A few examples of appraisal values for
OVER THE GARDEN WALL

• "Over the Garden Wall" colored
  "Over the Garden Wall" colored woodcut on paper by Helen Hyde (1868-1919, Pasadena, California) executed in 1912, with signature, numbering, and artist device to bottom; overall good condition; the print 9" x 2 1/4", the frame 14" x 7" (approx.)Provenance: Private Ventura, CA collection
• Victorian architectural garden wall
  Victorian architectural garden wall decor; painted cast plaster. 35"H
• JAMES WATTERSTON HERALD (SCOTTISH
  JAMES WATTERSTON HERALD (SCOTTISH 1859-1914) THE ROAD OVER THE HILL pastel on dark grey paper, signed 41cm (16in), 50cm (19 1/2in)Provenance: The Fine Art Society, London, 28th December 1995.Exhibited:The Fine Art Society, Edinburgh,1981;The Fine Art Society, London, 1981;The Fine Art Society, Glasgow, 1981;Dundee Art Gallery, 1981, No. 41.
• JOHN LOCHHEAD (SCOTTISH,
  JOHN LOCHHEAD (SCOTTISH, 1866-1921), O'ER THE GRASSY LEA Oil on canvas, twice signed (at lower left and directly below point of woman's walking stick), presented in a later gilt composition frame, the verso with affixed artist's card with hand-written inscription reading "Catalogue No. 27 / O'Er the Grassy Lea / Spring Exhibition 1920."
• David Palterer Italian
  David Palterer Italian "Mysterious Garden" glass wall sculpture. The metal mount having blue glass bullet form ends with appliqués. 26"L.
• JOHN NOST SARTORIUS (BRITISH
  JOHN NOST SARTORIUS (BRITISH 1759-1828) OVER THE FENCE Signed and dated 1816, oil on canvas41cm x 52cm (16in x 20.5in)Provenance: Property of The Earl of Kintore, formerly at Keith Hall, Aberdeenshire
• Garden Scene Tapestry probably
  Garden Scene Tapestry probably Continental, 19th century, man holding shovel, woman offering him a drink, building with arbor and formal gardens in background, narrow floral border, wool, 69 x 38 in.,
• William Ingham (b.1944
  William Ingham (b.1944 Washington) ''Green Garden Sky'' 1991 Acrylic on Canvas 68''x74'' Image. A large and colorful abstract expressionist composition. Signed and dated l.r. Framed 69''x75''. Excellent condition.
• McCLELLAN Duncan (American
  McCLELLAN Duncan (American 1955-): Monumental overlay and sand etched glass vase ''My Garden'' showing up close details of life in a garden. Deep aqua cut to green. 20'' tall. Signed. Original retail was $5200.
• Jane Lampard, 20th Century/Garden
  Jane Lampard, 20th Century/Garden Door/signed/pastel, 45cm x 35.5cm
• JULIAN STAFFORD CORBETT (ENGLISH
  JULIAN STAFFORD CORBETT (ENGLISH 1854-1922) GARDEN PWLL-Y- PANT AUGUST 1910 Oil on canvas: 21 x 14 in. Framed; lower right signed: J.S.C.; verso inscribed on stretcher: ''Garden Pwll-y-Pant August 1910 J.S. Corbet
• Ann Patrick (born 1937)/The
  Ann Patrick (born 1937)/The Walled Garden/signed lower right/oil on canvas, 75cm x 96cm
• Wallace Nutting Print ''The
  Wallace Nutting Print ''The Garden Gate'' rich colors image area 10 3/4'' x 7 3/4''.
• A painted ceramic panel of a
  A painted ceramic panel of a cottage and trees, signed H Wallace, 13cm x 20cm, framed
• ARTHUR CLAUDE STRACHAN COTTAGE
  ARTHUR CLAUDE STRACHAN COTTAGE GARDEN WC PAINTING ,UNITED KINGDOM, 1865-1935 A watercolor on paper landscape painting by Scottish born watercolorist Arthur Claude Strachan. The work depicts a pod of pigeons foraging on a stone walkway as a black cat observes from the entryway of a thatched roof cottage. The grounds of the cottage are decorated with a vast array of vibrant wild flowers in the foreground. The painting is signed lower left "Claude Strachan". Condition Overall very god condition, not inspected out of frame. Dimensions Sight size measures 24" by 18", framed 26 1/2" by 20 1/2"
• JESSIE MARION KING (SCOTTISH
  JESSIE MARION KING (SCOTTISH 1875-1949) COTTAGE GARDEN watercolour, signed23cm (9in), 28.5cm (11 1/4in)Provenance: Sotheby's, 'Jessie M. King and E.A. Taylor', Charles Rennie Mackintosh Society, Queen's Cross Church, Glasgow, 21st June 1977
• § ALFRED WALLIS (BRITISH 1855-1942)
  § ALFRED WALLIS (BRITISH 1855-1942) PLYMOUTH signed in pencil (upper left), oil and chalk on card26.5cm x 35.5cm (10.5in x 14in)Provenance: In Barns-Graham's notes about her collection she states she was given three oils by Alfred Wallis by Mary Buchanan, Ben Nicholson and Sven Berlin. In the exhibition catalogue for Alfred Wallis (Arts Council of Great Britain, 1968) it states this painting is ex collection ‘Mrs George Buchanan’.Literature:Published with title 'Portsmouth and the Victory' Nicholson, Ben (1950), (Bournemouth Arts Club Presents a Retrospective Exhibition of) Paintings by Alfred Wallis, Sydenham & Co. Ltd, Bournemouth, cat. no. 17.The Arts Council of Great Britain, Alfred Wallis, Percy Lund, Humpries & Co Ltd, London and Bradford, 1968 cat. no. 39.The three paintings in this collection by Alfred Wallis were gifted to Barns-Graham by individual friends: Mary Buchanan, Sven Berlin, and Ben Nicholson. Wallis died in 1942 two years after Willie settled in St Ives. There was time however for her to become acquainted with him, and to act as a sort of ambassador for those who wished to meet the self-taught painter (he could be crotchety). She admired, as did Ben Nicholson and other painters before her, the simplicity and directness of his imagemaking. There was a freedom, a lack of formality, that the Moderns strived for. To Wallis, painting was a physical event: perspective and relative scale was irrelevant as he storyboarded his memories. It is difficult today, when his work commands so much attention, to imagine the ease with which one could acquire his work, and also give it away. Mary Buchanan and her husband, the novelist George Buchanan were among those friends the newly arrived Barns-Graham made through the auspices of her Edinburgh College of Art fellow painter Margaret Mellis, and her new husband the art critic and painter, Adrian Stokes. The latter was the catalyst for the move to Cornwall of Barbara Hepworth, her husband Ben Nicholson and the Russian sculptor Naum Gabo with his wife, Miriam. The Stokes’ Carbis Bay home, Little Parc Owles, was a magnet for all new arrivals, and those visiting from London and elsewhere. Despite the house being full of senior Modernist figures, Barns-Graham never forgot her first encounter with the group of Wallis paintings Stokes owned. Always a note-taker, she recorded the oddly shaped bits of cardboard he painted on, and his particular colours: black boats, green and white seas, and grey houses. Some very early St Ives paintings of sheds by Willie owe something to Wallis, the flattening of perspective and his palette.Essay by Lynne Green, author of W. Barns-Graham: a studio life, and Trustee of the Wilhelmina Barns-Graham Trust.
• CHARLES RENNIE MACKINTOSH
  CHARLES RENNIE MACKINTOSH (1868-1928) DESIGN FOR STENCIL DECORATION FOR 14 KINGSBOROUGH GARDENS, 1901 pencil and watercolour on paper, pencil annotations, later framedsheet size 21.9cm x 29.8cm (frame 40.3cm x 47.5cm)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, 1984Literature:Billcliffe, R., Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp.132-133,1901.67 illus.Note: This delicate design for a wall frieze is a study for 14 Kingsborough Gardens in Glasgow, the property of Fra Newbery’s mother-in-law Mrs Rowat. Dating to circa 1901, Billcliffe states that the design of Kingsborough Gardens was notably feminine, with detailed stencilled motifs of stylized flowers decorating the walls.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.
• JENNIFER BARTLETT (b. 1941): "IN
  JENNIFER BARTLETT (b. 1941): "IN THE GARDEN #108" Conte crayon and pastel on paper 19 3/4 x 26 in. dated 1980 and with Paula Cooper Gallery NYC exhibition label on verso.
• GEORGE DAVIDSON (POLISH-AMERICAN,
  GEORGE DAVIDSON (POLISH-AMERICAN, 1889-1965), "OLD STONEWORK WALL", OIL ON CANVAS-BOARD, DEPICTS A SKETCHY COMPOSITION OF DOGWOOD TR...George Davidson (Polish-American, 1889-1965), "Old Stonework Wall", oil on canvas-board, depicts a sketchy composition of dogwood tree blooming in spring, bright green vegetation contrasts with analogous tones of lavender in the stone wall and mountainous horizon, unsigned, framed, not examined out of frame, wear consistent with age, ss: 16" h. x 20" w.
• (2) CHARLES NEAL (ENGLISH,
  (2) CHARLES NEAL (ENGLISH, B.1951) "The Garden House, Spring Border" and Flower bushes by window. Oil on canvas. Both signed lower right. From a Manhattan, NY collection. Dimensions: 20" h x 14" w. & 16" h x 20" w. Condition: Good.
• GERMANIC VILLAGE OVERLOOK LANDSCAPE
  GERMANIC VILLAGE OVERLOOK LANDSCAPE PAINTING Europe,1925Vast green landscape mottled with white buildings and red roofs, a tall building with a crow stepped gable sits to the mid left.
• RICHARD EDWARD MILLER (AMERICAN,
  RICHARD EDWARD MILLER (AMERICAN, 1875 - 1943) 28 ½" x 36" "In the Garden." Oil on canvas, signed lower right, in decorative frame, overall 33 ½" x 41". Remnants of Worcester Art Museum label, Cleveland Museum of Art label and an unidentified label verso. "Macbeth Gallery New York" stamped on the top stretched bar. A letter of authenticity from Marie Louise Kane discusses the painting. "Although I have never seen the painting titled In the Garden (oil on canvas, 28.5 x 36 inches) signed Miller (lower right) and offered at Aspire Auctions February 12-18, 2021, I am of the firm opinion that it is by the American artist Richard Edward Miller (1875-1943). The model in the painting appears in other works of the period by Miller, most notably the seated figure under the parasol in Afternoon Tea, 1910 (Indianapolis Museum of Art). I would date In the Garden to the same period, 1910-1911, and place it in the same locale, a garden in Giverny, France. By 1910 Miller, who arrived in France in 1899 to further his art studies, had already spent several summers in Giverny, joining a small community of American artists, many of whom were pulled there by Monet's presence. Miller's work, which until this time was characterized by a darker palette, begin to brighten noticeably. He placed his models outdoors, in gardens, or in sunrooms opening into gardens, and played with the effects of sunlight – on flesh, on fabric, on foliage. As in other Giverny paintings by Miller, the model is wearing an off-the-shoulder dress with a full, white, tiered skirt, a flowing shawl, and a coral necklace. In the Garden has all of the desirable characteristics of Miller's peak impressionist, French-period painting: a comely model elegantly dressed ; a garden-in-full-bloom setting; a colorful palette; the play of light and shadow; and lively, virtuosic brushwork. In it he achieved the highly pleasing decorative effect which fulfills his dictum that “Art's mission is not literary, the telling of a story, but decorative, the conveying of a pleasant optical sensation.” I believe this painting was exhibited at the Macbeth Gallery in New York City, which held an exhibition of Miller's paintings April 1-20, 1912. A small pamphlet printed by the gallery lists the work as: No. 3 In the Garden. (The works are not illustrated.) Afternoon Tea, mentioned above, was also in that exhibition. From the Macbeth Gallery the painting went to the Worcester Art Museum, which had requested it, along with In the Arbor, for their 1912 Summer Exhibition. The painting was entered in the Worcester museum's registrar's file, but it seems not to have been included in the exhibition, as it is not listed in the exhibition catalogue. Correspondence between the museum and the Macbeth Gallery reveals that the museum director, Philip J. Gentner, felt he would have difficulty including all of the numerous paintings he had requested for the exhibition, and so it seems likely that he chose to exhibit only one painting by Miller – In the Arbor (illustrated in the catalogue). In the Garden was purchased from the Macbeth Gallery (just before it was packed up to go to Worcester) by Ralph T. King, Esq. This would no doubt have been Ralph Thrall King (1855-1926), a prominent Cleveland, OH businessman and civic leader. Years later the painting was exhibited at the Cleveland Museum of Art in “American Paintings Owned in Cleveland,” July 3 – September 13, 1920. It appears in an installation photo in the museum's archives.
• CUTHBERT GRESLEY (1876-1963) A
  CUTHBERT GRESLEY (1876-1963) A GARDEN BORDER signed, watercolour, circular, 39cm diam
• A large quantity of terracotta
  A large quantity of terracotta planters and stands and two Gothic tracery wall panels
• David Bates Landscape With Man
  David Bates Landscape With Man Mending A Fence To The Foreground; Landscape With Figures Talking Over A Fence a pair watercolour 26cm x 36cm (10.25" x 14.25")
• BEATRICE PARSONS (1870-1955):
  BEATRICE PARSONS (1870-1955): BORDERS AT BLICKLING HALL NORFOLK Watercolor on paper signed lower right. With label from Christopher Wood London. 14 x 17 3/4 in. (sight) 22 1/2 x 25 1/2 in. (frame). Notes: Beatrice Parsons painted Lady Lothian's parterre in the first years of the 20th Century. The painting shows foreground plants which are easily identified: a judicious mixture of hardy perennials and colourful annuals obviously chosen for late-summer effects. In 1872 W.A. Nesfield was called in by the Countess of Lothian to lay out a new parterre at the same time that Sir Digby Wyatt completed the walled terrace and steps to the east and the central fountain basin and statues were brought from the ruined Elizabethan mansion Oxnead Hall near by. Nesfield brother-in-law of the architect Anthony Salvin often collaborated with Sir James Barry in so-called Italianate garden style using elaborate patterns of low box hedging to enclose beds of coloured gravels or annuals. Literature: Country Life May 22 1986. Penelope Hobhouse & Christopher Wood Painted Gardens English Watercolours 1850-1914 1988 pp. 104 - 105 plate 64. Estate of Katherine W. Mellon Stonington CT.
• Andy Warhol (American,
  Andy Warhol (American, 1928-1987), Fairy With Flower Bush, book illustration from In the Bottom of My Garden, 1956, hand-colored lithograph signed "Andy Warhol" in black ink lower center, 8-3/8 x 10-7/8 in.; modern gilt wood frame with provenance information attached to backing,
• Wayne Beam Morrell painting
  Wayne Beam Morrell painting (Massachusetts, born 1923), "The Garden", signed lower right "Wayne Morrell", inscribed verso "To Collection of Mr. & Mrs. Dalley by Wayne Morrell…Rockport, Mass….Oct 10 1972", oil on linen, 26-1/8 x 36-1/4 in.; original modern gilt wood frame. Original stretcher and tacking edge, good condition; frame with abrasions.
• WALLACE NUTTING, PHOTOGRAPH OF OVER
  WALLACE NUTTING, PHOTOGRAPH OF OVER THE WALL, PAIR CLASSICAL COLOR ENGRAVINGS AND ENGRAVING OF THE ARRIVAL OF MARRIAGE COUPLE, FRAMEDWallace Nutting, Photograph of Over the Wall, Pair Classical Color Engravings and Engraving of The Arrival of Marriage Couple, Framed
• Malcolm Ashman (born 1957)/View
  Malcolm Ashman (born 1957)/View towards the Long Border from The Old Dairy House, Tintinhull/monogrammed and dated 1998/gouache, 25.5cm x 45.5cm/Exhibited: Bath Society of Artists, Ninety Third Exhibition, 1998/and three others smaller by the same hand/Provenance: The Estate of Anthony J Beeson
• Diana Gabaldon cover illustration
  Diana Gabaldon cover illustration (by Kinuko Yamabe Craft, JapaneseAmerican, born 1940), still life with dagger and sheath, clock with shattered crystal, roses and string of pearls against a backdrop of Scottish tartan, signed "K.Y Craft : 89", cover art for Gabaldon, [Outlander,] 1991, Dell Publishing (book accompanies lot), oil on canvas, 18 x 22 in.; modern gilt frame.
• Janusz Walentynowicz. Her Garden.
  Janusz Walentynowicz. Her Garden. 1999, reverse-painted cast glass, oil paint, welded and patinated steel. 30 h × 32½ w × 2 d in. result: $3,250. estimate: $3,000–5,000. Incised signature and date to verso 'Janusz Walentynowicz 1999'. Sold with a digital copy of the original invoice. Provenance: Marx Saunders Gallery, Chicago | Acquired from the previous in 1999 by the present owner
• Andy Warhol (American,
  Andy Warhol (American, 1928-1987) "In the Bottom of My Garden", ca. 1956, offset lithograph with hand-coloring, plate signed at center, sheet 8-1/2" x 11". Glazed, matted and framed.
• OUTSIDER ART, MYRTICE WEST,
  OUTSIDER ART, MYRTICE WEST, GARDEN OF EDENWest, Myrtice, b. 1923, d. 2010, Garden of Eden, 36"x24 1/2", 1998, acrylic on canvas, purchased from Paradise Gardens
• Pre-Raphaelite School/Lady by a
  Pre-Raphaelite School/Lady by a Window/overlooking the sea, a wilting rose in her hands/oil on canvas, 36cm x 30cm