A few examples of appraisal values for
SCHWAB

• Two Brewer's Porcelain Occupational
  Two Brewer's Porcelain Occupational Shaving Mugs Late 19th/Early 20th Century comprising an example identified Mac Schwab in gilt-accented lettering and depicting a delivery wagon laden with kegs and a brewers' gild crest against a magenta wrap, and an example identified John Kulberer in gilt lettering and depicting a full beer stein against a pink wrap. underside of wagon mug marked T & V / Limoges / France. Height of taller 3 3/4 inches. Property from the Collection of James Carpenter, Montague, New Jersey
• HORST SCHWAB NUDE OIL ON BOARD
  HORST SCHWAB NUDE OIL ON BOARD (1961)Horst Schwab (German, 1935-2017) Untitled (Nude Torso) , 1961 Oil on Masonite 25 1/2" x 16 1/2" Signed and dated along the top edge. Housed in a frame measuring 27" x 18". Condition Very good condition, noting only mild craquelure in the top left. No over-painting or touch-ups apparent under blacklight inspection.
• ARCHIE HELD MODERN BRONZE WATER
  ARCHIE HELD MODERN BRONZE WATER SCULPTURE Archie Held (American b. 1955), untitled - fountain, undated, patinated bronze, modern water sculpture having an oval ridged form in a conforming basin, apparently unsigned. Note: Woks by Mr. Held Held are held in the collections of Neiman Marcus, Louis Vuitton, Price Waterhouse, Carol Burnett, George Lucas, and Charles Schwab. Provenance: From the Private Collection of Tania Armour Becker, Atlanta, Georgia. Approximate Dimensions:h. 59.5", w. 17.5", d. 9".
• JEWELRY. MEN'S LONGINES 14KT
  JEWELRY. MEN'S LONGINES 14KT WHITE GOLD WATCH. A men's vintage Longines 14kt white gold mechanical watch ref# 1017. This watch by Longines - Wittnauer features a Schwab & Wuischpard 14kt white gold 32mm (excluding crown) round watch case, 14kt white gold bezel, glass crystal, signed Longines silver tone dial, applied silver tone baton indexes, silver tone pencil hands, sub seconds dial located at the 6 o'clock position, after market two-piece strap, after market tang/buckle, and a fine Swiss made Longines 19.4 17 jewel mechanical movement. Total approx. weight of watch case is 7.4 dwt including the crystal. From a Scarsdale, NY estate. Dimensions: lugs measure approx. 17mm. Condition: Good, with light surface scratches and minor dings/dents. All watches are sold as is. Watch appears to be running. Dial exhibits spotting, corrosion, scratches, and losses. After market two-piece strap exhibits soiling, cracking, and staining. After market tang/buckle exhibits corrosion.
• JEWELRY. (3) MEN'S VINTAGE HAMILTON
  JEWELRY. (3) MEN'S VINTAGE HAMILTON WATCHES. (3) Men's vintage Hamilton watches. Including a men's Hamilton retro modern gold tone elliptical shaped top loader mechanical watch. This watch by Hamilton manufactured in approx. 1955 based on (movement) features a Schwab & Wuispard Case Co. approx. 32mm 10kt gold filled elliptical shaped top loader case, acrylic crystal, champagne dial, applied gold tone baton hour markers, gold tone lozenge style hands, after market two-piece strap, after market gold tone tang/buckle, and a fine American made Hamilton Cal 770, 22 jewel mechanical movement with a 45 hr power reserve.; a men's Hamilton retro modern gold tone square shaped mechanical watch. This watch by Hamilton features a Star Watch Case Co. approx. 27mm 10kt R.G.P. (Rolled Gold Plated) watch case, cracked acrylic crystal, white dial, applied gold tone baton indices with applied gold tone Arabic numerals, gold tone pencil hands, after market two-piece strap, after market gold tone tang/buckle, and a fine Swiss made Hamilton signed Cal 686, 17 jewel mechanical movement.; a men's Hamilton electric modern gold tone watch. This watch by Hamilton manufactured in approx. 1960s features a Schwab & Wuispard Case Co. approx. 28mm 10kt gold filled modernist case, glass crystal, silver tone dial, applied gold tone baton hour markers, gold tone tapered style hands, after market two-piece strap, after market gold tone tang/buckle, and a fine American made Hamilton Cal 505 electric movement. From a Bedford Hills, NY estate. Dimensions: watch lugs measures approx. mm. Condition: Good, with light surface scratches and minor dings/dents. All watches are sold as is. All watches appear to be running. Dials exhibit light spotting touch marks, and light scratches.
• JEWELRY. LADY'S MOVADO TIFFANY &
  JEWELRY. LADY'S MOVADO TIFFANY & CO. 14KT GOLD Watch. A ladies vintage Movado 14kt gold watch for Tiffany & Co. This watch by Movado features an 18mm(excluding crown) Schwab & Wuispard Case Co. 14kt yellow gold square case with tapered corners, acrylic crystal, white dial, applied gold-tone Arabic numerals, gold-tone hands, applied gold-tone minutes chapter, two-piece fabric cord strap, Movado signed 14kt yellow gold clasp, and a fine Swiss made Movado signed 17 jewel mechanical movement. From a New Britain, CT estate. Dimensions: case measures approx. 18mm. Condition: Good with light surface scratches and minor dings/dents. Watch is not running. All watches are sold as is whether working or not. A new two-piece strap will be included. Crown exhibits brassing.
• JEWELRY. MEN'S TIFFANY & CO.
  JEWELRY. MEN'S TIFFANY & CO. OMEGA CURVEX 14KT Gold Watch. A monogrammed men's Omega for Tiffany & Co. Curvex 14kt gold mechanical watch with the legendary Omega Cal.T17 (Special),17 jewel movement. This watch by Omega for Tiffany & Co. features a 23mm (excluding crown) Schwab & Wuischpard 14kt yellow gold rectangular curved watch case, monogrammed 14kt yellow gold case back, curved glass crystal, Tiffany & Co. signed silver tone dial, gold tone Arabic numerals, gold tone hands, after market two-piece leather strap, after market gold tone tang/buckle, and a Fine Swiss made Omega Cal.T17 (Special),17 jewel movement with a 60hr power reserve. The total approx. weight of the watch case and crystal is 6.6 dwt (gross) excluding movement. From a Baldwin, NY estate. Dimensions: lugs measures approx. 21.5mm. Condition: Good with light surface scratches and minor dings/dents. Watch does not run, however the balance wheel spins freely. All watches are sold as is whether working or not. Dial exhibits spotting, staining, discoloration, and losses. Potentially replaced crystal and crown.
• JEWELRY. MEN'S AND LADY'S 14KT GOLD
  JEWELRY. MEN'S AND LADY'S 14KT GOLD WATCH GROUPING A men's engraved Hamilton 14kt yellow gold watch, a monogrammed lady's Elgin 14kt white gold watch, and a 10kt two-tone gold fob chain. This men's watch by Hamilton manufactured in approx. 1939-1940 (based on serial #) features a Hamilton Watch Co. 14kt yellow gold rectangular watch case, glass crystal, engraved 14kt yellow gold case back, a silver tone dial, applied gold tone Arabic numerals, gold tone sword hands, sub seconds dial located at the 6 o'clock position, and a fine American made Hamilton Cal.982, 19 jewel mechanical movement with a 45hr power reserve. This lady's watch by Elgin manufactured in approx. 1935 (based on serial #) features a Schwab & Wuischpard 14kt white gold rectangular watch case, glass crystal, engraved 14kt white gold case back, a silver tone dial, Arabic numerals, blued steel hands, after market two-piece fabric cord strap with half of a 14kt white gold jewelry clasp, and a fine American made Elgin Cal. 512, 17 jewel mechanical movement. Accompanied by a signed 10kt two-tone gold watch fob chain stamped, "10k M C I"; Total approx. weight of both 14kt gold watch cases and the half a clasp is 8.dwt (gross); and the total approx. weight of the 10kt gold fob chain is 5.7 dwt (gross). From a Westchester, NY estate. Dimensions fob chain measures approx. 13" in length. Condition: Good with light surface scratches and minor dings/dents. Watches were running prior to auction. All watches are sold as is whether working or not. After market cord strap exhibits soiling, fraying, and creases. Crystals exhibit scratches.
• John Schwab (American, b 1982)
  John Schwab (American, b 1982) Abstract Expressionist painting, oil on canvas on wood panel, signed "J. Schwab", 36" x 36", very good condition
• GOOD GROUP OF ANTIQUE SILVER
  GOOD GROUP OF ANTIQUE SILVER TABLE WARESGood Group of Antique Silver Table Wares, incl. Imperial Russian .875 silver and niello beaker, assayed 1869, Moscow, possibly Mikhail Dimitriyev, act. 1857-1877, h. 3 in.; .875 silver sugar basket, Moscow, assayed 1877, possibly Viktor Vasilyevich, engraved 1878 presentation, h. (to top of swing handle) 5 1/4 in.; and .800 silver honeycomb bowl, Wilhelm Binder, Schwabisch Gmund, founded 1869, h. 1 3/4 in., dia. 3 in.; total wt. 9.70 troy ozs. (3 pcs.)
• TEDDY ROOSEVELT 1907
  TEDDY ROOSEVELT 1907 COMMEMORATIVE BANDANA. A lithographed bandana celebrating the U.S.’s victory in the 1903 Alaska Boundary Dispute with Canada. Depicts two bears as hunters, representing Teddy Roosevelt and the U.S., carrying a dead Lynx, representing Canada. Made by Schwab & Co. of New York, copyrighted 1907. Roosevelt bear with signature banana, cigar, glasses and hat reading “I Did It”. Fabric 22” x 22”, framed under glass 26.5” x 26.5”.
• ANTIQUE "INDIAN CHIEF" FIRE SCREEN,
  ANTIQUE "INDIAN CHIEF" FIRE SCREEN, SCHWAB & WOLFCondition The oak frame shows a little general wear, but is in good condition. The fabric's graphic is faded overall. There are several tears in the fabric, most notably in the upper half of the left side.
• (LOT OF 4) GERMAN BISQUE LADY
  (LOT OF 4) GERMAN BISQUE LADY DOLLS: QUEEN LOUISE DOLL (Lot of 4) German bisque head lady dolls, including an Armand Marseille Queen Louise doll #100; a Simon & Halbig bisque socket head toddler #156; the third, a model 1078; a Kestner for Hertel & Schwab baby doll with composition body #152; an Armand Marseille boy character doll marked 151 (repair to crack in back of head), the largest 26"l
• PRINT, MICAH SCHWABEROW Micah
  PRINT, MICAH SCHWABEROW Micah Schwaberow (American, b. 1948), "Tadich," 1991, lithograph in colors, pencil signed and dated lower right, titled lower left, edition 18/157, overall (with frame): 13.25"h x 16.25"w
• EMIL HOLZHAUER W/C, WPA TENEMENT
  EMIL HOLZHAUER W/C, WPA TENEMENT HOUSES, LIKELY SOUTHER...Emil Eugen Holzhauer (German/American, 1887-1986) 1930s watercolor painting depicting a street scene, likely Southern, with closely spaced houses. Signed lower right. Unframed, 15" x 22 1/4". Artist biography (from The Johnson Collection): "Emil Eugen Holzhauer was born in Schwabisch-Gmund, Germany. In 1906, he moved to New York City without a job, money, or any knowledge of the English language. He initially worked in manufacturing plants to support himself and save money for art instruction. After settling into his adopted city, Holzhauer registered for night classes at the New York School of Art in 1909 where he studied with Robert Henri. Henri, a Social Realist, was a passionate and energetic teacher. He stressed the importance of painting from a personal point of view and urged his students to develop a uniquely American art, one based on their own individual experiences and perspectives. Henri remained an inspiration for Holzhauer throughout his career and the two men became close friends. In 1913, Holzhauer attended the famed Armory Show and was inspired by the work of the American and European modernists. He held his first solo exhibition in 1915 and exhibited regularly in New York, both individually and as part of a group, over the next ten years. In the summer of 1932, he began to teach art at a summer camp in upstate New York and found teaching to be a rewarding and gratifying experience. In 1938, he briefly taught at a junior college in New York State, before moving south to Asheville, North Carolina. In 1942, he became an art professor at Wesleyan College in Macon, Georgia. Throughout the 1930s, Holzhauer became identified with the American Scene movement in art, and the scenes that he painted while in the South are among his best-known. The subjects were often homes and neighborhoods of the working class. The images are quiet glances into a private world. He often chose narrow side streets or back alleys and portrayed the dilapidated buildings in a simple non-judgmental way. He neither idealized his subject nor romanticized it, but rather found beauty in simple scenes from daily life. During the late 1940s and into the 1950s, Holzhauer began to move into a more expressive and less realistic style. The color became more intense and less true to nature, and his figures became more stylized. In 1953, Holzhauer retired from his professorship at Wesleyan. He and his wife moved to Florida where he held several exhibitions. He continued to travel and paint until 1972 when his eyesight began to fail. Holzhauer died just before his hundredth birthday in 1986." Condition: Light toning to front, pinholes at each corner; tape residue with acid burn to back, overall good condition.
• HENRY AUGUST SCHWABE (AMERICAN
  HENRY AUGUST SCHWABE (AMERICAN 1843-1916) A PAINTING, "...HENRY AUGUST SCHWABE (American 1843-1916) A PAINTING, "The Red Hat," 1916, oil on canvas, signed and dated L/L, "Augustus Schwabe 1916," verso a paper label; 15 3/4" x 11 5/8", framed 23 1/4" x 19 1/2". Provenance: Vixseboxse Art Galleries, Inc., Cleveland Heights, Ohio Condition: A scratch upper right, some stretcher marks, and otherwise no visible damages or repairs. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• PAIR OF ART DECO GERMAN ANNA FEHRLE
  PAIR OF ART DECO GERMAN ANNA FEHRLE FIGURAL ANGEL CANDL...Pair of German Art Deco figural candlesticks with angels or cherubs. Marked "Anna Fehrle Werkstatte Schwab Gmund" along the undersides. (Each) height: 8 in x width: 3 in x depth: 3 in. 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. 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.
• A MEISSEN 'CUPID' PORCELAIN
  A MEISSEN 'CUPID' PORCELAIN FIGUREboth modelled after Henrich Schwabe and Johann Pollak (1880-1882), part of the Four Cupids Series, comprising a) Cupid with Marriage Contract, the putti nude standing with quiver at his feet, on a rounded moulded base with naturalistic detailing and narrow gilt-edging, he holds a marriage contract in one hand and a purple slipper in the other, with the slightest of smirks marked with factory mark in blue underglaze, incised with model number M114, impressed with numeral 94 in paste, painter's numeral 2 in black overglaze, all under base; height: 28.5 cm (11 1/4 in.), diameter of base: 15 cm (5 7/8 in.) b) Cupid Piercing Heart, the putti nude seated on a stump draped in fabric, quiver at his feet, focused, using an arrow to pierce two hearts, on a rounded moulded base with naturalistic detailing and narrow gilt-edging, marked with factory mark in blue underglaze, incised with model number M116, impressed with numeral 16 in paste, painter's numeral 7 in black overglaze, all under base; height: 26 cm (10 1/4 in.), diameter of base: 14.5 cm (5 3/4 in.) CONDITION Both are in good condition. B, with a chip resulting in minor loss to one of the pierced hearts and wing tip. Inspection under UV light shows no sign of restoration.
• PR 875 SILVER CANDLESTICKS
  PR 875 SILVER CANDLESTICKS WILHELM BINDERWilhem Binder, Schwabisch Gmund, Germany. Pair of 875 silver candlesticks with three arms, each with a cut crystal glass candle holder. Each marked along the base. Each; height: 14 1/4 in x width: 12 in x diameter: 6 in. Condition: The candlesticks are in excellent condition; no visible chips, losses, or dents. No sign of restoration under UV inspection; some signs of polishing. Along the underside of both candlesticks, there is a 1/4 inch long area of oxidation. The crystal glass candle holders are in generally great condition; no visible chips, cracks, or losses. Dusted collected to the recessed areas to the rim, as expected. One of the cups has tape rolled around the top of the holder. 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.
• GERMAN STERLING SILVER CIGARETTE
  GERMAN STERLING SILVER CIGARETTE CASESterling silver cigarette case with a ridged exterior. Impressed marks along the interior edge: 925 and maker's mark of Johann Franz Jr., Schwabisch Gmund, Germany. Etched along an interior corner with the numbers 19 1/2 40. Provenance: Property from the distinguished collection of Mr. James Lee Soffer, Pittsburgh, Pennsylvania. Height: 5 in x width: 3 3/4 in. Gross weight of sterling: 5.41 Troy oz. Condition: No visible sign of restoration under UV light. No visible cracks, dents, or losses. The clip opens and closes smoothly. Along the interior of the case, there is visible light oxidation; please see the listing image. Wear to the cloth component.
• GROUP OF SIGNED PORTRAITS,
  GROUP OF SIGNED PORTRAITS, LETTERSsigned portrait "Alexander Graham Bell", 9-1/2 x 14 in.; signed portrait "C.M. Schwab", 9-1/2 x 13-3/4 in.; portrait "William Cullen Bryant", matted with cut signature, overall 10 x 14 in.; signed portrait "Charlie Chaplin" (appears to be stamped signature), 9-1/4 x 11-3/4 in.; 1901 dated letter signed "Jno. S. Mosby" (Confederate General); 1869 dated letter signed "G.T. Beauregard" (Confederate General); signed postcard "Winston Churchill"; signed postcard "W.J. Bryan"; signed portrait "Thos. A. Edison", 6 x 8 in.; signed carte de visite "Z.B. Vance", 4 x 6-1/2 in. Provenance: Humber Family, North Carolina Condition: typical wear and foxing throughout, William Cullen Bryant with excessive foxing, Mosby letter with evidence of mounting and minor tears at periphery, Beauregard letter some discoloration and tears at folds
• SCHWAB FOUR DRAWER FIREPROOF FILE
  SCHWAB FOUR DRAWER FIREPROOF FILE CABINET, HEIGHT 54 IN...Schwab Four Drawer Fireproof File Cabinet, height 54 inches, width 19 1/2 inches. 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.
• SCHWAB FOUR DRAWER FIREPROOF FILE
  SCHWAB FOUR DRAWER FIREPROOF FILE CABINET, HEIGHT 53 1/...Schwab Four Drawer Fireproof File Cabinet, height 53 1/2 inches, width 19 1/2 inches. 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.
• SCHWAB 5000 FOUR DRAWER FIREPROOF
  SCHWAB 5000 FOUR DRAWER FIREPROOF FILE CABINET, HEIGHT ...Schwab 5000 Four Drawer Fireproof File Cabinet, height 53 1/2 inches, width 19 1/2 inches. 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.
• VERY RARE AND IMPORTANT
  VERY RARE AND IMPORTANT PENNSYLVANIA FEDERAL POLYCHROME...attributed to Mahantango Valley or Schwaben Creek, Pennsylvania, circa 1830, dovetailed and cut nail construction, white pine throughout, 48 x 42-1/2 x 22 in. Note: In American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum , curator Jack Lindsey notes this chest "is distinguished by the quality and pattern of its painted decoraiton, consisting of carefully rendered leaping stags, undulating flowering vines, birds, and stylized central tulips emanating from urns and compass stars on a salmon pink ground. Many of the painted decorated devices on the drawers, such as the quarter fans and painted stringing, may have been influenced by earlier patterns of the neoclassically inspired wooden inlay." Literature: Nutting, Wallace, Furniture Treasury, Framingham, Massachusetts: Old America, 1928, fig. 296; Schaffner, Cynthia VA and Susan Klein, American Painted Furniture, 1790-1880 , New York: Clarkson N. Pottery, 1997, pg. 143; Stoudt, John Joseph, Pennsylvania Folk Art : An Interpretation , Allentown, Pennsylvania: Schleeter's, 1948, pg. 271; Weiser, Frederick S. and Mary Hammond Sullivan, "Decorated Furniture of the Mahantongo Valley", The Magazine Antiques 103, no. 5 (May 1973), pg. 935; American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum, pg. 183, fig. 154 Note: This chest is referenced in Wendy Cooper and Lisa Minardi's Paint Pattern and People: Furniture of Southeastern Pennsylvania 1725-1850 . In their discussion of Mahantango examples, they note that some were painted with red iron oxide ground, and then decorated with black, chrome green, and chrome yellow. The example offered here is noted as "a superb example of this type". See page 96 and note 128 on page 213. Condition: very fine condition and retaining an old dry paint surface, appears to retain original brass hardware, fine condition and retaining an old dry paint surface, typical bumps and edge wear, some areas of possible paint retouch, typical chips and losses at small foot turnings, including one small loss at back, surface wear to top with some areas of distress or water damage
• FRITZ MULLER-SCHWABEN. OLD MAN
  FRITZ MULLER-SCHWABEN. OLD MAN READING, OIL (German, 1879-1957). Oil on panel, signed "Fritz Muller, Munchen" ur, 19 1/2 x 7 in., framed.
• A vintage Schwab & Wolf signed
  A vintage Schwab & Wolf signed textile 'Buffalo Hunt'. 22” x 23” Condition: creases and fold, staining CT Transfer Fee $10
• PR., MEISSEN ALLEGORICAL BUSTS,
  PR., MEISSEN ALLEGORICAL BUSTS, SUMMER & AUTUMN Meissen (German, founded 1720), circa 1880. "Summer", model K 176 and "Autumn", model K 177, both originally modeled by Heinrich Schwabe, pair of Four Seasons allegorical figures modeled as busts of children. Impressed and painted marks to
• PAIR OF MEISSEN "DAY" & "NIGHT"
  PAIR OF MEISSEN "DAY" & "NIGHT" FIGURES, C. 1880 Meissen (German, founded 1720), circa 1880. "Day" and "Night", models L134A and L135, originally modeled by Heinrich Schwabe (1847-1924), large allegorical porcelain figures. depicting "Day" with sunrays and a sunflower, and "Night" with a
• (VIEW) MASSACHUSETTS - BOSTON:
  (VIEW) MASSACHUSETTS - BOSTON: EXCEPTIONAL LOT OF 81 POSTCARDS EARLY 20TH CENTURY(VIEW) MASSACHUSETTS - BOSTON: EXCEPTIONAL LOT OF 81 POSTCARDS, Early 20th Century, Real photos: men's athletic team "Th...Section Boston Schwaber Verein", Mutual National Bank, Tea Department of Delano, Potter & Co., Inc.", "U.S.S. Androscoggin" (Aug. 4, 1912), "Ward in Elk's Building, U.S.A. General Hospital No. 10", "Whitman's New England Dances" with orchestra and schedule. Also: "Exterior of Braves Field Home of the Boston Nationals" (colored lithograph), Mr. & Mrs. William H. Morgan with "The Little Church on Wheels, Inc.", several restaurant interior views, Jordan Marsh Company's "Women's Rest Room For Fellow Workers", rifle drill at Commonwealth Pier, real photo of U.S. Fisheries Association Convention at Boston Fish Pier (Aug. 10th to 13th, 1927), two Hotel Touraine interior views, T. Wharf with advertising for McPhail Piano Co., library with figures at "Mass. Knights of Columbus Service Men's Club", Hotel Bradford Circus Room, Adams & Swett "Rug Cleansers", interior scene at King Co. Restaurant, Rotograph of North Station, two Burdett College cards, "New England Fuel & Transportation Co." with fleet listed, Annual Convention of American Philatelic Association and much more.
• A GROUPING OF FIVE CONTINENTAL
  A GROUPING OF FIVE CONTINENTAL SILVER TABLE ITEMS To include an 18th century toddy ladle, with 1726 Spanish real coin to center bowl (1 1/2 x 2 1/2 x 4 1/4 in.); Austro-Hungarian .813 (13 lothig) silver pierced bowl with insect mounts to rim, unknown maker, first half of 19th century marks (2 1/2 x 4 1/8 x 5 in.); a German .830 silver round bowl, post 1886 marks, likely of Gebruder Deyhle or Kuhn of Schwabish Gmund (1 3/4 x 6 1/4 in.); also included is an Elizabeth II silver figural demitasse spoon, mark of E J ltd., and a Dutch souvenir demitasse spoon.
• GARY KOMARIN, NEW YORK, CONNECTICUT
  GARY KOMARIN, NEW YORK, CONNECTICUT (B. 1951), ABSTRACT HEAD PORTRAIT, 1997, ACRYLIC ON PAPER, 22 1/2"H X 17"WGary Komarin, New York, Connecticut, (b. 1951) abstract head portrait, 1997, acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019 acrylic on paper Dimensions: 22 1/2"H x 17"W
• GARY KOMARIN, NEW YORK, CONNECTICUT
  GARY KOMARIN, NEW YORK, CONNECTICUT (B. 1951, ABSTRACT STILL LIFE, 1997, ACRYLIC ON PAPER, 22 1/2”H X 17”WGary Komarin, New York, Connecticut, (b. 1951 abstract still life, 1997, acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019 acrylic on paper Dimensions: 22 1/2"H x 17"W
• GARY KOMARIN, NEW YORK, CONNECTICUT
  GARY KOMARIN, NEW YORK, CONNECTICUT (B. 1951), ABSTRACT IN YELLOW, 1997, ACRYLIC ON PAPER, 17”H X 22”WGary Komarin, New York, Connecticut, (b. 1951) abstract in yellow, 1997, acrylic on paper Signed and dated verso. Biography from the Archives of askART: Gary Komarin (born 1951) is an American artist. Born in New York City, Komarin is the son of a Czech architect and Viennese writer. Like many of the best artists of his generation he is indebted to the New York School, especially his mentor Philip Guston with whom he studied at Boston University. According to a New York Times article by Barry Schwabsky, "Guston's lesson in cultivating the unknown has clearly stuck with Mr. Komarin. And on a more superficial level, the teacher's peculiar sense of form can also still be traced in his former student's work – in the way Mr. Komarin's bulbous forms can seem to echo, in an abstract way, the cigars, cyclopean heads and naked light bulbs in Guston's paintings." Komarin prefers non-art industrial canvas tarps and drop cloths as opposed to traditional painting media and materials. He builds layered surfaces with latex house paint mixed with spackle and water. The house paint offers hybrid colors that seem slightly ‘off' and the spackle creates a beautiful matte surface. Kenneth Baker of the San Francisco Chronicle writes that "from these seemingly unlovely methods Komarin gets paintings that vibrate with historical memory, echoing such things as Matisse's driest most empty pictures, Robert Motherwell's spare abstractions of the 1970's, or the early New Mexico and Berkely paintings of Richard Diebenkorn." The chaotic surfaces of Komarin's pieces create a vitality and tension between the spontaneous and the considered, the accidental and the consciously executed. It is the natural result of the artist's process based on his belief that intention and control should be totally removed from the act of painting. According to Komarin, the best paintings "paint themselves." Using a fusion of house and oil paint, spackle, and other assorted mediums, Komarin loses himself in the act of painting, free and confident, seeing the serendipitous interaction of the conscious and unconscious. His works are not all inherently abstract, either, in his delightful, natively drawn Cakes (painted on rough paper bags), and The French Wigs (painted on canvas), Komarin places the image front and center, akin to Joe Bradley's "Superman." The simplistic, yet beguiling Cakes sometimes lean like the Tower of Pisa, while dripped frosting showcases Komarin's playful manner and charm. According to the artist, the Cakes are a marriage between the domestic and the architectural. He credits his mother's cake baking, as well as his father's career as an architect, as the genesis for this image. While steeped in 20th century abstract philosophy, Komarin's works also connect to a new type of abstraction, described as "provisional painting," by Raphael Rubinstein, in Art in America, and "The New Casualists" by Sharon Butler, in Two Coats of Paint. The central idea describes "a calculated tentativeness," "a concern with multiple forms of imperfection," [focusing on] "the off kilter, the overtly off hand…" Like Komarin, they seek to get back to the process of painting itself, favoring playful, unpredictable encounters. It is obvious that this current trend is aligned with Komarin's artistic sensibility. Komarin has been invited to show in Dublin in a catalog exhibition titled 'States of Feeling' essay by John Daly. Works by Robert Motherwell, Gary Komarin, Sir Antony Caro and Larry Poons. In 2008, Komarin was invited to show a large cake painting at the Katonah Museum of Art in Katonah New York. This catalog exhibition was titled: ‘Here's the Thing: The Single Object Still Life" curated by Robert Cottingham. Komarin's work was included with works by: Andy Warhol, Christo, Claes Oldenberg, Richard Diebenkorn, Philip Guston, and other blue chips. Komarin has exhibited extensively throughout the United States, Europe and Asia. In 1996, Komarin's work was included in a pivotal exhibition at 41 Greene Street in New York City, along with work by Jean-Michel Basquiat, Philip Guston and Bill Traylor. In 2008, he had a solo museum exhibition at the Musee Kiyoharu Shirakaba in Japan. The exhibition and catalogue, Moon Flows Like a Willow, was orchestrated by the Yoshii Foundation in Tokyo with galleries in New York, Tokyo and Paris. Komarin was also invited to exhibit his Vessel grouping on paper at the privately owned Musee Mougins in Mougins, France. This museum is privately owned by one of Komarin's London collectors. Komarin's work has also been included in curated group shows in New York, Dubai, and Zurich along with works by Willem de Kooning, Mark Rothko, Jeff Koons, Yves Klein, and Joan Miró. Komarin has also exhibited in the past decade in catalog exhibitions in New York, Bogota, Zurich, Dubai, Paris, Palm Beach, Houston, San Francisco, Denver, Assisi and London. Gary Komarin has been honored with the Joan Mitchell Prize in Painting, the New York Foundation for the Arts Grant in Painting, the Edward Albee Foundation Fellowship in Painting, the Elizabeth Foundation, New York Prize in Painting and the Benjamin Altman Prize from the National Academy of Design Museum, New York. Komarin lives and works in Roxbury, Connecticut and keeps a pied–à–terre in New York City. Source: Wikipedia, 2019 acrylic on paper Dimensions: 17"H x 22"W
• BINDER WILHEM-SCHWABISCH GMUND
  BINDER WILHEM-SCHWABISCH GMUND (ESTABLISHED 1869) .835 SILVER MOUNTED CUT GLASS DRINKS PITCHER HEIGHT: 12 1/2 IN. (31.75 CM.)BINDER WILHEM-SCHWABISCH GMUND (ESTABLISHED 1869) .835 SILVER MOUNTED CUT GLASS DRINKS PITCHER, marked to collar of jug by handle, the cover engraved 19.10.1950, the tall faceted jug fitted with an inner cover with swing handle (now lacking ice cylinder) and a very slightly domed silver with globular finial Dimensions: Height: 12 1/2 in. (31.75 cm.) Provenance: Collection of Patricia and "WAFE" Fritz Euler
• Two unframed chromolithographs on
  Two unframed chromolithographs on fabric by Schwab & Wolf, NY; Red Riding Hood and American Girl. 22.75" x 22.75" each Condition: Good, very minor wear to bottom.