A few examples of appraisal values for
MARGARETE CELEBRATION

• WILLIAM MORRIS INTEREST
  WILLIAM MORRIS INTEREST COLLECTION OF BOOKS AND PAMPHLETS to include:The Artworkers Guild 1884 to 1934 by H. J. L. J. MasséMay Morris: William Morris (in tissue paper wrappers)J.W. Mackail: The Life of William Morris 1st edition 1899 (2 Vols., with Philip Burne Jones' signature)J.W. Mackail: The Life of William Morris, 1901 ed (with May Morris' signature)Transactions of the National Association for the Advancement of Art and its Application to Industry Liverpool Meeting of 1888Socialism Its Growth & Outcome by William Morris & E Belfort Bax, 1893Labour Annual 10 copies, 1898, 1899, 1900, 1901 (Reformers Yearbook, formerly Labour Annual), 1903, 1904, 1906, 1907, 1908, 1909 J.B. Shaw (edit.): Fabian Essays in Socialism, 1 volumeWilliam Morris: Hopes & Fears for Art 5 Lectures 1871-1881William Morris: Gothic Architecture: A Lecture for the Arts & Crafts ExhibitionThe Dream of John Ball & The Kings LessonWilliam Morris: Address delivered 11th November 1890Socialist Review March, April & May 1928, contains unpublished letters of William MorrisNotice of a Fabian Society Public Meeting 1908 by G. B. Shaw on Socialism – Hand FlyerKelmscott Fellowship Notice 1926, showing A. H. VerstageWilliam Morris: The Life & Death of JasonWilliam Morris: The Earthly Paradise (3 of 4 parts)William Morris to Whistler: Papers & Addresses on Art & Craft and the Commonweal; Illustrations by Walter CraneWalter Crane: An Artist’s ReminiscencesWalter Crane: Decorative Illustration of BooksWalter Crane: Decorative Illustrations des BuchesMacNeil Whistler: Pamphlet Board of Education South KensingtonWalthamstow Museum: Guide to William Morris CentenarySpeeches in Commemoration of William Morris at the Baths Hall Walthamstow (3 copies)William Morris 1884-1934: Some AppreciationsMorris & Company 1861 to 1940 (2 copies)Tributes to Peter FloudParables from Nature by Margaret GattyMary de Morgan: On a Pincushion & Other Fairy talesH.J.L.J. Massé: The Artworkers Guild 1884 to 1934A May Day InterludeC.R. Ashbee: Table of the Arts & Crafts of the RenaissanceC.R. Ashbee: Table of the Arts & Crafts of the 17th Century (2 copies)C.R. Ashbee: Table of the Arts & Crafts of the 18th Century (2 copies)The New Party published by Hodder Brothers, frontispiece by Walter CraneWilliam Morris: Dream of John Ball and A King’s LessonWilliam Morris: The Defence of Guenevere and Other PoemsSidney Webb & Sidney Ball: Socialism and IndividualismA Catalogue of an Exhibition Celebrating the Ninetieth Birthday of The Churches and Chapels of Old LondonWilliam Morris as a SocialistWilliam Morris: Art & the Beauty of the Earth, A LectureSir Edward Burne-Jones: Letters to Katie with an introductory noteWilliam Morris: The Water of the Wondrous Isles, LongmansWilliam Morris: Prose & Poetry (1856 – 1870)Edward & Stephani Godwin: Warrior Bard. The Life of W. MorrisWilliam Morris: News from Nowhere, pocket editionH Halliday Sparling: The Kelmscott Press and William MorrisWilliam Morris: A Dream of John Ball and a King’s LessonJ.W. Mackail: The Life of William Morris 2 volumes, new editionCountess of Warwick: William Morris His Homes & HauntsEdited by G. D. H. Cole: William Morris Selected WritingsWilliam Morris: News from Nowhere, Boston: Robert BrothersC. Gillington: A Day with William MorrisGerald H Crow: William Morris DesignerBernard Shaw: Morris as I Knew HimPeter Faulkner: Wilfred Scawen Blunt & The MorrisesRichard Tames: An Illustrated Life of William MorrisJoseph R. Dunlap: William Caxton & William MorrisPeter Faulkner: William Morris & Eric GillS.L. Bensusan: The Charm of Burne-JonesProvenance:From the collection of Arthur Halcrow Verstage (1875-1969); The Millinery Works Collection.Note: Arthur Halcrow Verstage was an architect who spent much of his career in the public sector. He was a student at the Royal Academy School of Architecture in the 1900s and was elected as an Associate of the Royal Institute of British Architects in 1902. By 1903 he was a student and assistant at the Central School of Arts and Crafts (later known as the Central School of Art and Design) in London where William Lethaby was principal and a great influence on him. He then oversaw the design of the new school in Southampton Row from 1905-8. From here he became an architect for London County Council and was involved with many London societies, and as a founding member of the Kelmscott Fellowship, a forerunner to The William Morris Society. His large and varied collection, amassed from 1902 to 1972, reflected his wide interest in the arts. His archive was purchased by The William Morris Society in 2005.
• FEDERAL ERA UNCUT TWO-PANEL
  FEDERAL ERA UNCUT TWO-PANEL PATRIOTIC KERCHIEF CELEBRATING GEORGE WASHINGTON Attributed by author H. R. Collins to Pennsylvania's Germantown Print Works, circa 1806, in Threads of History (Smithsonian Institution Press, 1979), being a copperplate engraving printed on cotton cloth, the left panel is titled "The Love of Truth Mark the Boy" and shows young George explaining himself as regards the doomed cherry tree of popular legend, additional printed verse underscores Washington's lifelong commitment to honesty come what may; the right panel is titled "The Effect of Principle Behold the Man" above a portrait of Washington after Gilbert Stuart that is flanked by an excerpt from the president's Farewell Address of 1796 on the left and a brief eulogy on the right, below are an American eagle, the British lion, and two peaceful sailing ships beneath the optimistic words "Commercial Union."; the fabric has a colorful quilted backing with two blank squares being signed and dated "Jane West 1840" and "Margaret Davidson 1840" respectively. Presented in a two-sided wooden frame having a figured maple veneer on the front and two brass suspension loops on the top edge.
• A Pair of Stained Glass 'Marital
  A Pair of Stained Glass 'Marital Alliance' Panels with Washington Family Coat of Arms Early 20th Century Each 12 x 18 inches (including suspension loop). Both panels feature the Washington family coat-of-arms, two horizontal bars below three mullets (five-pointed stars) alongside the coat-of-arms of family allies through marriage. The "Wasshington and Light" marital shield celebrates the alliance through marriage of Robert Washington and Elizabeth Light in 1565 while the "Wasshington and Kytson" shield celebrates the alliance of John Washington and Margaret Kytson in 1495. The spelling of the family name "Wasshington" reflects the centuries-long evolution of the name from Wessyngton (ca 1100s) to Washington. In the 1500s-1600s, a series of 7 marital alliance panels was made for Sulgrave Manor, England, the ancestral home of George Washington. According to the Corning Museum of Glass, after the Washington ancestral home changed hands in the nineteenth century, the original stained glass panels were removed. Five of the original stained glass panels remain in England at St. Mary's Church in Fawsley while the Corning Museum is home to the remaining two panels. Replicas were made for the original house and installed after World War I. It is believed several other series of copies were made around this time which found their way onto the market in the early 20th century. The examples offered here are likely copies from this period. Auction records indicate just one sale of similar panels, in February 2021. Documented replicas are found at Sulgrave Manor; at the "Virginia House" (collections of the Virginia Museum of History and Culture); the White House (presented to Calvin Coolidge); and in two private collections.
• CHARLES RENNIE MACKINTOSH
  CHARLES RENNIE MACKINTOSH (1868-1928) 'LAVANDER, WALBERSWICK', 1915 pencil and watercolour, inscribed, dated and signed with initials LAVANDER/ WALBERSWICK/ 1915/ CRM/ MMM, later framedsheet size 28.8cm x 22.5cm (frame 46.3cm x 38.7cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Note: During a ten-month period in 1914-1915, Charles Rennie Mackintosh created his celebrated series of botanical watercolour studies at Walberswick on the Suffolk coast. Believed to number around 30-40 in total, these works are loved for their meditative, skilful delicacy, and the way they encapsulate the extraordinary marriage of technical and creative vision that Mackintosh possessed. Few beyond Mackintosh are capable of perceiving, much less conveying, both the random beauty and extraordinary symmetry and inherent structural design of the natural world.By 1915 he had married Margaret Mackintosh, and her initials ’MMM’ begin to appear on his drawings, denoting, like a diary entry, that she was present with him when these sketches were created. ‘Lavander, Walberswick’, the most detailed of the sketches offered here for sale, beautifully illustrates his technical prowess and ever-elegant hand. Creating a sense of texture by highlighting just a few upper leaves with the most delicate of washes, our eye then focuses on the accomplished pencil mark tangle of unfurling leaves towards the base of the stem.One contemporary source, an article by author Desmond Chapman-Huston, suggests that Mackintosh produced this proliferation of flower studies for a book commissioned by a German publisher, the outbreak of war preventing its publication. It could also have been a deliberate move towards more commercial subject matter as Mackintosh had just quit his architectural practice in Glasgow. He left the recession-bound city under a cloud; his reputation tarnished by rumours of alcoholism. From what we can infer from this beautiful series of drawings, the tranquillity of the coastal village provided him with an opportunity to re-sharpen the clarity of his artistic vision, with many followers holding the Walberswick sketches among his finest work.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
• GRP: ASSORTED BOOKS ON EUROPEAN ART
  GRP: ASSORTED BOOKS ON EUROPEAN ART HISTORY AND EXPLORA...Large lot of miscellaneous books, dealing primarily with European exploration, art, and history. Titles include "The British Empire before the American Revolution volume II;" The British Isles and the American Colonies, The Southern Plantations 1748-1754 by Lawrence Henry Gipson; The British Empire before the American Revolution volume IV, Zones of International Friction: North America, south of the Great Lakes region 1748-1754 by Lawrence Henry Gipson (two copies); The British Empire before the American Revolution volume V, Zones of International Friction: The Great Lakes Frontier, Canada, The West Indies, India 1748-1754 by Lawrence Henry Gipson (two copies); The British Empire before the American Revolution volume IX, The Triumphant Empire: New Responsibilities within the Enlarged Empire 1763-1766 by Lawrence Henry Gipson (two copies); The British Empire before the American Revolution volume XI, The Triumphant Empire: The Rumbling of the Coming Storm 1766-1770 by Lawrence Henry Gipson; The British Empire before the American Revolution volume XIII, The Triumphant Empire: The Empire beyond the Storm 1770-1776 Summary of the Series Historiography by Lawrence Henry Gipson; The British Empire before the American Revolution volume XIV, A Bibliographical Guide to the history of the British Empire 1748-1776 by Lawrence Henry Gipson; The British Empire before the American Revolution volume XV, A Guide to Manuscripts: Relating to the History of the British Empire 1748-1776 by Lawrence Henry Gipson (two copies); The Complete Guide to Prints and Printmaking edited by John Dawson; A Plan of the Cities of London and Westminster, and Borough of Southwark; membership directory for Fine Arts Philatelists; FAP Journal vol. 17 no. 1 & 2 edited by Clare McAlister, Kay Ziegler, and Katie Berry; The Art of Calligraphy a Practical Guide by Marie Angel; Bicentennial Engagement Calendar 1776*1976 from Colonial Williamburg; The Old World and The New 1492-1650 by J. H. Elliott; Sir Walter Ralegh by Robert Lacey; The British Library The Reference Division Collections; "Four Rare Books Selected for Sale on the World Book Fair at Earls Court, London"; The First Annual Frederic W. Goudy Award presented to Hermann Zapf 1969; "The Parcae" Two Marble Busts by Michelangelo for the Tomb of Julius II published by Paul Rosenberg & Co.; Prints of the Italian Renaissance by Jay A. Levenson; Battles of the Nudes by Evelyn Ehrlich and John H. Neff; Printmaking Today a studio handbook by Jules Heller; Rand McNally, "Atlas of the American Revolution" (two copies); Bruce L. Larson, "Lindbergh of Minnesota. A Political Biography"; "Raleigh & Roanoke," The New York Public Library; Stefan Lorant, "The New World"; W.P. Cumming, S.Hillier, D.B. Quinn, G.Williams, "The Exploration of North America 1630-1776"; edited by Michael Alexander, "Discovering the New World"; edited and annotated by Stefan Lorant, "The New World"; W. P. Cumming, R. A. Skelton, D. B. Quinn, "The Discovery of North America," American Heritage Press, New York (two copies); based on the works of Theodore de Bry, edited by Michael Alexander, "Discovering the New World" (four copies); Hugh Honour, "The New Golden Land. European Images of America from the Discoveries to the Present Time"; Ernst and Johanna Lehner, edited by Gerard L. Alexander, "How They Saw the New World," Tudor Publishing Company; Roswin Finkenzeller, Wilhelm Ziehr, Emil M. Buhrer, "Chess. A Celebration of 2,000 Years"; "Man of the House. The Life and Political Memoirs of Speaker Tip O'Neill with William Novak," Random House, New York; Peter Jowett, "Introducing Kittens"; "Appearance and Reality. Recent Studies in Conservation," The Metropolitan Museum of Art; "FAP Journal volume 17 no. 3, May/June, 1971"; "FAP Journal volume 17 no. 5, November/December 1971"; "Ivory: The Sumptuous Art. Highlights from the COllection The Walters Art Gallery, Baltimore"; "Sotheby's Preview, September 1997"; "Prestype. The quality leader in Lettering, Symbols, Shading Patterns, Tapes"; Fred Eager, "The Italic Way to Beautiful Handwriting Cursive & Calligraphic"; Roy Brewer, "Eric Gill: The Man wh Loved Letters"; Shipley, "The English Rediscovery of America"; I. C. S. Staff, "Perspective and Freehand Drawing"; Lee M. Hollander, "The Skalids. A Selection of their Poems, with Introduction and Notes"; edited by Ernst Cassirer, Paul Oskar Kristeller, John Herman Randall, Jr., "The Renaissance Philosophy of Man"; Frances and Joseph Gies, "Omen in the Middle Ages. The Lives of real Women in a Vibrant Age of Transition"; "1983-84 Collection of Gifts and Books Inspired by the Renaissance," The Folger Shakespeare Library; Margaret Bartran, "The Guide to Color Reproductions," The Scarecrow Press, Inc., New York and London, 1966; illustrated by Folon, "Passport for Human Rights"; Frederick Copleston, S. J., "A History of Philosophy: volume 3, Late Mediaeval and Renaissance Philosophy, part I, Ockham to the Speculative Mystics"; Eileen Power, "Medieval People"; Ray ALlen Billington, "Westward to the Pacific. An Overview of America's Westward Expansion"; "The Chess Bookman, September 1978, No. 14. A list of antiquarian, scarce, used and new chess publications and a magazine for chess collectors"; compiled by Henry Hunvald and with illustrations by Jeff Hill, "Chess, quatations from the Masters"; Carl Zigrosser and Christa M. Gaehde, "A Guide to the COllecting and Care of Original Prints"; Gemalde, Aquarelle, Zeichnungen, "Gerhard Rechenbach"; "Nathan Cabot Hale scultor on The Removal of Fig Leaves ..." SKU: 02316 Follow us on Instagram: @revereauctions Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• JEWELED SILVER CANECa. 1976- Long
  JEWELED SILVER CANECa. 1976- Long and tapering silver handle set with six repeating vertical rows of oval and calibrated blue shimmering moonstones on the side and three identical cabochons on the top. Ebony shaft with brownish hues and a horn ferrule. A striking design and aesthetic appeal as well as its fascinating history with glitz draw widespread attention. Indeed, it is a unique and bespoke piece handmade in Britain by the multi award winner Andrew Grima as a present to Colin Christopher Paget Tennant, 3rd Baron Glenconner for his 50th birthday. It was sourced in a Swiss private collection and believed to have been given by Glenconner to the Iranian parents of the vendor. Intact and only in need of a detailed surface cleaning. H. 6 ¼” x 1 ½”, O.L. 37 ¼” Born to an immensely rich Victorian industrial family, Colin Christopher Paget Tennant, 3rd Baron Glenconner (1 December 1926-27 August 2010) was a British aristocrat. He used his wealth to live an eccentric lifestyle of self-indulgence from the 1940s to his death in 2010. He bought the private island of Mustique in the West Indies and made it one of the most exclusive destinations for the famous royalty, film and pop stars, international businessmen and jet-setters flocked there. His parties were legendary. He was an original member of the Princess Margaret set (even suggested as a possible husband) and her visits to the island were always newsworthy. Andrew Grima's daring imaginative and charismatic designs made him a revolutionary of 1960s British jewelry. Entirely self-taught, Roman-born Grima (31, Mai 1921 in Rom, † 26, December 2007 in Gstaad) studied mechanical engineering in London before joining the Royal Engineers during World War II. After the war, Grima begins work in the accounts division of his father-in-law’s jewelry firm in London before moving into the design department. The flamboyant designer drove an Aston Martin and sketched ideas on the back of menus at Annabel's. He became friends with the Snowdon set, joining photographer Earl "Tony" and Princess "Maggie" Margaret at the epicentre of the London arts world. His exotic-looking shop on Jermyn Street (the heart of Gentleman’s club land St James's) became a hub on the Swinging London scene. Edgy and exciting, Grima gathered a cult following of celebrity. He became the go-to society jeweler to the elite. Prince Philip gifted Queen Elizabeth a ruby and diamond brooch, while Princess Margaret, Jackie Kennedy Onassis, Ursula Andress and Estée Lauder were among his clients. He captured the spirit of the moment - his jewelry was edgy and exciting as it was so different from anything that came before. He understood that bold, bodacious and experimental was the real departure from the cocktail jewelry of the Fifties and he let his imagination run wild.
• ASSORTED EPHEMERA AND FRAMED
  ASSORTED EPHEMERA AND FRAMED PHOTOGRAPHS OF CELEBRITY FRIENDS Photographs include those of Elizabeth Taylor Princess Margaret at the party on Mustique given by Colin Tennant 3rd Baron Glenconner from the Vanity Fair article by Mr. Dunne and a photograph of Baroness Carmen "Tita" Thyssen Bornemisza from an article by Mr. Dunne. Together with a mock Enquirer Magazine cover to celebrate Dominick Dunne's 70th birthday.
• ZOLOTAS 18K GOLD GREEK DESIGNER
  ZOLOTAS 18K GOLD GREEK DESIGNER BROOCHDESCRIPTION: Zolotas 18K yellow gold designer brooch. Features an intricate architectural scene depicting Mykonos, Greece with steeple adorned churches and open-work mountains forms, finished with textured terrain surfaces. Stamped: "Zolotas, 18kt" at reverse. (Established in 1895, "Zolotas" Greek designer jewelry adorned by numerous celebrity icons such as Jackie O, Elizabeth Taylor, and Princess Margaret.) CIRCA: 1950-1960 ORIGIN: Greece DIMENSIONS: (H: 73mm x L: 40mm) or (H: 3" x L: 1.5") Total Weight: 14.38 Dwt. Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission."
• § 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.
• Over 470 Hollywood/Entertainment
  Over 470 Hollywood/Entertainment celebrity autographs, mostly on stock photos and some programs, almost all inscribed "To Joe", including, but not limited to Eddie Albert, Alan Alda, Jane Alexander, Tim Allen, Herb Alpert, Julie Andrews, Ann Margaret, Jim Arness, Lucy Arnez, Bea Arthur, Ed Asner, Gene Autre, Lew Ayres, Lauren Bacall, Anne Bancroft, Antonio Banderas, Gene Barry, Kathy Bates, Bruce Bennett, Annette Benning, Jodi Benson, Candice Bergen, Polly Bergen, Milton Berle, Sandra Bernhard, Anne Blyth, Pat Boone, Ernest Borgnine, Eddie Bracken, Lloyd Bridges, Jeff Bridges, Beau Bridges, Matthew Broderick, Pierce Brosnan, Carol Burnett, George Burns, Raymond Burr, Ellen Burstyn, Mike Burstyn, Gary Busey, Red Buttons, Nicolas Cage, Michael Cain, Dyan Cannon, Mary Carlisle, Art Carney, Dixie Carter, David Caruso, Richard Chamberlain, Kyle Chandler, Chevy Chase, Cher, Petula Clark, Glenn Close, James Coburn, Imogene Coca, Joan Collins, Perry Como, Sean Connery, Mike Connors, William Conrad, Tim Conway, Ellen Corby, Harvey Corman, Kevin Cosner, Joseph Cotton, Billy "Crash" Craddock, Richard Crenna, Hume Cronyn, Billy Crystal, Tony Curtis,Tyne Daly, Tim Daly, William Daniels,Blythe Danner, Ted Danson, Doris Day, Laraine Day,Yvonne De Carlo, Rebecca DeMornay, Bruce Dern, Angie Dickenson, Bradford Dillman, Faye Dunaway, Robert Duvall, Emilio Estaves, Peter Falk, Farah Fawcett, Jose' Ferrer, Sally Field, Calista Flockhart, Jane Fonda, ,Harrison Ford, John Forsyth, Anne Francis, Annette Funicello, Peter Gallagher, Judy Garland, James Garner, Richard Gere, Estelle Getty, Alice Ghostley, Mel Gibson, John Gielgud, Lillian Gish,Whopee Goldberg, Jeff Goldblum, Robert Goulet, Hugh Grant, Peter Graves, Joel Gray, Linda Gray, Ed Harris, Gregory Hines, Dustin Hoffman, Hal Holbrook, Holly Hunter, Betty Hutton, David Hyde Pierce, Burl Ives, Anne Jackson, Don Johnson,Gene Kelly, Dorothy Lamour, John Lithgow, Sophia Loren, Greg Louganis, Bob Mackie, Shirley Maclaine,Karl Malden, Steve Martin, Walter Matthau, Victor Mature, Mercedes McCambridge, Malcolm McDowell, Dorothy McGuire, Sylvia Miles, Raymond Milland, Robert Mitchum, Matthew Modine, Ricardo Montalban,Terry Moore, Rita Moreno, Abraham F. Murray, Chuck Norris, Marie Osmond, Peter O'Toole, Al Pacino, Della Reese, Burt Reynolds, Debbie Reynolds, Jessica Tandy, Elizabeth Taylor, John Travolta, Mary Tyler Moore, Raquel Welsh, Jane Wyman, Robert Young, Estimate $400-600
• WAYMAN ADAMS, AMERICAN (1883-1959),
  WAYMAN ADAMS, AMERICAN (1883-1959), JAMES WHITCOMB RILEY, 1916, PLASTER BUST MAQUETTE, 7 1/4"H X 6"W X 4"DWayman Adams, American, (1883-1959) James Whitcomb Riley, 1916, plaster bust maquette signed and dated. Biography from The Heritage Society Born in the small town of Muncie, Indiana, Wayman (by age 14) was known throughout his home state as a "boy wonder" because of his painting abilities. His father, a stock raiser by profession, was also an artist. While Wayman's creative interests were supported by his parents, he had no choice but to pay his own way through art school. The young Adams worked at a dairy daily from 6pm to 6am., managing to arrive at art class by 9am. Eventually, Wayman was able to quit his night job and make a living as a portrait painter. He went on to study in New York, Italy, Spain, and Philadelphia. In 1918 he married Margaret Boroughs of Austin, Texas, a fellow pupil whom he had met in Italy. By this time he had won many awards. In 1919 he was asked by the French government to exhibit at the Luxemburg Museum in Paris. Adams made Austin his home around 1920 and began painting several Austinites and other celebrities. Later that decade he won a Gold Medal from the Pennsylvania Academy of Fine Arts for watercolor. In 1933 he and his wife opened an art school in Elizabethtown, NY. They continued to live in Austin, spending their summers up North. The couple retired from teaching in 1945. In a late 1950's newpaper article, the accomplished artist reflects on his early struggles in the profession: "I haven't had a hard time of it, at all," he states matter-of-factly. plaster bust maquette Dimensions: 7 1/4"H x 6"W x 4"D