- THOMAS DEDECKER (1951- ), MAJESTIC ROCKY
THOMAS DEDECKER (1951- ), MAJESTIC ROCKY MOUNTAINS Title: Thomas deDecker (1951- ), Majestic Rocky Mountains Medium: oil on canvas Dimensions: 23 7/8 x 20 7/8 Framed dimension: 32 3/8 x 28 3/8 x 2
- ZEM ZEMBIK, ROCKY MOUNTAIN LANDSCAPE,
ZEM ZEMBIK, ROCKY MOUNTAIN LANDSCAPE, O/PZem Zembik, Rocky Mountain Landscape, signed lower right, oil on wood panel, 5" x 7", 8" x 10", in very good condition.
- POPE PIUS IX, HANDWRITTEN GIFT BOOK
POPE PIUS IX, HANDWRITTEN GIFT BOOK AND ART, 1847 This book was presented to Pius IX in July of 1847, one month after his election. It contains elegies, sonnets, odes, etc. to, or in honor of, Pius IX celebrating the occasion of his visit to his old alma mater of the Jesuit Collegio Romano (now known as the Gregorian College) in Rome. Each of the Provinces of the Society of Jesus which were represented in the college at that time were allowed one entry in the book. Of significant interest are the four Provinces of North America which existed at that time including Canada, Maryland (representing the Eastern US), Missouri (representing the central territories/states), and the "Over the Rocky Mountain" Province (now called Oregon Province.) Some of these Provinces were in charge of maintaining Greek education in Rome during the 19th century which is why there are several entries in Greek. Also of interest is the global representation of the Jesuits in this book with Provinces from the Middle East to Africa to North and South America. Book is fully bound in tan leather with ornate gilt decoration over the entirety of the boards and spine. Blue end papers. Multiple handwritten pages in Greek, Latin, and Hebrew containing poetry for Pius IX. With the book comes a vellum and gilt 8x10 picture frame containing an image celebrating Pius IX.
- THOMAS MORAN, STUDY OF PITTSBURGH, PENNSYLVANIA,
THOMAS MORAN, STUDY OF PITTSBURGH, PENNSYLVANIA, 1868 Watercolor on paper, laid down. Signed 'Moran' (lower left).
"100% of the proceeds are donated to WellVentions, a job ready training and career exposure program, is administered by ProsperRochester, Inc., a 501(c)3 non-profit social enterprise for city youth organization."
Thomas Moran (American, 1837-1926)
Thomas Moran was an American painter and printmaker of the Hudson River School in New York whose work often featured the Rocky Mountains. A talented illustrator and exquisite colorist, he was hired as an illustrator at Scribner’s Monthly. During the late 1860s, he was appointed the chief illustrator for the magazine, a position that helped him launch his career as one of the premier painters of the American landscape, in particular, the American west. Thomas Moran’s vision of the Western landscape was critical to the creation of Yellowstone National Park.
- MOTHER-OF-PEARL-INLAID HONGMU TRAY
QING
MOTHER-OF-PEARL-INLAID HONGMU TRAY
QING DYNASTY, 19TH CENTURY ? ????????????raised on four bracket feet, the interior decorated with four warriors in fight standing on mythical sea creatures with a rocky mountain in the centre(1)39.5cm wideProvenance: Oriental Art Gallery Ltd., 5 December 1994, with an original receipt.Please note this lot will be offered with no reserve. ???????
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Two Watering Cans, each stamped on base with initials "ME", glazed ceramic, 14-1/4 x 12 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
anomalies as made, surface dust/accretion, crazing, glaze anomalies at spouts
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Portrait Charger of "KW" or King William III, initialed on base "ME", glazed ceramic, 2 x 13 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
anomalies as made, pinholes, slight surface dirt/accretion
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Portrait Charger of "AR" or Anne Regina, initialed on base "ME", glazed ceramic, 2-1/2 x 13-1/2 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Note: Charger is based on 18th century dish of the same design, see the Art Gallery of South Australia, accession number 898C32: https://www.agsa.sa.gov.au/collection-publications/collection/works/queen-anne-charger/23978/
Condition:
anomalies as made, pinholes, slight surface dirt/accretion
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Portrait Charger of "GR" or Georgius Rex, initialed on base "ME", glazed ceramic, 2-1/4 x 13-1/2 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Note: Charger is based on 18th century dish of the same design, see English Delftware by Anthony Ray page 17.
Condition:
anomalies as made, pinholes, slight surface dirt/accretion
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Three Pitchers, each stamped on base with initials "ME", glazed ceramic, 12-1/8 x 9-1/8 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
anomalies as made, pinholes, slight surface dirt/accretion
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Two Figural Salts, with candle sockets at the shoulders, each initialed on base "ME", glazed ceramic, larger 8-1/4 x 4 x 4-7/8 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
anomalies as made, pinholes, slight surface dirt/accretion; larger example with glaze/firing anomaly at left side of basin, most likely as made
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Two Figural Salts, with candle sockets at the shoulders, each initialed on base "ME", glazed ceramic, larger 8-3/8 x 4 x 5 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
anomalies as made, pinholes, slight surface dirt/accretion; larger example with firing crack to base
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Pair of Portrait Chargers, featuring "CR" or Charles Rex hiding in the Boscobel Oak, initialed on base "ME", glazed ceramic, 2-5/8 x 12-1/4 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Note: Charger is based on 18th century dish of the same design, see the British Museum accession number 1939,0607.1: https://www.britishmuseum.org/collection/object/H_1939-0607-1
Condition:
anomalies as made, pinholes, slight surface dirt/accretion; one charger with large crack and repair through center and on underside of rim (see blacklight)
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Four Octagonal Plates, each initialed "ME" to base, glazed ceramic, 10-1/8 in. diameter
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
anomalies as made, surface dust/accretion, slight roughness at edges
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Monteith, initialed on base "ME", glazed ceramic, 9-1/4 x 16 x 13-3/4 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
anomalies as made, pinholes, surface dirt/accretion
- MICHELLE ERICKSON(Hampton, Virginia,
MICHELLE ERICKSON(Hampton, Virginia, 20th/21st century)
Large Punch Bowl, with hunting scenes, initialed and inscribed on base "A/D+E/1862/ME", glazed ceramic, 7-3/4 x 14-3/8 in. diameter
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
anomalies as made, slight pinholes and wear to base
- CAUCASUS RUNNERearly 20th century, white
CAUCASUS RUNNERearly 20th century, white field with 17 central hooked medallions, 3 ft. 1 in. x 10 ft. 4 in
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
restorations to pile, wear consistent with age and use, fading, staining, loss to ends, wear to selvage
- TWO ENGLISH STADDLE STONESEnglish, one
TWO ENGLISH STADDLE STONESEnglish, one possibly limestone, one possibly cast, each consisting of bases supporting round tops, approximately 30 in. tall overall, tops approximately 22 in. diameter
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
attractive overall patina and wear commensurate with age and outdoor use, chips, losses
- THREE CARVED STADDLE STONESEnglish,
THREE CARVED STADDLE STONESEnglish, one possibly limestone, each consisting of bases supporting round tops, approximately 30 in. tall overall, tops approximately 22 in. diameter
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
attractive patina and overall wear commensurate with age and outdoor use, chips, losses
- PAIR OF LEAD CIRCULAR CISTERNSEnglish,
PAIR OF LEAD CIRCULAR CISTERNSEnglish, possibly 19th century, with bas relief classical figures, each with the initials "ISF", likely of the original owner, each 18 x 25-1/2 in.
Provenance: The Important Private Collection of a Rocky Mountain Couple
Condition:
drilled with drainage holes, suitable for use as planters, dents and overall wear commensurate with age and outdoor use
- NEW YORK ROCKY MOUNTAIN ROAD PATCHWORK
NEW YORK ROCKY MOUNTAIN ROAD PATCHWORK QUILTVibrant New York, Rocky Mountain Road patchwork quilt, 19th c. , 97 1/2" x 96 1/2".
Competitive in-house shipping is available for this lot.
Condition:
Good condition. No apparent damages or repairs.
- HAND-COLORED ENGRAVING OF ROCKY MOUNTAINS
HAND-COLORED ENGRAVING OF ROCKY MOUNTAINS S. Siles, "Map of the Territory West of the Rocky Mountains," hand-colored engraving on wove paper, engraved by S. Siles. Image: 17" H x 16" W; frame: 26.5" H x 26" W
- A CHILD'S SIZED PLATEAU PARFELCHE ENVELOPEA
A CHILD'S SIZED PLATEAU PARFELCHE ENVELOPEA diminutive painted parfleche envelope with label from 1933 written using a fountain pen from that period reads: Baby trunk made by Mary (Aspum?) George, and given to her sister, Kate Williams for her baby, which only lived to be three years old. Presented at the Puyallup, Washington Fair by Kate Williams, 1933. Pallyup, Washington is within the region of the Plateau tribes who are most associated with the Columbia Plateau that lies between the Rocky Mountains and the Cascade Mountains.The parfleche 'envelope' made by Plateau region tribes and others was essentially a carrying case, a wallet or purse made exclusively by and for the women of various Native American tribes. As author, painter and curator American Meredith (Cherokee Nation) points out in her article PARFLECHES How Native Women Pushed the Envelope of Abstraction, the women who painted these utilitarian objects of high art employed abstraction and the tenets of non-objective composition hundreds of years before the earliest of 20th century Modernists. In the exhibition catalog for The Plains Indians: Artists of Earth and Sky, Gaylord Torrence wrote of parfleche envelopes,'The containers were lightweight, unbreakable and weather-resistant, and their creation afforded women an important means of artistic expression.'These expandable cases were used to carry food, clothing, tools, utensils (like perhaps a horn spoon) - various odds-and-ends of the day, some sacred. With the re-introduction of the horse to Native American culture in the 16th century, these large decorated carrying cases would hang displayed from a horse when traveling, or hung from their twig stand when in camp, again on display. So always they were projecting the creator's abstracted impression of her surroundings, perhaps in this instance, a bird in flight. Scholars believe Plateau examples like this were displayed horizontally, whereas Plains examples were utilized displayed vertically.Measures 12 x 7 inches.Provenance: The Susan Koehn Estate Trust Newton, Kansas
- VERY RARE CHINESE 'LEGEND OF THE WHITE
VERY RARE CHINESE 'LEGEND OF THE WHITE SNAKE' AUTOMATONPainted wood, papier maché, enamel, silk and metal in three wood and glass casements raised on a later Hongmu wood stand; fitted with moving figures and animals amongst pavilions in landscapes.
4 ft. 6 1/4 in. x 6 ft. 4 in. x 15 in.
Note: Narrative scenes of the legend are contained within the three casements. The central and largest depicting the famous battle between the immortal Bai Suzhen (the white snake) and her enemy Buddhist monk Fahai. Bai Suzhen amasses an army of underwater demons to flood the temple where Fahai has imprisioned her husband Xu Xian. The attack fails as Fahai magically commands the mountain to rise out of harm's way. The temple appears amongst the towering rocky mountains, varying trees, foliage and swirling colorful clouds. The left casement illustrates further scenes from the drama including the rescue of Bai Suzhen from the Leifeng pagoda where Fahai is holding her captive after the birth of her son. The right casement depicts other moments from the legend among them, the disapproving monk Fahai wielding a sword with other figures in landscapes with pagodas.
The tradition of automata originates with clock making which was introduced to China as early at 1601 by Spanish Jesuit missionaries. This impressive example example dates from the Qing Dynasty and represents the demand for clocks by elite members of society which included a palace workshop dedicated to the craft. A small clock in the Palace Museum, Beijing, set within a ‘landscape’ similar in palette and style to the automaton, and accompanied by two blue birds comparable to one in the present example, attributed to the 19th century.
Condition
In good restored condition with minor losses, nicks and wear. Replaced elements and original elements recently resecured to to case, some elements lacking overall. The fabric lining to the interior has some staining and tears. Scuffing to the top cases. With later electrical wiring which needs to be repaired for use and is currently not in working order. Impressive in craftmanship and scale.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- CHINESE CARVED CELADON JADE PLAQUE OF
CHINESE CARVED CELADON JADE PLAQUE OF TREES. Chinese carved jade plaque displaying trees in a rocky mountainside to one side, and a figure and bird set beneath trees to the alternate side. Total approx. weight is 294.2 grams (gross). From a Great Neck, NY estate. Dimensions: plaque measures approx. 3.25" w x 4.5" h. Condition: Good, with light surface scratches and minor dings/dents.
- KEN CARLSON (B. 1937)Touched by Light
KEN CARLSON (B. 1937)Touched by Light - Mute Swans
signed "Ken Carlson" lower right
oil on board, 22 by 38 in.
Born in 1937, Ken Carlson spent his early life in Minnesota, where he developed a love of nature and art. His artistic training took place at the Minneapolis School of Art. Today, Carlson is among the leading wildlife art painters. His works have been featured at exhibitions and in the collections of the National Wildlife Art Museum in Jackson, Wyoming, the Steamboat Art Museum in Steamboat Springs, Colorado, and the Leigh Yawkey Woodson Museum in Wausau, Wisconsin. Among other honors, he was granted the Bob Kuhn Wildlife Award from the Autry Museum of the American West in Los Angeles in 2008 and the Prix de West in 1999. He is a regular supporter of wildlife conservation organizations, such as Ducks Unlimited and the Rocky Mountain Elk Foundation.
- KEN CARLSON (B. 1937)Bull Elk
signed
KEN CARLSON (B. 1937)Bull Elk
signed "Ken Carlson" lower right
oil on board, 12 1/4 by 18 in.
Born in 1937, Ken Carlson spent his early life in Minnesota, where he developed a love of nature and art. His artistic training took place at the Minneapolis School of Art. Today, Carlson is among the leading wildlife art painters. His works have been featured at exhibitions and in the collections of the National Wildlife Art Museum in Jackson, Wyoming, the Steamboat Art Museum in Steamboat Springs, Colorado, and the Leigh Yawkey Woodson Museum in Wausau, Wisconsin. Among other honors, he was granted the Bob Kuhn Wildlife Award from the Autry Museum of the American West in Los Angeles in 2008 and the Prix de West in 1999. He is a regular supporter of wildlife conservation organizations, such as Ducks Unlimited and the Rocky Mountain Elk Foundation.
- A NAVY-GROUND SILK BROCADE 'DRAGON'
A NAVY-GROUND SILK BROCADE 'DRAGON' PANEL FIRST HALF OF THE 19TH CENTURY First half of the 19th century Of rectangular form comprised of fragments of a dragon robe, woven in brown thread against a navy blue ground with two pairs of ascending dragons rising at either side of a rocky mountain emerging from turbulent waves strewn with flowers and auspicious objects, all above a wide lishui border, the dragons' eyes picked out in white thread; framed by a later-added brocade 'floral' band and chartreuse silk piping; cotton backing. 33 1/4 x 63 1/2in (84.5 x 161.3cm)
- 19TH C. ALBERT BIERSTADT ENGRAVING,
19TH C. ALBERT BIERSTADT ENGRAVING, ROCKY MOUNTAINS. 19th C. colored engraving, “The Rocky Mountains”, after 1863 oil painting by Albert Bierstadt, engraved by J. Smillie. Depicts a Native American encampment in front of a mountain lake landscape. Image 16.75” x 27.75”, Overall 27.5” x 38.5”.
- BIRGER SANDZEN 'ROCKY MOUNTAIN LAKE'
BIRGER SANDZEN 'ROCKY MOUNTAIN LAKE' SIGNED LITHOGRAPHBirger Sandzen (Swedish-American, 1871-1954) Rocky Mountain Lake, 1948 Lithograph on paper Edition unknown 9 15/16" x 14 5/16" A pencil-signed and titled bucolic Colorado view created for the Academy of Fine Arts, Hartford, Connecticut. Executed on cream wove paper. Framed to archival standards in a wooden frame with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri, measuring 19" x 22 3/8" in total. Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 193
Condition
Not removed from the frame. Appears to be in very good condition, with only very minor spots to the sheet.
- LYMAN BYXBE PENCIL-SIGNED ETCHING, JUNIPERSLyman
LYMAN BYXBE PENCIL-SIGNED ETCHING, JUNIPERSLyman Byxbe (American, 1886-1980) Junipers Etching on paper 7" x 5 1/4" A pencil-signed and titled view of trees in the Rocky Mountains. In a simple gilt frame measuring 12 1/4" x 10 1/8".
Condition
Not removed from the frame. Appears to show some even overall toning from light exposure inside the mat sight. Otherwise a clean impression.
- BIRGER SANDZEN 'ABANDONED MINE, COLORADO'
BIRGER SANDZEN 'ABANDONED MINE, COLORADO' OIL ON PANELBirger Sandzen (Swedish-American, 1871-1954) Abandoned Mine, Colorado, 1949 Oil on panel 20" x 24" An appealing Colorado vista from Sandzen's later period. Throughout his career, Sandzen maintained a fascination with the abandoned buildings and ghost towns of Colorado, documenting old mining sites from Leadville to Central City. According to the Birger Sandzen Memorial Gallery, the artist's focus in Colorado during this period was on the Rocky Mountains' Front Range, and that is presumably where this scene is taken from as well. Signed to the bottom right, titled and dated in pencil to the reverse of the board, alongside a "VI i" Greenough Collection catalog code. Presented in a frame that measures 28 1/2" x 32 1/2". Provenance: From the corporate art collection of a Kansas City based Fortune 500 company, thence from the American Legacy Gallery in Kansas City, MO, thence from Margaret Sandzen-Greenough, daughter of Birger Sandzen. Our gratitude to the Birger Sandzen Memorial Gallery for their assistance in the authentication process.
Condition
Very good and stable condition, noting only very mild cracking in the white impasto pigments. No in-painting or over-painting, repairs, losses, or other issues noted under blacklight inspection.
- BIRGER SANDZEN "SUNSHINE LAKE" SIGNED
BIRGER SANDZEN "SUNSHINE LAKE" SIGNED 1928 LINOCUTBirger Sandzen
(Kansas, 1871-1954)
Sunshine Lake , 1928
Linocut on paper
6" x 9" (image)
A lakeside view from Rocky Mountain National Park, Colorado, pencil-signed and titled to the bottom margin. Matted but not framed, the mat measures 13 1/4" x 15 3/4".
Literature : Charles Pelham Greenough, The Graphic Work of Birger Sandzen , Birger Sandzen Memorial Foundation, 2001, LN - 59.
Condition
Good condition. Not laid down, hinged to the mat at the top edge of the sheet. No toning or mat burn evident. Two slight scuffs to the right of the image. There is a 5/8" tear at the right edge of the sheet and minor flaking at the bottom right corner of the sheet, but each of these issues are inactive and outside of the mat window.
- MARK BOEDGES (1973- ), ROCKY MOUNTAIN
MARK BOEDGES (1973- ), ROCKY MOUNTAIN CANYON, 2022 Fine Art
- BOB KUHN (1920-2007), ROCKY MOUNTAIN
BOB KUHN (1920-2007), ROCKY MOUNTAIN HIGH Title: Bob Kuhn (1920-2007), Rocky Mountain High Medium: acrylic on board Dimensions: 18 x 19 Frame dimensions: 25 1/4 x 25 x 3/4
- CARL BRENDERS (1937-), LOOKOUT TOWER,
CARL BRENDERS (1937-), LOOKOUT TOWER, TIMBERWOLVES Title: Carl Brenders (1937-), Lookout Tower, Timberwolves Medium: mixed media on board Dimensions: 43 1/4 x 31 3/4 Frame dimensions: 54 x 42 1/2 x 4 Notes: Born near Antwerp, Belgium in 1937, Carl Brenders has drawn since childhood. He studied at the Fine Arts Academy in Antwerp and later at Berchem. His love for all creatures is evident in his masterful attention to detail. Brenders’ insistence on anatomical perfection in his paintings stems from his philosophy that nature, itself, is perfection. A dedicated conservationist, Brenders has raised awareness for environmental and conservation causes through his art, which enjoys international acclaim.
Of his painting Lookout Tower - Timberwolves he says: “Why are most people so fascinated with wolves? If one looks at these four wolves on a cliff, the harmony of their colors and wonderful proportions of their bodies, as well as the resemblance to our dear German Shepherds and Huskies, explains everything. The teamwork in their hunting strategy has fascinated many biologists and naturalists. It is the same for most dog species like the Wild Dogs in Africa and the Dingoes in Australia, to name a few. Just like lions hunting in groups, the wolves can lay down big prey like moose, elk and caribou. Even a bear isn’t safe facing a big pack of wolves. One might wonder why wolves are so shy of humans. The story of Little Red Riding Hood is still in people’s minds. This fairy tale gave the wolf a bad reputation. Wolves avoid humans, as humans are their worst enemy.”
He adds: “The inspiration for this painting came when I flew back to Europe after a wonderful field work trip (hunting with my camera). As I am unable to sleep in planes, I often make sketches for future paintings. With a ball-point pen and a little sheet of paper, one sketch was enough to create this painting. The scenery in this painting is typical of Western America with Lodgepole Pine and Rocky Mountain Maple. I mostly paint not what I have seen, but what I dream of seeing in the wild. This painting was done as a celebration for the success of the reintroduction of the wolves in Yellowstone National Park. As a wolf-lover, I am thankful to the people who worked hard to reintroduce the wolf into Yellowstone National Park. A wild area like this isn’t complete without this wonderful predator.”