the prints, heightening the moon’s whiteness and deepening the sky’s darkness."
This photograph was in the esteemed collection of Ginny Williams, a pioneering patron of the arts in Denver, Colorado. 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."
Of note: a signed "Moonrise, Hernandez, New Mexico" gelatin silver print of the same size as this one sold for $75,000 at Christie's (May 10-25, 2022).
Provenance: private Idledale, Colorado, USA collection; ex-Ginny Williams collection, Denver, Colorado, USA
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.
#174097
Condition:
Photograph is in very nice condition. There is a Ginny Williams Collection label on the verso with identification information. Photograph is set within a custom matte mounted to foam core. There is some slight separation between the matte and foam core at the lower corners, but the photograph is secure within the matte. Stain to lower right corner of matte as shown. Normal toning to paper and tape on verso of foam core. Please note: Although we cannot see a signature, it is possible that Ansel Adams signed this photograph on the verso, especially given that this piece was part of the notable Ginny Williams Collection. Unfortunately, given that the photograph was mounted to foam core, we cannot view the verso to confirm this.
- GINNY RUFFNER, "EYE CANDY" BLOWN ART
GINNY RUFFNER, "EYE CANDY" BLOWN ART GLASS, 1994 Ginny Ruffner (American/Georgia, Washington State, born 1952). "Eye Candy" -1994 from the "Patterns of Thoughts Series", fifteen blown glass orbs and fabricated metal basket. Apparently unsigned.
- GINNY COVEY. PARROT, WATERCOLOR ON PAPER
GINNY COVEY. PARROT, WATERCOLOR ON PAPER Signed ll, 15 1/4 x 11 1/2 in., framed.
- THREE VOGUE GINNY DOLLS, WITH AN ORIGINAL
THREE VOGUE GINNY DOLLS, WITH AN ORIGINAL BOXThree Vogue Ginny dolls, with an original box, to include miscellaneous clothing and booklet, together with a McCall doll, homemade clothes, etc.
Condition:
As found.
- CERAMIC VASES, PLATES, AND BOWLS, SEVEN
CERAMIC VASES, PLATES, AND BOWLS, SEVEN PIECES: SCERAMIC VASES, PLATES, AND BOWLS, SEVEN PIECES: Sara Post, two vases/candlesticks; black vase, illegibly signed; Peter Meyer, green vase; dish with flowers, artist mark on underside; Julie Stewart, green plate; Ginny Adelsheim, brown bowl, "Bowl of Night." The largest bowl measures 12" wide.
- SEVEN HARD PLASTIC GINNY DOLLSSeven
SEVEN HARD PLASTIC GINNY DOLLSSeven hard plastic Ginny dolls, in original outfits, 7" h.
Competitive in-house shipping is available for this lot.
Condition:
Good condition. No apparent damages or repairs.
- NINE HARD PLASTIC VOGUE DOLLSNine hard
NINE HARD PLASTIC VOGUE DOLLSNine hard plastic Vogue dolls, in original outfits, to include Ginny, Jill, Toodles, etc., together with bisque head and shoulder doll with molded hair, 12" h.
Competitive in-house shipping is available for this lot.
Condition:
Vogue - good condition. Bisque - loss to one foot.
- SMALL STEIFF ANIMALSSmall Steiff animals,
SMALL STEIFF ANIMALSSmall Steiff animals, to include a Ginny's Pup mohair terrier, 4" l.; two dressed rabbits with pack basket, rubber hands, 4 1/2" h.; and a dressed rabbit, 6" h.
Competitive in-house shipping is available for this lot.
Condition:
Tallest - ear wires exposed. Others - Good condition. No apparent damages or repairs.
- GINNY & TOM MARSH, AMERICAN / INDIANA
GINNY & TOM MARSH, AMERICAN / INDIANA (1934-1991), STUDIO VASE, STONEWARE POTTERY, 11"H.Ginny & Tom Marsh, American / Indiana, (1934-1991) studio vase, stoneware pottery signed chop mark near base. Ginny Marsh is known for thrown and hand built high fire stoneware and porcelain vessels intended for domestic use and garden ornaments. Marsh completed numerous commissions for architectural installations. Marsh studied with Richard Peeler at DePauw University. She worked collaboratively with Tom Marsh, her husband, from 1968 until his death in 1991. Tom Marsh was a teaching artist in the Greater Louisville area for more than 25 years, first at Silver Creek High School in his native Indiana during the 1960's, and then as the founder of the Ceramics program at the University of Louisville's Hite Institute for Art, where he taught until his death, in 1991. It is also said, by those who loved and admired him the most, that he was demanding. Surely this is a requisite quality for any worthwhile mentor, and, from all accounts, Marsh set expectations as high for his own work as he did for anyone else, and the program he developed for U of L was unorthodox, moving beyond traditional studio parameters. Certainly experience has taught us that innovation often translates for some as ‘difficult'. Marsh was raised by missionaries, and studied painting with Mary Spencer Nay at the University of Louisville. A missionary trip took him to Mashiko, Japan, where he ended up staying for several years, studying pottery with Sakuma Totaro (1900-1976), and learning various strands of Buddhism, most notably Rinzai. Once he returned to the U.S. he eventually resettled in Borden, Indiana, living his later years in adherence to ethical and spiritual practices born of his time in Japan, building an aesthetically spare house in the secluded woods that featured multi-functional space - the bed was raised on pulleys to make room for working. stoneware pottery Dimensions: 11"H.
- GINNY & TOM MARSH, AMERICAN / INDIANA
GINNY & TOM MARSH, AMERICAN / INDIANA (1934-1991), LARGE STUDIO VASE, STONEWARE POTTERY, 15"H.Ginny & Tom Marsh, American / Indiana, (1934-1991) LARGE studio vase, stoneware pottery Signed chop mark near base. Ginny Marsh is known for thrown and hand built high fire stoneware and porcelain vessels intended for domestic use and garden ornaments. Marsh completed numerous commissions for architectural installations. Marsh studied with Richard Peeler at DePauw University. She worked collaboratively with Tom Marsh, her husband, from 1968 until his death in 1991. Tom Marsh was a teaching artist in the Greater Louisville area for more than 25 years, first at Silver Creek High School in his native Indiana during the 1960's, and then as the founder of the Ceramics program at the University of Louisville's Hite Institute for Art, where he taught until his death, in 1991. It is also said, by those who loved and admired him the most, that he was demanding. Surely this is a requisite quality for any worthwhile mentor, and, from all accounts, Marsh set expectations as high for his own work as he did for anyone else, and the program he developed for U of L was unorthodox, moving beyond traditional studio parameters. Certainly experience has taught us that innovation often translates for some as ‘difficult'. Marsh was raised by missionaries, and studied painting with Mary Spencer Nay at the University of Louisville. A missionary trip took him to Mashiko, Japan, where he ended up staying for several years, studying pottery with Sakuma Totaro (1900-1976), and learning various strands of Buddhism, most notably Rinzai. Once he returned to the U.S. he eventually resettled in Borden, Indiana, living his later years in adherence to ethical and spiritual practices born of his time in Japan, building an aesthetically spare house in the secluded woods that featured multi-functional space - the bed was raised on pulleys to make room for working. stoneware pottery Dimensions: 15"H.
- GINNY MARSH, AMERICAN / INDIANA / TEXAS
GINNY MARSH, AMERICAN / INDIANA / TEXAS (B.1945), LARGE STUDIO VOLCANIC GLAZE POT, HIGH FIRE STONEWARE VASE, 13 1/2"H X 16"WGinny Marsh, American / Indiana / Texas, (b.1945) Large studio volcanic glaze pot, high fire stoneware vase Signed chop mark under base. Ginny Marsh is known for thrown and hand built high fire stoneware and porcelain vessels intended for domestic use and garden ornaments. Marsh completed numerous commissions for architectural installations. Marsh studied with Richard Peeler at DePauw University. She worked collaboratively with Tom Marsh, her husband, from 1968 until his death in 1991. high fire stoneware vase Dimensions: 13 1/2"H x 16"W
- FINE JEWELRY REFERENCE BOOKS, 9 Nine
FINE JEWELRY REFERENCE BOOKS, 9 Nine reference books on fine jewelry comprising "Set in Style - The Jewelry of Van Cleef & Arpels" by Sarah Coffin, Sotheby's auction catalog "The Collection of the Late Mrs. Harry Winston", "Georgian Jewellery 1714-1830" by Ginny Redington Daves and Olivia Collings, "Tiara" by Diana Scarisbrick, "The Queen's Jewels" by Leslie Field, "The Jewels of the Duchess of Windsor" by Culme Rayner, Phillips auction catalog "Magnificent Jewels", "Masterpices from the House of Faberge" by Harry Abrams, and San Diego Museum of Art exhibition catalog "Faberge, The Imperial Eggs". Largest: 12.5" H x 9.5" W x 1" D.
- Beatrice Wood
(American, 1893-1998)
To
Beatrice Wood
(American, 1893-1998)
To The Whitehouse, c. 1990
stoneware, mixed media
signed 'BEATO'
Overall | H 24 x W 23 1/2 x D 9 1/2 inches
Property from the Ginny L. Williams Collection, Denver, Colorado
- Beatrice Wood
(American, 1893-1998)
Untitled
Beatrice Wood
(American, 1893-1998)
Untitled Vessel
glazed stoneware
signed
H 6 x Dia 7 inches
Property from the Ginny L. Williams Collection, Denver, Colorado
- Mark King
(American, 1931-2014)
The
Mark King
(American, 1931-2014)
The Hunt, 1976
serigraph
signed and numbered 221/325 in pencil
33 x 23 1/2 inches
Property from the Ginny L. Williams Collection, Denver, Colorado
- Pati Bannister
(American, 1929-2013)
Outward
Pati Bannister
(American, 1929-2013)
Outward Bound
oil on masonite
signed Bannister lower right
18 x 24 inches
Property from the Ginny L. Williams Collection, Denver, Colorado
- LOT OF FOUR MID 20th CENTURY AMER DOLLS
LOT OF FOUR MID 20th CENTURY AMER DOLLS Included are Vogue ''Ginny'' with original tagged outfit and blue eyes molded lash sleep eyed ''Ginny'' walker with tagged outfit boxed ''Ginny'' with pants and shoes only and brown hair molded back and a ''Muffie'' in original box by Nancy Ann (arms present but detached) a second brunette Ginny Walker undressed. Also included is a large lot of labeled Vogue Jill clothing & shoes. 7'' to 9''. (VG Cond.)
- GINNY HERZOG (AMERICAN) ABSTRACT CITYSCAPE
GINNY HERZOG (AMERICAN) ABSTRACT CITYSCAPE Oil on board: 39 x 30 in. Lower right signed and dated: Ginny Herzog 99 Provenance: Washington DC Area Corporate Collection
- GINNY HERZOG (AMERICAN) ABSTRACT CITYSCAPE
GINNY HERZOG (AMERICAN) ABSTRACT CITYSCAPE Oil on board: 39 x 30 in. Lower right signed and dated: Ginny Herzog 99 Provenance: Washington DC Area Corporate Collection
- Vogue Ginny Sweet Shop, in original
Vogue Ginny Sweet Shop, in original box and in good condition but the pinball machine is missing on leg Estimate $10-25
- Brunette Vogue Ginny Doll, bend leg,
Brunette Vogue Ginny Doll, bend leg, walker, works ok, brown sleepy eyes that like to stay open, hard plastic, small scuff on right cheek, clothing has tears Estimate $25-50
- Brunette Vogue Ginny Doll, bend leg,
Brunette Vogue Ginny Doll, bend leg, walker, works ok, blue sleepy eyes, hard plastic, tagged outfit, needs slight cleaning Estimate $25-50