A few examples of appraisal values for
KEATON

• 1 piece. Photograph Signed.
  1 piece. Photograph Signed. Keaton, Buster. Ca. 1960. Silver print, 10 x 8 inches (254 x 203 mm). Clear & dark black felt signature. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman''s Conditions of Sale.
• C J KeatsFIGURE ON A WOODLAND
  C J KeatsFIGURE ON A WOODLAND PATHwatercolour 41.5cm x 55cm (16.25" x 21.5")
• Al Hirschfeld lithograph “Keaton
  Al Hirschfeld lithograph “Keaton and Allen” depicting Diane Keaton and Woody Allen, numbered 186/200, and signed lower right Hirschfeld, with Certificates of Authenticity. Image 11” x 13” Frame 21.5” x 18” Condition: very good CT Transfer Fee $10
• KEITH BOND (20TH/21ST CENTURY)Keith
  KEITH BOND (20TH/21ST CENTURY)Keith Bond (20th/21st century), "Near Eden," 2005 Oil on panel Signed lower left: Keith Bond; signed again, titled, and dated with the ©, verso 8" H x 10" W "Late Autumn and Dock Flat," 2005 Oil on panel Signed lower right: Keith Bond; signed again, titled, and dated with the ©, verso 8" H x 10" W 2 pieces Provenance: The Estate of George David Sturges Notes: First inscribed: painted on location near Eden, UT, 9-28-06; Second inscribed: painted on location near Mantua, UT, 10-25-05 Provenance: The Estate of George David Sturges
• WYATT EATON PORTRAIT OF A YOUNG BOY
  WYATT EATON PORTRAIT OF A YOUNG BOY PAINTING New York, Rhode Island, Canada, France1849-1896Naturalistic depiction of a round faced boy with long brown hair dressed in red, yellow, and blue. Eaton studied at the National Academy of Design, and studied under Samuel Colman, and Daniel Huntington.
• JOHN ROSENTHAL (NC), JOHN KEATS
  JOHN ROSENTHAL (NC), JOHN KEATS AT VALLE CRUCIS, 1980 Gelatin silver print, 1980, pencil signed and titled to mat, matted and framed.
• BEATON, CECIL (1904-1980)
  BEATON, CECIL (1904-1980) Gertrude Lawrence Estimate:$600-$900
• 1 vol. (Keats, John.) The Keats
  1 vol. (Keats, John.) The Keats Letters, Papers and Other Relics... The Dilke Bequest... Hampstead Public Library. London: John Lane, The Bodley Head, 1914. #306/320. Introduction by H. Buxton Forman. Folio, orig. white cloth-backed slate bds., spine gilt, t.e.g., fore & bottom edges untrimmed; edge wear, other light to moderate wear, occasional dust soiling. Hinges stressed. With 73 plates. Some foxing to endpapers, internally clean.
• CECIL BEATON (1904-1980):
  CECIL BEATON (1904-1980): PORTRAIT OF DAISY FELLOWS Photograph pencil notations on verso with Beaton/Sotheby's Parke Bernet studio stamps; 10 x 8 in.
• COTTAGE SCENE BY CECIL JACK KEATS
  COTTAGE SCENE BY CECIL JACK KEATS (UNITED KINGDOM LATE 19TH CENTURY). Watercolor on paper signed lower left. Pleasant scene of woman at well. In a frame 22.5''h. 19.5''w.
• KATHERINE EATON (AMERICAN, 20TH
  KATHERINE EATON (AMERICAN, 20TH CENTURY) 23 ¼" x 31 ¾" sight size "Leaded Glass Bicyclist". Acrylic on canvas, signed lower right, in a metallic painted wood frame with linen liner, overall 30" x 38 ½". Provenance: from the art collection of an international corporation.
• KEANE Margaret (American 20th
  KEANE Margaret (American 20th C.): Young Child Holding Three Poodle Puppies Oil/Canvas Mounted to Board 11'' x 7'' signed lower left 'Keen Donkey' dated 1965 custom framed 17 1/2'' x 12 1/2''.
• WYATT EATON (CANADIAN, 1849 -
  WYATT EATON (CANADIAN, 1849 - 1896), OIL ON CANVAS, 188...Wyatt Eaton (Canadian, 1849 - 1896), oil on canvas, 1888, portrait of Alfred S. Purdy (1808 - 1886), gilt frame, some toning, signed "Wyatt Eaton, 1888". 30" x 25". Catalog Note: Purdy was a Founding Fellow of The New York Academy of Medicine. Provenance: The New York Academy of Medicine Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• HAIGHT J.E. After Beckwith. O/C
  HAIGHT J.E. After Beckwith. O/C Portrait of aBeauty. Signed lower right. Inscribed upper right ''Copy of Carroll Beckwith.'' From a Stratford CT home. Dimensions: 20'' high x 16'' wide. Condition: Relined craquelure.
• Margaret Keane (American b.1927)
  Margaret Keane (American b.1927) The Two Look Outs 1962 oil on canvas signed Keane and dated (lower left) 18 x 12 inches.
• WITH NATURE & A CAMERA BY RICHARD
  WITH NATURE & A CAMERA BY RICHARD KEARTONWith Nature & A Camera. Popular Edition. Illustrated by 180 pictures from photographs by Cherry Kearton. Author: Richard Kearton. Publisher: London, New York, Toronto, and Melbourne: Caswell and Company. Date: 1911
• EDWIN THOMAS ROBERTS "KATE
  EDWIN THOMAS ROBERTS "KATE "KEARNEY", FRAMED OIL Edwin Thomas Roberts (British 1840-1917), "Kate "Kearney", undated, oil on canvas genre portrait depicting a red haired young woman resting in a flowering field, signed at lower left and titled and signed to canvas en verso, framed. Note: A painting of similar composition titled "A Summer Beauty", sold at Hansons Auctioneers Ltd., Etwall, UK, Country House Jewellery, Fine Art & Library Auction, April 11, 2019, lot 405. Canvas approx. h. 13.25", w. 9.5"; Overall h. 20.25", w. 16.75", d. 1.75".
• Alfred John Keene (1864-1930)/Nr
  Alfred John Keene (1864-1930)/Nr Hapton, Derbyshire/oval/watercolour, 26cm x 37cm and/Wirksworth/watercolour, 26.5cm x 37cm
• Sean Keating Irish drawing (Born
  Sean Keating Irish drawing (Born John Keating, Irish, 1889-1977), "Jocose & Morose", signed lower right "Keating", charcoal on paper, Bell Gallery label on backing, unframed, matted, 21-1/4 x 24-5/8 in. Laid down, slight warp to backing, light handling grime. Purchased from Bell Gallery, Belfast, in 1965. Private Collection, Asheville, North Carolina
• Martyn Beckett/Windsor Castle and
  Martyn Beckett/Windsor Castle and the Playing Fields of Eton/watercolour, 16cm x 25cm/Provenance: from the Estates of Lord & Lady Charteris
• Dobson (Austin), The Ballad of Beau
  Dobson (Austin), The Ballad of Beau Brocade and other Poems of the Eighteenth Century, London: Keegan Paul, 1892, 12mo, Hugh Thomson illus, publisher's original gilt embossed cloth, deckled page edges, gilt top edge, book plate for W. Freeman Clarke/Provenance: From the Library of Paul Stickler, a Gloucestershire collector of books and maps.
• ROBERT DEACON PECKHAM (MA,
  ROBERT DEACON PECKHAM (MA, 1785-1877) Portraits of Almond Derby (1800-1864) and his wife Abigail Kendall Derby, of Westminster, Mass. Oil on canvas, both painted in 1830, unsigned, but with old labels verso identifying artist and subjects, in the original matching gold and black frames, OS: 30" x 26", SS: 25-1/4" x 21". Restored, relined, slight rippling to his image on right, 2001 conservator's statements from Nancy Lee Snow verso.
• KATE BREAKEY (B. 1957), TONED
  KATE BREAKEY (B. 1957), TONED GELATIN SILVER PRINT PHOT...Kate Breakey (b. 1957), toned gelatin silver print photogram, Seven Finches in a Yucca, in contemporary frame, 14" x 8". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• KENTON ''PICKWICK NITE COACH''
  KENTON ''PICKWICK NITE COACH'' Kenton cast iron painted in green red side stripe embossed along sides well cast with windows disc wheels painted silver and green. 9'' l. Repainted.
• MICHAEL KEANE (MASSACHUSETTS,
  MICHAEL KEANE (MASSACHUSETTS, 1948-2015), “SUNSET COVE”., LITHOGRAPH ON PAPER, 11.25” X 20” SIGHT. FRAMED 21” X 30”.MICHAEL KEANE, Massachusetts, 1948-2015, "Sunset Cove". Signed in pencil lower left "Michael Keane". Numbered 425/2500. Personalized inscription lower right. Dimensions: Lithograph on paper, 11.25" x 20" sight. Framed 21" x 30".
• W/C- Late 19th c. British view of
  W/C- Late 19th c. British view of campsite signed 'C. Eaton' marked on reverse 'Our camp at Kamtak' (Nairobi) & priced at twelve pounds. In fabulous handmade chip carved oval mat lemon gold molded frame. SS: 5'' x 7'' oval OS: 8 3/4'' x 10 1/2''. Condition
• PHOTOGRAPH, R. VALENTINE ATKINSON
  PHOTOGRAPH, R. VALENTINE ATKINSON R. Valentine Atkinson (American, 20th/21st century), Seated Woman, 1977, gelatin silver print, pencil signed lower right, dated lower left, overall (with frame): 16.5"h x 13.5"w
• ETCHING - Grieving Family by
  ETCHING - Grieving Family by Francis Dodd R.A. (British 1874-1949) signed in pencil lr Frederick Keppel & Co. label verso probably done during World War I. He was an official war artist black stick frame matted and glazed impression: 13 3/4'' x 11''
• Kevin Francis Original Artist Proof
  Kevin Francis Original Artist Proof Figure by Victoria Bourne
• Peck, Portrait of a bearded man,
  Peck, Portrait of a bearded man, oil on board, signed and dated lower right approx 76. 59cm x 44 cm
• Staffordshire figure of Charles
  Staffordshire figure of Charles Keen as "Rolla" 12"h. and a Scottish dancer figural group 13"h. both 19th c.
• Beswick matt Kestrel 2316
  Beswick matt Kestrel 2316
• BILL KEATING (AMERICAN, B. 1932),
  BILL KEATING (AMERICAN, B. 1932), FREEFORM ABSTRACT, BR...Bill Keating (American, b. 1932), freeform abstract, bronze, signed and dated Keating 94' on base, height 13.75 inches. Provenance: From a private New York City collection. Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• C.L. Tyler (British, 19th Century)
  C.L. Tyler (British, 19th Century) "Cockenheath" and "Hamell's", pair of hand-colored lithographs depicting estate views, sight 8-1/4" x 10". Published by T. M. Millings, Stortford, 1826. Glazed, matted and presented in beaded giltwood frames.
• ? JOHN ATKINSON GRIMSHAW (BRITISH
  ? JOHN ATKINSON GRIMSHAW (BRITISH 1836-1893) GREENOCK Signed inscribed and dated 'T.20.92', signed, inscribed and dated verso 'Quayside Greenock T.20.92', oil on canvas31cm x 46cm (12in x 18in)Provenance: Christie's, 20 July 1979, lot.42 £8000 where purchased by the vendor's family and thence by descentJohn Atkinson Grimshaw’s innovation was to apply Ruskin’s tenet of ‘truth-to-nature’ to scenes of Britain’s burgeoning industrial centres. Owing to his sensitive portrayal of the atmosphere and ‘feeling’ of urban life, he has been considered the artistic equivalent of the great Victorian novelists Charles Dickens and Elizabeth Gaskell. Lyon & Turnbull are delighted to be offering two paintings by one of the most accomplished British artists of the nineteenth century.Atkinson Grimshaw was born in Leeds in 1836. By 1860 he had left his position as a Northern Railway clerk to become a full-time painter, much to his parents’ dismay. His early artworks were generally landscapes and still lifes of fruit, flowers and birds rendered with a detailed intensity inspired by the Pre-Raphaelites. He also worked from photography, a relatively new medium, and is believed to have implemented camera obscura projections onto his canvases to refine his compositions.His career breakthrough came in 1867 when a painting of Whitby harbour at night was received to great acclaim. The urban nocturne dominated Atkinson Grimshaw’s output forthwith, as he pursued ever-more subtle and complex ways to illuminate his compositions. Contemporary urban audiences identified with his nighttime streetscapes lit by gas lamps, which effectively evoked the dynamism and isolation of the industrialised town.Atkinson Grimshaw travelled to various towns and harbours to study their architecture and imbibe their atmosphere. The locales he most frequently painted (Glasgow, Leeds, Liverpool, Whitby, Scarborough and London) reflect the distribution of his market. In the mid-nineteenth century innovative contemporary art was generally patronised by wealthy industrialists in the north of England and Scotland. Such was the case with the Pre-Raphaelites, whose aesthetic initially proved too challenging for traditional London tastes but flourished in northern industrial centres. Atkinson Grimshaw’s market developed along similar lines, and it was not until the 1870s that London collectors began to invest in his work in earnest.By 1870 he was successful enough to rent Knostrop Hall, a seventeenth-century mansion represented in Evening in Knostrop. The Hall was built for Adam Baynes (1622-1671), the first Member of Parliament for Leeds, and its Jacobean architecture would prove an enduring inspiration which Atkinson Grimshaw would continue to paint for the rest of his life.Between 1885 and 1887 Atkinson Grimshaw lived in Chelsea, London near the studio of the American artist James McNeill Whistler. The pair became good friends and bonded over their shared interest in painting city living, although Whistler implemented a more impressionistic technique. Whistler would later comment ‘I thought I had invented the nocturne, until I saw Grimmy’s moonlights’.This Greenock scene exemplifies Atkinson Grimshaw’s mastery of ephemeral light. Greenock is situated on the River Clyde around 22 miles from Glasgow, and in the 18th and 19th centuries was a thriving and populous shipbuilding hub. Atkinson Grimshaw delineates the architecture with sharp precision, which serves as a visual counterpoint to the soft, delicate palette. While muted tones evoke the damp evening haze, points of tonal intensity draw the eye to the bustle of activity across the quayside, from the moored ships’ blinking lights, to the carriages conveying silhouetted figures, to the warm glow emanating from the row of smart shops.Greenock was painted a year before his untimely death from tuberculosis in 1893. Several of his children also became painters, including Louis Grimshaw, a son born in 1870. Louis trained under his father, and for a spell the pair painted collaboratively, with John executing the sky and landscape and Louis working on the figures. Like his father, Louis generally painted nocturnes, but he diverged by predominantly representing London. Louis’ career as an artist was relatively brief, as he gave up painting in 1905 to work as a cartographer for the Manchester Guardian, and his paintings are consequently rare.
• Two cast stone garden statues of
  Two cast stone garden statues of children one holding a goose and the other a sheaf of wheat. Each approx. 25"h.