A few examples of appraisal values for
KIRSTEN

• ABSTRACT OIL ON WOOD PANEL, CIRCA
  ABSTRACT OIL ON WOOD PANEL, CIRCA 1994An oil on wood panel, colorfully composed of abstract organic shapes and symbols. Signed illegibly ("Kirsten K----") and dated 1994 to the reverse. Possibly German school, as a small supply manufacturer's tag is affixed to the frame with German text. Measures 39 1/4" x 30 3/4", in a frame that measures 41" x 32 1/4". Condition The top right corner of the board is a bit dented.
• Kirsten Sloth (Danish, b. 1938)
  Kirsten Sloth (Danish, b. 1938) Lidded Cylindrical Vase, 1996 glazed stoneware with artist's seal H 11 1/4 x Dia 8 inches.
• Saxbo. Vases, set of two. c.
  Saxbo. Vases, set of two. c. 1955, glazed stoneware. 15 h × 5¾ dia in. result: $3,528. estimate: $900–1,200. Lot is comprised of one example by Eva Stæhr-Nielsen and a second example by Kirsten Weeke (Nathalie Kreb's niece). Impressed manufacturer's mark to underside of one example ‘Saxbo Denmark E. St. N.’ with yin-yang symbol and four dots. Incised signature 'KW' and impressed studio marks to underside of additional example 'Saxbo Denmark' with yin-yang symbol.
• Ron Layport. Easterly Westerly
  Ron Layport. Easterly Westerly Westerly Easterly. 2015, sycamore, pigment. 11¾ h × 5¾ dia in. result: $6,048. estimate: $2,500–3,500. Incised signature and date to underside of each example ‘Layport 2015 "E"’ and ‘Layport 2015 "W"’, respectively. Provenance: Kirsten Muenster LLC, San Francisco
• Kirsten Jones and Adam Bottomley.
  Kirsten Jones and Adam Bottomley. K-3 low chair. c. 2005, leather, tubular steel. 20½ h × 21¾ w × 17 d in. result: $2,520. estimate: $700–900.
• KIRSTEN STINGLE(Georgia,
  KIRSTEN STINGLE(Georgia, 20th/21st century) Untitled, signed verso figure "KS", porcelain, metal fan blades, steel base, 49 x 17 x 17 in. Provenance: Jerry and Deena Kaplan Collection of Modern Art and Crafts Condition: good condition, with rust as made
• RICHARD KIRSTEN DAIENSAI
  RICHARD KIRSTEN DAIENSAI LINOCUTRichard Kirsten Daiensai (20th C.) Artists Proof LinoPrint. "Everything Depends on How You Look at It" Sado Island, Japan 1990. Pencil inscribed. Sight Size: 9 x 6 in. Overall Framed Size: 16.25 x 13 in. Framed behind glass. 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.
• Richard Kirsten 'Serpents of
  Richard Kirsten 'Serpents of Darkness Leaving An Enlightened Man' Watercolor Framed- 20x27''
• Richard Kirsten 'The Laughing
  Richard Kirsten 'The Laughing Christ' Original Graphite Drawing Framed- 21x20''
• Richard Kirsten 'We Are Two People'
  Richard Kirsten 'We Are Two People' S/N Print Loose- 25x19''- has some damage to corners
• Richard Kirsten Woodblock Print
  Richard Kirsten Woodblock Print Framed- 17x14''
• 2pc Richard Kirsten Small Prints
  2pc Richard Kirsten Small Prints Framed- largest 16x13''
• Richard Kirsten (1920-2013
  Richard Kirsten (1920-2013 Washington) ''Whispering Shadows'' 1954 Woodblock 20''x12'' Sheet. Ink signed and numbered 4 of 7 edition lower margin. Original framing 27''x19''. Excellent condition with strong colors.
• Richard Kirsten Ceramic Maneki Neko
  Richard Kirsten Ceramic Maneki Neko Cat Sculpture- 8''
• 4pc Richard Kirsten Studio
  4pc Richard Kirsten Studio Ceramic Sculptures- 3'' to 7''
• (6) ART BOOKS: PABLO PICASSO, DALI,
  (6) ART BOOKS: PABLO PICASSO, DALI, HENRI MATISSE(lot of 6) Art books: (1) "Picasso and His Art," Denis Thomas, Galahad Books, New York, 1973, many illustrations, 128 pages, dust jacket, 13.5"h, 10.25"w, 0.75"d; (1) "Forever Picasso," Roberto Otero, Abrams, New York, many illustrations, 197 pages, dust jacket, 11.5"h, 9.75"w, 1"d; (1) "Essential Dali," Kirsten Bradbury, Parragon, London, 1999, many illustrations, 256 pages, dust jacket, 11.5"h, 8.25"w, 1"d; (1) "Salvador Dali: The Early Years," Ian Gibson and others, London Exhibitions, soft cover, 248 pages, illustrated, 11"h, 8.5"w, 0.75"d; (1) "Dali by Dali," Abrams, New York, 1970, 157 pages, dust jacket, illustrated, 7.75"h, 5.75"w, 0.75"d; (1) "Matisse, His Art and His Public," Alfred Barr, Jr., The Museum of Modern Art, New York, 1951, illustrated, 591 pages, dust jacket, 10.25"h, 8"w, 1.5"d; 15.75lbs total
• 20) DANSK KIRSTEN COLORLESS GLASS
  20) DANSK KIRSTEN COLORLESS GLASS STEMWARE SERVICE(lot of 20) Dansk colorless stemware service, in the "Kirsten" pattern, squared bowls over stem, unmarked, including: (8) water goblets, approx 7.5"h, 3.25"diam; (6) wine stems, (one) with slight rim roughness, approx 6.25"h, 2.75"diam; (6) champagnes/ tall sherbets, (one) intact with flaw at foot of stem, approx 4.75"h, 4.5"diam; 26.75lbs total
• RICHARD KIRSTEN DAIENSAI
  RICHARD KIRSTEN DAIENSAI (WASHINGTON, 1920-2013) TRICHARD KIRSTEN DAIENSAI (Washington, 1920-2013) two drawings. Sumi and tempera on paper, "Moon Balanced on The Crest of A Wave," signed lower left, dated 1959, titled verso, image measures 25" x 28". Acrylic on board, "Spiritual Rapport," signed, titled verso with Kirsten Gallery label, image measures 16" x 12.25". In wood frames; 38.5" x 40" and 23" x 19.25" overall.
• RICHARD KIRSTEN DAIENSAI
  RICHARD KIRSTEN DAIENSAI (WASHINGTON, 1920-2013) TRICHARD KIRSTEN DAIENSAI (Washington, 1920-2013) two oils and encaustics on canvas, "Song of An Insect Engulfing the Moon" and "Merging Influences." Both signed lower right, signed again and titled verso, painted in Japan, dated 1961. Images measure 39.5" x 20" and 39.5" x 16". In wood frames; 43" x 24" and 43" x 20.25" overall.
• RICHARD KIRSTEN DAIENSAI
  RICHARD KIRSTEN DAIENSAI (WASHINGTON, 1920-2013) TRICHARD KIRSTEN DAIENSAI (Washington, 1920-2013) three acrylics and sumi ink drawings on paper: "The Forces of Yin & Yang - They Touch Each Other," "Serpent in an Exalted State of Being," and "Transcendence Through Meditation." Each signed, one dated 1970 and another 1972, each with gallery labels attached verso. Images measure 14" x 22", 21.5" x 14.75", and 31" x 10.5". In frames.
• RICHARD KIRSTEN DAIENSAI
  RICHARD KIRSTEN DAIENSAI (WASHINGTON, 1920-2013) TRICHARD KIRSTEN DAIENSAI (Washington, 1920-2013) two gouaches on board: "The Scream" and "Among Jungle Blossoms." Both signed lower left, artist labels attached verso. Images measure 15" x 10". In wood frames; 25.25" x 19" and 20.75" x 25.25" overall. Provenance: from the Elaine Petzold collection.
• RICHARD KIRSTEN DAIENSAI
  RICHARD KIRSTEN DAIENSAI (WASHINGTON, 1920-2013) SRICHARD KIRSTEN DAIENSAI (Washington, 1920-2013) seven acrylic paintings, each signed and titled. Images measure from 7" x 4" to 19" x 12". Each framed.
• NINE BING & GRONDAHL PORCELAIN
  NINE BING & GRONDAHL PORCELAIN FIGURES OF CHILDREN AND A GEORG JENSEN PORCELAIN FIGURE OF A SEATED BOYNINE BING & GRONDAHL PORCELAIN FIGURES OF CHILDREN AND A GEORG JENSEN PORCELAIN FIGURE OF A SEATED BOY , including two boy musicians, Denmark, 1962-69, blue B&G and printed green three towers mark, model nos. 1897 or 1792 and painter's initial, the first impressed with the initials I.P.I. for the designer Ingeborg Plockross-Irminger, depicted playing the flute, h: 11.5 in.; the second, designed by Michaela Ahlmann, depicted playing a horn, h: 7.5 in.; a third figure entitled, 'Who Is Calling', model no. 2251, also designed by M. Ahlmann, depicted as a little girl looking up and holding a jar, h: 6.25 in.; a limited edition figure group 'A Joyful Flight', model no. 543/2500 and painter's initial, designed by Sven Vestergaard, signed in the mold, depicting a young girl being pushed in a swing, h: 7.25 in.; and two Children's Day Limited Edition figures, also designed by Sv. Vestergaard dated 1988 or 1989, model nos. 445/2500 and 210/2500, entitled 'Wash Day', h: 5 in. and 'Bedtime', h: 5.75 in.; a 1991 Limited Edition Tyrolean figure of a boy named 'Heinz', model no. O.516/5000 and painter's initials, h: 7.5 in. and a 1982 Limited Edition Figurine of the Year, 'Kirsten' modeled as a girl holding a ball, h: 9 in.; a figure of a boy as the 'Sandman' from Hans Christian Andersen, circa 1965, model no. 2055, designed by Henning Seidelin, depicted walking on tiptoe carrying two umbrellas and holding a vial of sand, h: 7 in.; and a Georg Jensen figure of a seated boy holding a teddy bear, late 20th Century, printed green crowned Portugal mark, h: 8 in. (10) Provenance: Estate of Ronald Sperling
• KIRSTEN HASSENFELD, MIXED MEDIA,
  KIRSTEN HASSENFELD, MIXED MEDIA, 2004 Kirsten Hassenfeld (American, b. 1971), "Pearl", cut and shaped paper assemblage, approx. 23"h x 35"dia
• § JOHN DUNCAN FERGUSSON R.B.A.
  § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ROYAN, 1909 oil on board, signed, inscribed and dated verso26cm (10 1/4in), 34cm (13 1/2in)Fergusson painted Royanduring the exceptional period when he lived in France from 1907 until 1914. More than any other British artist, he played a part in the heady creative circles of Paris’s pre-war art world and whilst there made the works on which his international standing is based.Following sporadic attendances at the Académies Colarossi and Julian in the French capital in the late 1890s, Fergusson began his career in Edinburgh. His first solo exhibition was held at the Baillie Gallery in London in 1905. However, as Alice Strang has explained: ‘An increasing interest in developments in contemporary art in Paris and parallel frustration with the conservatism of the art world in Scotland, an inheritance following his father’s death in 1906 and the start of his relationship with the painter Anne Estelle Rice (1877-1959) in Paris-Plage in 1907, culminated in Fergusson’s decision to move to Paris later that year.’ (1)Fergusson declared ‘Paris is simply a place of freedom’ and established himself in a studio in Montparnasse. (2) First-hand experience of the very latest developments in French art, such as those made by the Fauve artists Henri Matisse, André Derain and Kees van Dongen, had an immediate and dramatic effect upon his work, as can be seen in Royan. This encompasses the bold colour, simplification of form and expressive technique which signalled Fergusson’s progression from the Edwardian sophistication of his earlier work to the forefront of the avant-garde.Royan dates from a key year in Fergusson’s career. In 1909 he exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, in the rue Notre Dame des Champs. Moreover, as Kirsten Simister has written: ‘Fergusson’s artistic confidence and ambition reached an all-time high in 1909 when he was elected a Sociétaire of the Salon d’Automne and given an entire wall for his exhibits.’ (3) Election to this progressive exhibiting society was recognition by Fergusson’s peers of his contribution to the modern movement and he recalled: ‘To me, considering myself a revolutionary, this was a very great honour…it had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’ (4) Rice received the same honour the following year and together they became key figures in the celebrated group of Anglo-American artists who, for example, founded the cutting-edge journal Rhythm in 1911. After three years of encouragement from Fergusson, his fellow Scottish Colourist Samuel John Peploe moved to Paris in 1910, where he lived for two years.Simister continues: ‘In both 1909 and 1910 Fergusson, Peploe and Rice spent summer holidays together painting in Royan and nearby Saintonge, on the west coast of France. The sea and harbour inspired a number of small paintings made outdoors, which make use of stronger colour to heighten the emotional impact and mood of the scene…[Some]…indicate a tighter, more structured organisation of composition, a feature which became more pronounced over the years to come.’ (5) Fergusson had long been stimulated by working en plein air, in locations as varied as Princes Street Gardens in Edinburgh, the Scottish island of Islay and during summer painting trips to France with Peploe from 1904 to 1907. His enjoyment of responding directly and spontaneously to light and weather conditions, as well as to architectural and natural features, is clear in many of the paintings he created outdoors.In 1913, Fergusson left Paris in search of ‘more sun, more colour’ and settled on the Cap d’Antibes. (6) Due to the outbreak of World War One he moved to London, but returned to the French capital for a decade from 1929. World War Two prompted a move to Glasgow, where Fergusson died in 1961.(1) Alice Strang et al, D. Fergusson, Edinburgh 2013, p.16.(2) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, p.70.(3) Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p. 39.(4) J. D. Fergusson quoted by Margaret Morris in The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 53.(5) Simister op.cit., p. 42.(6) J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol. viii, no.3, 1962, p.31.
• § JOHN DUNCAN FERGUSSON R.B.A.
  § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) FISHING BOAT, MOROCCO, C.1899 oil on canvas, 25.5cm (10in), 33cm (13in); together with two accompanying works 'Figures by a Bridge, Morocco' and 'Berber Village, Morocco', both oil on canvas and both 25.5cm (10in), 33cm (13in)(3)Provenance: Christie’s Scotland, 8 June 1995, lot 919 (as 'Figures by a Grounded Fishing Boat, Tangier, circa 1897' and sold with 'two others, similar')Fishing Boat, Moroccois an accomplished early work by J. D. Fergusson, which he painted during a trip to North Africa inspired by the travels of the artist Arthur Melville (1855-1904). Fergusson’s recollection of the exact date of his trip was not precise, but it is believed to have been undertaken in 1899. (1) As his biographer, Kirsten Simister, has explained: ‘From a very early stage in his career travel was to provide a crucial spur to his artistic development’ and his first trip abroad is thought to have been to Paris in 1897. (2)Melville, a forerunner of the Glasgow Boys, was an exceptional watercolourist and an intrepid traveller; he spent time in Morocco in 1890 and 1893. Forty years later, Fergusson recalled: ‘I had heard of Melville; he was my first influence. Although I never met him or even saw him, his paintings gave me my first start; his work opened up to me the way to free painting – not merely freedom in the use of paint, but freedom of outlook.’ (3) His wife, the dance pioneer Margaret Morris, continued the story: ‘Fergus, having been much impressed by the wonderful free paintings of Morocco by Arthur Melville of the Glasgow School, decided to go and see for himself the effects of intense light and shadow. He told his family he would certainly not write and had no idea how long he would stay.’ (4)Painted on an easily portable canvas measuring 10 x 13 inches, Fishing Boat, Morocco reveals an example of the bustling scenes which caught Fergusson’s eye during his explorations. His enjoyment of the application of oil paint is clear in the freely executed brushstrokes. A skilful use of highlights, especially of bright red, is combined with a muted palette in which tonal values are explored and hints at the colourist he would become.Fergusson’s pride in his Moroccan works is proven by the fact that they made up the majority of the works he exhibited with the Royal Society of British Artists in London between 1901 and 1903. Few are extant, but examples are held by The Fergusson Gallery, Perth (1992.123), University of Stirling (1968.2) and Glasgow Life: Kelvingrove Art Gallery and Museum (3163).(1) See Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Edinburgh 2001, p.18.(2) Simister, op.cit., p.15.(3) J. D. Fergusson, Modern Scottish Painting, Glasgow 1943, 2015 edition, p.88.(4) Margaret Morris, The Art of J. D. Fergusson: A Biased Biography, Glasgow 1974, 2010 edition, p. 24.
• Richard Kirsten ''Trumpets''
  Richard Kirsten ''Trumpets'' Lithograph - Framed 18''x14''
• Richard Kirsten ''Trumpets''
  Richard Kirsten ''Trumpets'' Gouache on Board Framed 32''x23''
• Richard Kirsten Daiensai ''Young
  Richard Kirsten Daiensai ''Young Woman with Advisors'' Lithograph Pencil Signed & Dated 2002. Framed Measurement 19''x16''
• Richard Kirsten ''Blue Owl Mask''
  Richard Kirsten ''Blue Owl Mask'' Acrylic Original Framing 15''x12'' - Labels on verso
• VIDEO ARCADE GAME UNIT
  VIDEO ARCADE GAME UNIT ''Kirsten's Top 40 '' playing 40 classic video games including Pac-Man Frogger Donkey Kong 1943 Battle of Midway Galaga Ms. Pac-Man and more. A free play unit without coin mechanism. Cabinet dimensions: 70.5''H x 26''W x 28.5''D.