DORMAN HENRY SMITH (AMERICAN, 1892-1956)DORMAN HENRY SMITH (AMERICAN, 1892-1956) 21¼" x 29¼" sight. "Along the Rapid Transit", 1946. Watercolor on paper, signed and dated in the lower right corner, matted under glass in wood frame, 29" x 37" overall.
CORNELIUS DAVID KRIEGHOFF, (CANADIAN,CORNELIUS DAVID KRIEGHOFF, (CANADIAN, 1815-1872), SHOOTING THE RAPIDS, 1861, OIL ON CANVAS, CANVAS: 9 X 14 1/2 IN., FRAME: 18 1/4 X 24 IN.CORNELIUS DAVID KRIEGHOFF, (Canadian, 1815-1872) Shooting the Rapids, 1861, oil on canvas signed and dated C. Krieghoff 1861 lower center 1861, oil on canvas Dimensions: canvas: 9 x 14 1/2 in., frame: 18 1/4 x 24 in. Provenance: Joyner-Waddington's, December 3, 2002, Lot 41; a Private New Hampshire Collection. Condition: A third party condition report is available by request. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
LOT OF TINSLot of two vintage tins:LOT OF TINSLot of two vintage tins: a Peptomine tin with an image of a woman and two children and having a testimonial endorsement by Milton Hersey of McGill University, along with a coffee tin for Woods Canadian Souvenir Coffee with lithograph images of Canadian scenes including a riverboat shooting the rapids. Allio Collection. FRANCAIS: Lot de deux boîtes vintage: boîte Peptomine avec image d'une femme et de deux enfants portant un endossement du produit par Milton Hersey de l'Université McGill; boîte à café pour Woods Canadian Souvenir Coffee avec scènes canadiennes lithografiques, y compris un bateau dévallant les rapides. Collection Allio.
BLACK FOREST OVER MANTEL MIRRORA BlackBLACK FOREST OVER MANTEL MIRRORA Black Forest over mantel mirror, the carved & pierced oak frame showing a horn crest-rail above a hand painted woodland scene of a brown bear & cub 'fishing' from the rapids (signed illegibly lower right), over top the mirrored plate. Swiss, circa 1900. Dimensions 56.75" high x 44.5" wide.
3 ROYAL DOULTON BRAMBLY HEDGE FIGURINESBy3 ROYAL DOULTON BRAMBLY HEDGE FIGURINESBy Jill Barklem, Doulton backstamp.
Lady Woodmouse DBH32, Poppy Eyebright DBH1, Shooting the Rapids DBH61.
Issued: 1980-2000
Dimensions: 4"H, tallest
Manufacturer: Royal Doulton
Country of Origin: England
BORDER FINE ARTS POLLAND SCULPTURE,BORDER FINE ARTS POLLAND SCULPTURE, SHOOTING THE RAPIDS...Hand made sculpture; limited Ed. Portrays an Indian guide with a Western trapper in their canoe battling the river rapids. Border Fine Arts sticker.
Artist: Don Polland
Issued: 1983
Dimensions: 4.75"H x 11.75"L
Edition Number: 451 of 2250 Manufacturer: Border Fine Arts
Country of Origin: Scotland
ROYAL DOULTON JUGS: A CHARLTON STANDARDROYAL DOULTON JUGS: A CHARLTON STANDARD CATALOGUE 9THRoyal Doulton Jugs: A Charlton Standard Catalogue has just been released. This is the ninth edition of this popular catalogue by the Charlton Press. Long considered the bible of Royal Doulton jugs. With the rapid ever-changing market place and the constant need to update your information the Charlton Press has released its newest Jug catalogue for your Doulton Library. Weight 2lbs. Good condition with some related aged wears.
#book #Doulton #Jugs #Ceramic #porcelain #collectible #art #decor #antique #vintage #catalogue
Artist: Jean Dale
Issued: 2005
Manufacturer: The Charlton Press
Country of Origin: Canada/USA
DESCRIPTION DE L EGYPTE, PANCKOUCKE,DESCRIPTION DE L EGYPTE, PANCKOUCKE, 1820-1830Description de l Egypte ou Recueil des observations et des recherches qui ont ete faites en Egypte pendant l expedition de l Egypte. Paris: C.L.F. Panckoucke, 1820-1830 Second Edition The full set comprised of: Antiquites: Text: 10 vols. Plates: 5 volumes. Histoire Naturelle: Text: 6 vols. Plates: 3 vols. Etat Moderne: Text: 10 vols. Plates: 2 vols. Atlas geographique. And the atlas folio Plate volume. Complete in 38 volumes: 26 text volumes 8vo (208 x 128mm) with 47 engraved plates, multi-panel fold out maps and 34 tables. 12 double elephant folio (700 x 523mm) plate volumes including the atlas folio plate volume. Two engraved frontispieces, one colored, and 894 engraved plates. Blindstamps of the expedition throughout to the upper right corner of each engraving. Contemporary red 3/4 sheep-backed boards, spines ruled, stamped, and lettered in gilt. Provenance: From the Library of the 19th century French Historian Monsieur le Baron de Nervo with personalized coat of arms book plates throughout. Property from a Private Collector.Footnote: The Description de l Egypte remains as arguably the greatest achievement of Napoleons Expedition / Invasion into Egypt from 1798-1801 as well as the most ambitious scientific publication of the 19th Century. Publication began in 1803 but was not fully completed until 1830 with this the Second Edition. This monumental work paved the way to the modern field of Egyptology. From the onset Napoleons colonial intent in Egypt was to follow his (envisioned) swift military conquest, with the rapid implementation of economic and social policies so as to create a large swath of French controlled territory at the epicenter of all trade between East and West. With this grandiose plan in mind hundreds of French civilians were deployed with the invading troupes to Egypt led by a group of scientists known as the corps des savants from the Institut de France. Though poorly equipped to face the incredible odds and brutal hardships they would be up against these savants were some of the finest scientific minds of the time. The co-leaders were Gaspard Monge and Claude Louis Berthollet. Other prominent savants were Dominique Vivant Denon, Nicolas Conte, Rene-Nicolas Desgenettes, Joseph Fourier, E.T. Saint Hillaire, Jean Baptitste Jollois, Marie-Jules Cesar Lelorgne Savigny and Henri-Joseph Redoute among many others.
Condition:
Minor scuffing to boards, minimal bumping to corners. Plates are crisp and bright throughout. Minimal foxing, age toning and off setting present. Overall a very fine set rarely seen on the market, housed in a custom folio display case measuring 48 x 52 x 31in.
AN ANTIQUE TEXAS RAILWAY MAP, "MAP SHOWINGAN ANTIQUE TEXAS RAILWAY MAP, "MAP SHOWING HOUSTON & TE...AN ANTIQUE TEXAS RAILWAY MAP, "Map Showing Houston & Texas Central System of Railways," CHICAGO, MAY 1890, color wax engraving on paper, Rand McNally, Printers and Engravers, with inset architectural view of "Passenger Depot and General Offices of the Houston Texas Central RY. Co, Houston, Texas," the cover with "Wootan Wells, The Health Resort of Texas," figural advertisement. 32" x 17 3/4" Note: An unusual travel map showing a central portion of the United States. A feat of railroad industry, this example shows the connection from the Gulf Coast to St. Louis, which enabled travelers to move across the United States for the first time with ease. A glimpse into the rapidly changing landscape and population growth in Texas during the late 19th century. Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Some tears along creases, creases as issued, some fading of color, overall in fair to good condition, wear commensurate with age. 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.” NO REFUNDS will be issued based on condition.
A TOPOGRAPHICAL DESCRIPTION OF THE WESTERNA TOPOGRAPHICAL DESCRIPTION OF THE WESTERN TERRITORY OF...A Topographical Description of the Western Territory of North America, by G. Imlay, New York, MDCCXCIII, having Ohio map of The Rapids of the Ohio with Plan for Canal, (no binding or covers).
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.
DON BALKE (B. 1933) "FOX SQUIRREL"DonDON BALKE (B. 1933) "FOX SQUIRREL"Don Balke (North Carolina, B. 1933) "Fox Squirrel and Live Oak" Signed lower center. Original Watercolor on Paper laid on Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This art was originally published in the limited edition collection of philatelic proofcards issued by Fleetwood and the National Audubon Society for the Wildlife of the 50 States.
Scrambling, twisting and finally falling on all fours, the Fox Squirrel cavorts in the massive branches of Georgia's strong state tree, the Live Oak. As the largest North American squirrel, this black ball of fur is clumsy. However, as if to atone for his awkwardness, the Fox Squirrel is friendly and much more charming than his graceful relatives. These friendly fellows entertain people by playing with pine cones and paper balls, turning somersaults in grassy meadows, holding climbing drills on tree branches and chasing each other through Georgia's magnificent oak groves. These humorous activities are accompanied by loud scoldings, noisy whistling and the rapid chatter through which Fox Squirrels communicate with each other. Like their smaller relatives, the Georgia squirrels instinctively twitch their bushy tails. Noting this nervous habit as a characteristic of the squirrel species, the Greeks named these friendly rodents squirrel, which means shadow tail. During the midwinter mating season the twitching tail is especially evident as the males busily preen and fluff. When finished, they curl their bushy, well-groomed tails over their smooth backs and begin to court the female Fox Squirrels. About forty-five days later, two to four young are born, each weighing only two-thirds of an ounce. In just ten weeks, the once tiny babies crack their own nuts, scold their friends and, like their parents, sleep away much of the lazy morning until the afternoon sun warms their sleek, black coats.
Image Size: 12 x 13.75 in.
Overall Size: 20.25 x 23 in.
Unframed.
(B05762)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
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- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
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- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
VIBRANT ARIZONA TRIASSIC PETRIFIED WOODVIBRANT ARIZONA TRIASSIC PETRIFIED WOOD POLISHED SLABNorth America, Southwestern United States, Arizona, Late Triassic, ca. 225 million years ago. A massive and gorgeous slab of fossilized, petrified tree trunk, sliced crossways and highly polished on both planar sides to showcase the broad interior rings of the tree - not only beautiful but providing invaluable information about fossilization processes! The exterior bark has also fossilized, replaced by rough stone, while the smooth interior features incredible, colorful quartz, agate, and translucent crystalline structures which are visible in the small vugs (cavities)! It is quite possible these vugs were caused by insect activity before fossilization. The colors are mesmerizing - dominated by warm hues of red and maroon, purple, with creamy white and lilac blue striations and swirls. The photos are nice, but the subtle shimmering crystal are best appreciated in person! This is a stunning piece to display or to use as a side table with the addition of a sturdy base! Size: 15.5" Diameter x 1" W (39.4 cm x 2.5 cm)
Fossilized trees from this time period come from the Chinle Formation of the southwestern USA, and the beautiful colors found in this formation - exemplified by the colors of this fossilized tree - give the Painted Desert of Arizona its name. During the Late Triassic, because of plate tectonics, this area was near the equator on the supercontinent Pangaea, with a humid, sub-tropical climate. It was a floodplain below mountains to its south and a sea to its west; as a result, massive trees washed down from the mountains and came to rest in sediments that preserved and fossilized them. The petrification process involves the rapid burial of the tree or pieces under sediment which prevents the usual decay. Flooding and volcanic activity are usually responsible for creating the layers of sand, silt, and ash needed to create the right types and amount of sediment. Mineralized water can then permeate through the wood, coating cell walls and filling the intercellular cavities which then fossilizes into stone. The detailed preservation of the wood, including knots, rings, and bark, are possible because the organic wood molecules become coated and surrounded with smaller silica molecules. Nine different species of tree have been identified in the fossilized deposits in the region; this example may be Araucarioxylon arizonicum, an extinct conifer tree (and the state fossil of Arizona), which is often found. Fascinatingly, the Ancestral Puebloan people who lived in the region approximately one thousand years ago used petrified wood for making tools and even building houses!
Provenance: private southwestern Pennsylvania, USA collection, acquired prior to 2000
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#168558
Condition:
Professionally cut and polished. Chips and loss to one planar face and along peripheries. Natural cavities and vugs in the surface. Gorgeous coloration throughout.
MASSIVE TRIASSIC ARIZONA PETRIFIED WOODMASSIVE TRIASSIC ARIZONA PETRIFIED WOOD SLABNorth America, Southwestern United States, Arizona, Late Triassic, ca. 225 million years ago. This is one of the largest fossilized or petrified wood slabs we have - a natural disc that is cut from a prehistoric tree trunk's cross section and highly polished on both planar faces. Fossilized tree cross sections, also known as "tree cookies," are not only beautiful but provide invaluable information about the prehistoric climate and landscape. The exterior bark is fossilized, replaced by rough stone, while the smooth interior features incredible russet orange, maroon, deep gray-blue, and creamy white hues from the quartz and agate that formed over millions of years. The polished surface is pleasantly tactile, and just like natural wood today the graining and coloration of each petrified slab is unique with special character. Again, this is a truly massive piece from a tree that must have been hundreds of years old before it even fossilized! Size: 27.5" Diameter x 1.25" W (69.8 cm x 3.2 cm)
Fossilized trees from this time period come from the Chinle Formation of the southwestern USA, and the beautiful colors found in the formation - exemplified this fossilized tree slab - give the Painted Desert of Arizona its name. Due to plate tectonics, this area was near the equator on the supercontinent Pangaea during the Late Triassic, which gave it a humid, sub-tropical climate. It was a floodplain below mountains to its south and a sea to its west; as a result, massive trees washed down from the mountains and came to rest in sediments that preserved them and fossilized them. The petrification process involves the rapid burial of the tree or pieces under sediment which prevents the usual decay. Flooding and volcanic activity are usually responsible for creating the layers of sand, silt, and ash needed to create the right types and amount of sediment. Mineralized water can then permeate through the wood, coating cell walls and filling the intercellular cavities which then fossilizes into stone. The detailed preservation of the wood, including knots, rings, and bark, are possible because the organic wood molecules become coated and surrounded with smaller silica molecules. Nine different species of tree have been discovered in the fossilized deposits in the region; usually identified as Araucarioxylon arizonicum, an extinct conifer tree (and the state fossil of Arizona). Fascinatingly, the Ancestral Puebloan people who lived in the region approximately 1000 years ago used petrified wood for making tools and even building houses!
Provenance: private Berthoud, Colorado, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#168930
Condition:
Professionally prepared and polished. One planar face is polished and covered in clear fixative coating. The other face is covered in protective sealant and interior rings are not visible. Massive size and great coloration.
VIBRANT TRIASSIC ARIZONAN PETRIFIEDVIBRANT TRIASSIC ARIZONAN PETRIFIED WOOD SLABNorth America, Southwestern United States, Arizona, Late Triassic, ca. 225 million years ago. A massive and gorgeous slab of fossilized, petrified tree trunk, sliced crossways and highly polished on one of the planar sides to showcase the broad interior rings of the tree - beautiful and astoundingly colorful! The exterior bark is fossilized, replaced by rough stone, while the smooth interior features incredible, colorful quartz, and agate. The colors are mesmerizing - dominated by warm hues of red, rusty orange, and maroon with creamy white, gray-blue, lilac, and mauve swirls and striations. The flat face is sealed to protect the surface, and the bottom has a felt pad - this slab could be displayed on a tabletop and even used as giant coaster! Size: 17" Diameter x 1.125" W (43.2 cm x 2.9 cm)
Fossilized trees from this time period come from the Chinle Formation of the southwestern USA, and the beautiful colors found in this formation - exemplified by the colors of this fossilized tree - give the Painted Desert of Arizona its name. Due to plate tectonics, this area was near the equator on the supercontinent Pangaea during the Late Triassic, which gave it a humid, sub-tropical climate. It was a floodplain below mountains to its south and a sea to its west; as a result, massive trees washed down from the mountains and came to rest in sediments that preserved them and fossilized them. The petrification process involves the rapid burial of the tree or pieces under sediment which prevents the usual decay. Flooding and volcanic activity are usually responsible for creating the layers of sand, silt, and ash needed to create the right types and amount of sediment. Mineralized water can then permeate through the wood, coating cell walls and filling the intercellular cavities which then fossilizes into stone. The detailed preservation of the wood, including knots, rings, and bark, are possible because the organic wood molecules become coated and surrounded with smaller silica molecules. Nine different species of tree have been identified in the fossilized deposits in the region; this example may be Araucarioxylon arizonicum, an extinct conifer tree (and the state fossil of Arizona). Fascinatingly, the Ancestral Puebloan people who lived in the region approximately 1000 years ago used petrified wood for making tools and even building houses!
Provenance: private southwestern Pennsylvania, USA collection, acquired prior to 2000
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#159992
Condition:
Professionally cut and polished on both faces. Protective sealant on planar face and felt pad added to other face for stability. Minor surface chips and abrasions. Amazing coloration throughout.
KATHRYN STEDHAM PAINTING - "SOUTH SHOULDERKATHRYN STEDHAM PAINTING - "SOUTH SHOULDER ECHO" (2018)...Kathryn Stedham (American, Contemporary). "South Shoulder Echo" oil on canvas, 2018. Signed on lower right as well as verso with title and date. A stunning Southwest landscape painting by Kathryn Stedham. Stedham blends figurative interpretation with abstraction, depicting a grand red rock precipice rising toward the big blue sky. Passages of verdant foliage dot the foreground and interrupt the rocky crags and ridges above, while feathery clouds emerge from the azure atmosphere. All is delineated with Stedham's gestural Alla Prima painting technique - a method where paint is applied wet on wet rather than letting the earlier layers dry, enabling the artist to capture brilliant light and color. A beautiful example of Kathryn Stedham's dazzling artistry set in a custom frame. Size (painting): 29.7" L x 35.5" W (75.4 cm x 90.2 cm) Size (frame): 35.875" L x 41.76" W (91.1 cm x 106.1 cm)
This painting was acquired from Blue Rain Gallery in Santa Fe, New Mexico. The following is Blue Rain's informative artist biography for Kathryn Stedham: "Moving to the West in 2005 was a life-changing event that brought Kathryn Stedham face-to-face with a true calling: painting the infinite spaces of the American Southwest. Little did she realize at the time, that this would combine two personal rudiments: painting and contemplation. Forever fascinated with stories about the West and Westward Expansion she explains, 'I would happily board a time machine, if there were such a thing, to experience first-hand this important period in American history and our connection to the land.'
Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery.
Trained as an Academic Realist, Stedham began her career as a figurative painter. But her interest evolved, through a period of pure abstraction, into the gestural Alla Prima painting style for which she is known today. This approach combines representational landscape forms with an expressionistic modernist sensibility.
Stedham has exhibited as an artist for over 35 years and her paintings have been featured in public and private collections throughout the United States, Europe, Japan, and Canada. She is a long-time student in the Sanbo lineage of Zen Buddhism. In addition to her studio practice, Stedham travels internationally, rides horses and teaches oil painting workshops. Stedham currently lives and works in Santa Fe, New Mexico."
Provenance: private Albuquerque, New Mexico, USA collection; ex-Hugh K. Terrell estate, representative Priscilla T. Bisher, , purchased from Blue Rain Gallery, Santa Fe, New Mexico, USA
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#175543
Condition:
Painting is overall excellent. Signed on lower right and verso with title and date. Mounted in museum-quality frame which is also excellent save a few minute, nearly invisible scuffs. Fit with suspension wire and ready to display.
KATHRYN STEDHAM PAINTING - "GHOST RANCHKATHRYN STEDHAM PAINTING - "GHOST RANCH SHADOWS" (2020)...**First Time At Auction**
Kathryn Stedham (American, Contemporary). "Ghost Ranch Shadows" oil on canvas panel, 2020. Signed on lower right. A stunning painting of New Mexico's Ghost Ranch by Kathryn Stedham. Stedham blends figurative interpretation with abstraction in this piece, delineating verdant passages leading to the sublime cliffs of renowned Ghost Ranch beneath an azure sky. All is rendered with her gestural Alla Prima painting technique - a method where paint is applied wet on wet rather than letting the earlier layers dry, enabling the artist to capture brilliant light and color. While the scene depicts a site where ancient history has been unveiled via the discoveries of dinosaur fossils, Stedham interpreted it with a modern sensibility and a vibrant color palette that is fresh and current. A beautiful example of Kathryn Stedham's impressive artistry set in a custom frame. Size (painting): 30" L x 36" W (76.2 cm x 91.4 cm) Size (frame): 33.2" L x 39.2" W (84.3 cm x 99.6 cm)
This painting was acquired from Blue Rain Gallery in Santa Fe, New Mexico. The following is Blue Rain Gallery's informative artist biography for Kathryn Stedham: "Moving to the West in 2005 was a life-changing event that brought Kathryn Stedham face-to-face with a true calling: painting the infinite spaces of the American Southwest. Little did she realize at the time, that this would combine two personal rudiments: painting and contemplation. Forever fascinated with stories about the West and Westward Expansion she explains, 'I would happily board a time machine, if there were such a thing, to experience first-hand this important period in American history and our connection to the land.'
Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery.
Trained as an Academic Realist, Stedham began her career as a figurative painter. But her interest evolved, through a period of pure abstraction, into the gestural Alla Prima painting style for which she is known today. This approach combines representational landscape forms with an expressionistic modernist sensibility.
Stedham has exhibited as an artist for over 35 years and her paintings have been featured in public and private collections throughout the United States, Europe, Japan, and Canada. She is a long-time student in the Sanbo lineage of Zen Buddhism. In addition to her studio practice, Stedham travels internationally, rides horses and teaches oil painting workshops. Stedham currently lives and works in Santa Fe, New Mexico."
Provenance: Private Albuquerque, New Mexico, USA collection; ex-Hugh K. Tirrell estate, representative Priscilla T. Bisher, purchased at Blue Rain Gallery, Santa Fe, New Mexico, USA
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#176364
Condition:
Painting is overall excellent and signed at the lower right. Also signed, titled, and dated on verso. Mounted in a beautiful custom frame with a lovely finish. Fit with suspension wire and ready to display.
CHINESE SONG DYNASTY STONE BUDDHA HEAD**FirstCHINESE SONG DYNASTY STONE BUDDHA HEAD**First Time At Auction**
East Asia, China, Song Dynasty, ca. 960 to 1270 CE. A sensitively hand-carved stone Buddha head, a piece from a larger sculpture that perhaps resided in a shrine or temple, enveloped in nice remains of green and red pigments. The visage is serene, the eyes cast downwards nearly closed, and the fleshy lips with slightly upturned edges. The coiffure is arranged in dozens of nodules, each craved with four lines to add swirling texture and indicate the upwards path towards the sun. His long ears droop downwards, having previously been stretched by heavy earrings and indicating his divinity and enlightenment. Size: 5.7" W x 9.5" H (14.5 cm x 24.1 cm); 12.8" H (32.5 cm) on included custom stand.
Social life during the Song period was vibrant. Citizens gathered to view and trade precious artwork, the populace intermingled at public festivals and private clubs, and cities had lively entertainment quarters. The spread of literature and knowledge was enhanced by the rapid expansion of woodblock printing and the 11th-century invention of movable-type printing. Technology, science, philosophy, mathematics, and engineering flourished over the course of the Song. Philosophers such as Cheng Yi and Zhu Xi reinvigorated Confucianism with new commentary, infused with Buddhist ideals, and emphasized a new organization of classic texts that brought out the core doctrine of Neo-Confucianism. Although the institution of the civil service examinations had existed since the Sui dynasty, it became much more prominent in the Song period. The officials who gained power by succeeding in the exams became a leading factor in the shift from a military-aristocratic elite to a bureaucratic elite. During the Song Dynasty, China expanded its trade along the Silk Road and South and Central Asian Buddhist proselytizers brought many sculptures and paintings of the Buddha into the country.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Provenance: private Hawaii, USA collection; ex-M. Kobiashi collection, Hawaii, USA, 1960-2000
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#177594
Condition:
Fragment of a larger piece. Professional repairs and restoration to ears with areas of chipping and minor losses. Expected surface wear commensurate with age. Otherwise, excellent with nice remains of pigments and detail.
OREGON EOCENE PETRIFIED / FOSSILIZEDOREGON EOCENE PETRIFIED / FOSSILIZED WOOD BOOKENDSNorth America, Pacific North West, Oregon, Eocene period, ca. 37 million years ago. A fantastic pair of fossilized, petrified wood bookends from an ancient oak tree - cut and polished to reveal the interior rings of the tree! The petrification process involves the rapid burial of the tree or pieces under sediment which prevents the usual decay- in Oregon, these trees were primarily preserved due to volcanic activity from the "volcanic arc" in the Cascade mountain range. They are highly polished on 3 of the planar sides to showcase the interior coloration and graining. The exterior bark is fossilized, replaced by rough stone, while the smooth interior features incredible quartz, agate swirls in earthen tones. This is a stunning pair to display, or to use as bookends! Size of 1 slab: 7.25" L x 2" W x 10" H (18.4 cm x 5.1 cm x 25.4 cm)
Flooding or volcanic activity are usually responsible for the layers of sand, silt, and ash needed to create the right types and amount of sediment. Mineralized water can then permeate through the wood, coating cell walls and filling the intercellular cavities which then fossilizes into stone. The detailed preservation of the wood, including knots, rings, and bark, are possible because the organic wood molecules become coated and surrounded with smaller silica molecules.
Provenance: private southwestern Pennsylvania, USA collection, acquired prior to 2000
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#159917
Condition:
Professionally cut and polished. Felt pads added to sides for stability and prevent scratches on furniture.
KATHRYN STEDHAM PAINTING - ORPHAN MESAKATHRYN STEDHAM PAINTING - ORPHAN MESA (2021)Kathryn Stedham (American, Contemporary). "Desert Waves, Orphan Mesa" oil on canvas, 2021. Signed on lower right as well as verso with title and date. A stunning painting of Orphan Mesa in Georgia O'Keeffe's Ghost Ranch region of New Mexico by contemporary artist Kathryn Stedham. Masterfully blending figurative interpretation with abstraction, Stedham has captured the impressive red rock mesa rising toward the blues and greens of the big open sky as sunlight dramatically illuminates the topographical landscape. A band of shadows in the foreground contrasts with the luminous scene beyond. All is delineated with Stedham's gestural Alla Prima painting technique - a method where paint is applied wet on wet rather than letting the earlier layers dry, enabling the artist to capture brilliant light and color. A beautiful example of Kathryn Stedham's dazzling artistry set in a custom frame. Size (sight view): 22.125" L x 27.75" W (56.2 cm x 70.5 cm) Size (frame): 24.75" L x 30.7" W (62.9 cm x 78 cm)
This painting was acquired from Blue Rain Gallery in Santa Fe, New Mexico. The following is Blue Rain's informative artist biography for Kathryn Stedham: "Moving to the West in 2005 was a life-changing event that brought Kathryn Stedham face-to-face with a true calling: painting the infinite spaces of the American Southwest. Little did she realize at the time, that this would combine two personal rudiments: painting and contemplation. Forever fascinated with stories about the West and Westward Expansion she explains, 'I would happily board a time machine, if there were such a thing, to experience first-hand this important period in American history and our connection to the land.'
Feeling an urgency to portray this space, rooting out the mystic snippets of a quickly vanishing landscape, Stedham seeks to capture its raw elegance in the rapidly changing light, vast distances, rugged escarpments, colorful mesas and hidden arroyos—to excavate the bones of existence in this terrain where the West is still wild and free and to be an explorer of this ineffable mystery.
Trained as an Academic Realist, Stedham began her career as a figurative painter. But her interest evolved, through a period of pure abstraction, into the gestural Alla Prima painting style for which she is known today. This approach combines representational landscape forms with an expressionistic modernist sensibility.
Stedham has exhibited as an artist for over 35 years and her paintings have been featured in public and private collections throughout the United States, Europe, Japan, and Canada. She is a long-time student in the Sanbo lineage of Zen Buddhism. In addition to her studio practice, Stedham travels internationally, rides horses and teaches oil painting workshops. Stedham currently lives and works in Santa Fe, New Mexico."
Provenance: Private Albuquerque, New Mexico, USA collection; ex-Hugh K. Tirrell estate, representative Priscilla T. Bisher, purchased from Blue Rain Gallery, Santa Fe, New Mexico, USA, July 28, 2021
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
#175414
Condition:
Painting is excellent overall. Signed on lower right and verso with title and date. Mounted in museum-quality frame which is also excellent save a few minor scuffs and one minute nick that is difficult to see. Fit with suspension wire and ready to display.
BARBARA DIANE SCHMIDT (OTIS, OREGON/CALIFORNIA,BARBARA DIANE SCHMIDT (OTIS, OREGON/CALIFORNIA, 19BARBARA DIANE SCHMIDT (Otis, Oregon/California, 1944-2015) oil on canvas, "Shooting the Rapids," figures in a boat. Signed "B. DiAnne" lower right. Image measures 18" x 24". In a wood frame; 25" x 31" overall.
American School, Circa 1850
Six NiagaraAmerican School, Circa 1850
Six Niagara Falls Scenes
watercolor on paper
titled along lower edge or to verso, including View of Niagara Falls from below, on the American Side, View of Niagara Falls from the Hogs back - American Side, View of the Rapids from Goat Island, View of Niagara Falls, from the top of the Pagoda - American Side, View of the Rapids from the end of Goat Island, on the right, and View of the bank Portico of the Cataract House.
each matted.
Each sheet 8 3/4 x 11 inches.
BOB MCKAY, CANADA (20TH / 21ST CENTURY),BOB MCKAY, CANADA (20TH / 21ST CENTURY), TURNED WOOD VESSEL, BIG LEAF MAPLE WOOD, 6 1/2"H X 6"DIAM.Bob McKay, Canada, (20th / 21st Century) turned wood vessel, big leaf maple wood signed and numbered under base. Artist's Statement: My adult life has been spent, almost compulsively, making things of wood. I've made theatre scenery, toys, cabinets, furniture, doors, windows, stairs, boat parts, houses, outhouses, greenhouses, doll houses, and so forth. But when I ‘discovered' woodturning almost 30 years ago, I knew right away that I was home. Lathe-turning suits my criteria for a "making" process perfectly. I like the scale of the work, the rapidity of wasting down to a rough form, and the delicacy of final shaping that is possible. I especially like visualizing possible pieces that make use of natural features in the wood. Cutting into a log is a little like prospecting for precious minerals — even though there are indications on the outside of what might lie within, it is always something of a surprise as I roll each fresh-cut block over the first time. I spend a lot of time roaming freshly logged hillsides, probing the stumps for their hidden treasure, and it never ceases to amaze me how fast the wild plants create an impassable tangle in their eagerness to embrace the blessing of new sunshine. There is a sense of optimism in a forest, even in one that seems laid waste … a kind of innate faith in the resilience of the force of life, an unwavering commitment to the cycle of birth, life, death and renewal. In this time of widespread starvation, armed conflict and severe environmental degradation, I feel there must be another level to what I am doing than just making beautiful objects. When it comes right down to it, what really counts is how we express our personal values from moment to moment. So I hope my work communicates an awe and reverence for natural processes, a sense of the connectedness of all life, and the uniquely human search for perfection. big leaf maple wood Dimensions: 6 1/2"H x 6"Diam.
2 RARE BAVARIAN WERDER 1869 PISTOLS22 RARE BAVARIAN WERDER 1869 PISTOLS2 rare Bavarian Werder 1869 pistols designed by Johan Ludwig Werder. Opposed triggers have cocking levers mounted above. Known as 'Bavarian Lightning' because of the rapid firing process. One side has '208' incised, the other side has '3A R3cR 43'. Measures 15"L x 7"W.
THE MILDMAY SERVICE – A PAIR OF GEORGETHE MILDMAY SERVICE – A PAIR OF GEORGE I BRITANNIA STANDARD DINNER PLATES Paul de Lamerie, London 1725, each of circular outline with a moulded border, engraved with armorial and crest to border, the reverse engraved with numbers 14 and 34 and with scratch weights 20:18 and 20:15 respectively(2)Diameter: 24cm, combined weight: 35ozProvenance:The Estate of Ray Slater Blakeman; Christie's, New York, 15 October 1985, lot 313 and 314 with Sandra Lipton, London, May 1989.Sotheby’s Auction, 17th November 2010, Fine Furniture, Tapestries, Silver, Ceramics, Clocks and Rugs, Lot 15Heraldry:The arms are those of Mildmay quartering Fairfax with Schomberg in pretence for Benjamin Mildmay, 19th Baron FitzWalter and 1st Earl FitzWalter.Note:Benjamin Mildmay, Baron and later Earl FitzWalter (1672-1756) The rapid social ascendancy of the 1st Earl of FitzWalter is an example of the nature of Georgian wealth and is visible in his commissions and the alterations to his stately home, Moulsham Hall in Essex.In 1724, at the age of 51, Mildmay married the widowed Lady Frederica Susanna, daughter of the 3rd Duke of Schomberg, who was famed for his role in the Battle of the Boyne. This consequently gave Mildmay access to Schomberg House, on Pall Mall, and therefore also to the heart of London society. Soon after, in 1728 he inherited the Barony of FitzWalter from his elder brother, who had died without issue, and then in 1730 he was given the title of Viscount Hardwich, in the county of Essex, and Earl FitzWalter; all in a mere six years.Moulsham Hall in Essex, formed part of the estate he inherited from his late brother. The hall was originally built in 1540 by Thomas Mildmay, and it would remain in the family for over 300 years. Indeed, it was esteemed enough to host Elizabeth I for four days on her annual progress in 1579, before being refashioned in 1591 into a grader Tudor home.In 1728 as soon as Mildmay inherited the property, he, along with the architect Giacomo Leoni, transformed the house into a Neo-Classical mansion in the Palladian style. Together they were extremely methodical about keeping records for each purchase and transaction. These records are now archival material held with Essex record office, and they show the wealth and investment for both the exterior and interior of the house.Mildmay himself had established a successful government career, from 1720-28, he was Commissioner of the Excise and was later promoted to Treasurer of the Household in 1737. The fusion of his career, his inheritance and his marriage meant that Mildmay was able to commission only the best and most fashionable craftsmen of the time.In 1725, he ordered ‘12 Dishes & 3 Dozen of plates’ from the well-respected Huguenot silversmith Paul de Lamerie, as detailed in the Essex Record office. It is most likely that these plates, dated 1725, were commissioned to mark his marriage with the engraved armorials enforcing this. The Essex Record Office hold invaluable account details and show that a further service of dinner plates was commissioned in 1737 and this is most likely linked to his appointment as Treasurer of the Household as he had an entitlement of 1000oz of plate for his own use from the Jewel House.Furnishing one’s abode with plate was the ultimate Georgian display of wealth, contemporary peers of Mildmay also chose to display their wealth by investing in plate. George Anson (1697-1762), 1st Baron Anson, the famous Admiral who circumnavigated the globe in four years also invested in a silver service and also chose Paul de Lamerie to craft his wares. Lyon & Turnbull offered one serving dish from his service in March of 2022, Lot 130, achieving £7,800.De Lamerie was born in the Netherlands to Huguenot parents, but the family fled religious persecution on the continent and settled in England. He became a freeman of the Goldsmith's Company, London and registered his mark in 1712. The continent was to continue to inspire his work, from the 1730s he was regarded as one of the most famous silversmiths of his age due to his craftsmanship and this was aided by his business acumen. With most work based on commissions, these important connections helped his reputation, becoming known as the King’s silversmith for the numerous commissions for the Royal Households. Other key clients included Catherine the Great, who commissioned a wine cistern in 1726, still housed in the Hermitage, (pg 77, Paul de Lamerie, At the Sign of the Golden Ball, An Exhibition of the Work of England's Master Silversmith) and the Walpole salver for Robert Walpole. A remarkably finely engraved salver with the design of the Second Exchequer Seal of George I, housed at the Victoria and Albert Museum (M.9-1956). Although working mainly on commissions, his shop based at 40 Gerrard Street from 1738 stocked further delights for the eye to behold.Mildmay died without issue, leaving the house and contents with no viable heir. The house was later occupied by defensive forces fearing an invasion during the Napoleonic Wars and eventually demolished, but the furnishings are unaccounted for. Whenever items do appear at auction, there is always much anticipation. Twelve similar plates, also marked for 1725, are currently housed in the Sterling and Francine Clark Art Institute in Massachusetts (acquisition number 1955.405).
LATE 18TH C. AMERICAN NEEDLEWORK SAMPLERLATE 18TH C. AMERICAN NEEDLEWORK SAMPLER WROUGHTBY SALLY MOORS, GROTON, MA, BORN OCT 22, 1780. FLORAL AND VINE BORDER ENCLOSES THREE ALPHABETS. INSCRIPTION HIGHLIGHTING THE BEAUTY OF THE MIND AND THE ENERGY OF YOUTH. SEVERAL VERSES, ONE STATING “YOUTH’S THE SPRINGTIME OF OUR YEAR, SHOT THE RAPID SCENE APPEARS". ALSO DEPICTS A LARGE SUNFLOWER, BIRDS, AND OTHER FLOWERS. EXCELLENT CONDITION. SIGHT SIZE 10 1/2" X 14 3/4", WITH FRAME 24 1/4" X 16 1/4". MODERN FRAME WITH UV GLASS.
CHRISTOPHER CHARLES FRENCH (AmericanCHRISTOPHER CHARLES FRENCH (American born 1957). #1400 ''THUS THE RAPIDITY OF CONVERSATION WHERE EVERYTHING IS ACCOMPLISHED BY FORMULAS (DIDEROT)'': THREE WORKS signed dated and titled on verso. Painted slate panels - Framed each: 8 1/2 in. x 5 1/2 in.
R. Dion (French, early 20th century),R. Dion (French, early 20th century), "The Rapid", advertising poster; 46 1/2" x 31"; signed in the print lower right; Sennet & Co, Paris. Framed. Wrinkling in borders, several creases into field, and very minor staining in left border.
General Orlando B. Willcox Medal ofGeneral Orlando B. Willcox Medal of Honor Winner Oil Portrait Post-war oil painting on canvas of General Orlando B. Willcox in uniform unsigned 21.5 x 25.25 in. framed 27.5 x 31.25 in. Born in Detroit Orlando Bolivar Willcox (1823-1907) was a celebrated career United States Army officer who graduated West Point in 1847 and dedicated nearly 40 years service to his country before retiring as a regular brigadier general in 1887. Willcox served initially in the 4th Artillery during the later stages of the Mexican War fighting Indians on the Great Plains and during the Third Seminole War before resigning in 1857 to pursue a law career. In March 1895 General Willcox was awarded a Medal of Honor for ?distinguished gallantry? at First Bull Run where as colonel he commanded a brigade consisting of his own 1st Michigan Infantry and the famous 11th NY (Ellsworth??Ts) Fire Zouaves and ?led repeated charges until wounded and taken prisoner.? Subsequently Willcox was held at Richmond Charleston and Columbia South Carolina before being exchanged in August 1862 and promoted to brigadier general retroactive to July 21 1861 (Bull Run). Afterward Willcox was given command of a division in fellow 1847 classmate Ambrose Burnside??Ts Corps and fought steadily at Antietam and Fredericksburg. In 1863 he commanded the District of Indiana and Michigan before returning to divisional command for the grueling Knoxville Campaign. Once more under Burnside he led his division during Grant??Ts Overland Campaign receiving a brevet promotion to major general in August 1864 for ?actions after crossing the Rapidan.? General Willcox commanded the first troops to enter Petersburg following the lengthy siege. Orlando Willcox was twice brevetted in 1867 for his Civil War service (Spotsylvania and Petersburg) and reverted to colonel of the 12th Infantry in March 1869. Toward the end of his stellar career Willcox took command of the Department of the Arizona and ?effectively suppressed the raids of the Apache Indians and for his service in this conjunction received a votes of thanks form the Arizona Legislature.? Willcox was promoted to Brigadier General Regular Army in October 1886 and was placed on the statutory retirement list in April 1887. The general was among the last of the army??Ts surviving high-profile Civil War officers when he died at age 84 on May 11 1907. The general is buried at Arlington (Section 1 Grave 18). Condition: Some edgewear and corner wear to frame.
5 vols. American Description & Travel5 vols. American Description & Travel - Kentucky & Adjoining Regions: Imlay, G(ilbert). A Topographical Description of The Western Territory. New York: Samuel Campbell, 1793. 2 vols. 12mo, modern morocco or cloth & bds. With 1 plan ("The Rapids of The Ohio") (of 3 maps & plans) only. Scattered foxing & light dust soiling. Vol. 2 trimmed - no loss of ptg. (Vol 2: Filson, John, The Discovery, Settlement and Present State of Kentucky.) Howes I-12; Evans 25648. * Filson, John. Histoire de Kentucke Nouvelle Colonie a l'Ouest de la Virginie. Paris, 1785. 1st French-language ed. 8vo, contemp. speckled calf, red morocco spine label; scuffed & occasionally rubbed. Some internal spotting & staining. Lacking map. Howes F-129. * Michaux, F.A. Travels to The Westward Allegany Mountains in The States of The Ohio, Kentucky, and Tennessee, in... 1802. London: for Richard Phillips, 1805. 8vo, modern cloth. Internally generally clean. Lacking map. Howes M-579. * Jefferson, Thomas. Notes on The State of Virginia. London: for John Stockdale, 1787. 1st English-language ed. 8vo, contemp. calf, rubbed, spine gone, covers detached. Fold. table. Lacking map. Scattered light foxing. Howes J-
Roland Reed Photogravures of AmericanRoland Reed Photogravures of American Indians Lot of 15 photogravures 11 x 14 in. with 7 credited lower left below each image to Roland Reed Kalispell Montana each with Great Northern Railway / "See America First" / National Park Route imprint in lower right corner. Printed title as well as the slogan Glacier National Park Montana. See America First included below each gravure. The lot features the following titles: Medicine Owl Blackfeet Medicine Man; Cutbank Canyon Native Home of the Blackfeet Indians; A Blackfeet Indian Travois - The Original American's First Mode of Transportation; On the Travois Trail - Now Great Northern Automobile Road; Medicine Owl Mystic Medicine Man Blackfeet Indians; Encampment of Chief White Calf and His People; Lazy Boy and Squaw Renowned Enemy of Crow Indians; Fish-Wolf Robe Blackfeet Indian Dancer; Blackfeet Indian Braves; Chief Two Guns White Calf Blackfeet Tribe; Dawn Mist Blackfeet Indian Princess; Three Bears and Squaw Blackfeet Indian Medicine Man; A Council of the Blackfeet Indians; Blackfeet Indians Fording the Rapids Above McDermott Falls; Chief Fred Big Top Blackfeet Indian Guide. Condition: Few scattered stains or spots; some light edgewear; overall very good.