A few examples of appraisal values for
WOOLF

• Books. Two shelves of Modern
  Books. Two shelves of Modern British reference, 20th c , including the Bloomsbury Group and Virginia Woolf, Eric Gill, John Piper, Eric Ravilious and further print and printing works, Henry Moore, Jack Simcock, etc., mixed bindings and sizes
• ROOM-SIZE AFGHAN BOKARA RUG. 20TH
  ROOM-SIZE AFGHAN BOKARA RUG. 20TH CENTURY. WOOLfoundation. Garden or elephant foot pattern. 76" by 100". Overall good condition. Shows some fading.
• GROUP OF EIGHT BOOKS BY VIRGINIA
  GROUP OF EIGHT BOOKS BY VIRGINIA WOOLF, INCLUDING A SIGNED COPY OF 'A ROOM OF ONE'S OWN'Comprising: To the Lighthouse, Hogarth Press, London, 1927 Three Guineas, Harcourt, Brace & Co., NY, 1938 The Waves, Hogarth Press, London, 1931 The Voyage Out, Duckworth. London, 1927 Mrs. Dalloway, Hogarth Press, London, 1925 A Room of One's Own, Harcourt, Brace & Co., NY, 1929, signed Between the Acts, Harcourt, Brace & Co., NY, 1941 The Captain's Death Bed and Other Essays, Harcourt, Brace & Co., NY, 1950 Property from the Estate of R.C. Bald Donated by Margaret Bald Sold to Benefit the Finger Lakes Land Trust Condition Five with dust covers, tears to each. Otherwise fading, wear and some minor foxing consistent with age and use. Otherwise in good condition.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• GERTLER & WOOLF, PAIR POMO METAL
  GERTLER & WOOLF, PAIR POMO METAL COUNTER STOOLS c. 1988, USA, brushed aluminum and steel, with asymmetrical geometric legs, round foot rest, heavy and well made, custom designed by Gertler & Woolf Architects, 24"h x 13"l x 12"q
• GERTLER & WOOLF ARCHITECTS,
  GERTLER & WOOLF ARCHITECTS, PENDULUM SIDE TABLE c. 1988s, USA, aluminum cladding, ebonized oak veneer, black granite top, the round table suspended by three metal wires, 30"h x 15"dia, (table), 96"h (total)
• GERTLER & WOOLF ARCHITECTS,
  GERTLER & WOOLF ARCHITECTS, CITYSCAPE COFFEE TABLE c. 1988, USA, slate grey cerused oak veneer, frosted and etched trapezoidal shaped glass top, the base comprised of massed square rods of various heights, three which penetrate the glass top, 17"h x 72"l x 23"w (to tabletop)
• 4PC WOOLF VIERGE & CURHAN
  4PC WOOLF VIERGE & CURHAN ASSORTED ILLUSTRATIONS United States,19th-20th CenturyIncludes an ink illustration depicting children astonished to see fattened mice in their Christmas stockings by Michael Woolf (1837-1899), an ink drawing depicting an older woman speaking to a young man and woman with the caption "I won't have my niece going out spending a service man's pay! You two stay right here this evening- pretend I'm a nightclub hostess." copyright 1944 by News Syndicate Co. Inc., a pencil illustration of The Elms in Newport, Rhode Island by Gerald Serge Curhan (d.2011), and an illustration depicting a Spanish barber shop with a man getting a shave while other workers prepare shaving bowls by Daniel Vierge (1851-1904).
• BILL WOOLF (AMERICAN, 20TH CENTURY)
  BILL WOOLF (AMERICAN, 20TH CENTURY) LIVE LIFE LIKE A JESTER DON'T BE AFRAID TO FALL ON YOUR FACE OIL ON PAPER; SIGNED TOP RIGHT Sheet 30 x 22 in — 76.2 x 55.9 cm
• PORTRAIT OF JOHN WOOLFOLK, ATTR.
  PORTRAIT OF JOHN WOOLFOLK, ATTR. PEALEAttributed to Rembrandt Peale (1778-1860), oil on canvas bust length portrait of John Woolfolk. Late 19th century script en verso reads "painted by Rembrandt Peale son of Charles Peale, who painted the portrait of George Washington" in addition to biographical information on Woolfolk and three generations of sons in script. This portrait is illustrated in the book, "Columbus on the Chattahoochee". Housed under glass in a carved black and gilt wood frame. Frame with old Chicago framing label en verso. Sight - 29 1/2_H x 24 1/2_ W. Framed - 38_ H x 33_ W. Mid- 19th century. John Woolfolk (1781-1861) was a native Virginian known for his extensive property and slave holdings in Columbus, GA. His real estate assets included plantations on Upatoi Creek and both sides of the Chattahoochee River, including Woolfolk's Bend and Jenny's Island. Part of these lands later became the headquarters of the Fort Benning military post. Additional holdings of John Woolfolk included "Dinglewood", one of the most prominent homes in Columbus. Provenance: The Greene Museum, Phenix City, Alabama, acquired from the subject's great-great grandson, William G. Woolfork of Detroit. Condition: Overall very good condition with light craquelure evident to canvas. Frame with minor losses to molding.
• TWO HOGARTH PRESS VIRGINIA WOOLF
  TWO HOGARTH PRESS VIRGINIA WOOLF FIRST EDITIONSBook 1: Between the Acts. Author: Virginia Woolf. London: The Hogarth Press, 1941. First Edition. 7 1/2" H x 5" W x 1 1/8" D. Book 2: Monday or Tuesday. Author: Virginia Woolf. Illustrations by Vanessa Bell. Richmond: Hogarth Press 1921. First Edition. 7 5/8" H x 5 1/8" W x 5/8" D. Provenance: Collection of Charles and Ann Wells, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com) Condition: Book 1 in good condition with a dust jacket in good condition excepting some chipping and short tears. Book 2 in good condition with clear protective wrapper. A little bumping to corners and some offsetting from illustrations as usual.
• SIGNED LIMITED EDITION "KEW
  SIGNED LIMITED EDITION "KEW GARDENS" BY VIGINIA WOOLFKew Gardens (Signed Limited Edition) by Viginia Woolf. Decorated throughout by Vanessa Bell. London: Hogarth Press. (1927). Signed Limited Edition #88 of 500 numbered copies. Signed by both Woolf and Bell. 10 3/8" H x 5 1/2" W x 1 5/8" D. Provenance: Collection of Charles and Ann Wells, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com) Condition: Hardback, papercovered boards with clear glassine cover. Fragile book with some cracking and chipping to backstrip of spine (one two-inch strip at top detached but present). A small spot to front free endpaper and some light tape shadows.
• ANTIQUE BOY MAGICIAN
  ANTIQUE BOY MAGICIAN AUTOMATON.Antique Boy Magician Automaton. French, late nineteenth century. Incomplete and non-functional automaton figure, originally depicting a Hindu boy magician at a table, vanishing and producing a ball. Parts of head, forearms, legs, and body preserved, exposed mechanism at rear. Collection of Michael Woolf (Wellington, New Zealand), sold with his file of reference photos of similar automata, and clippings from the Wellington Evening Post on his unfulfilled quest to restore this rare piece. Clarification - Dec. 6, 2017: The base of this automaton is modern and contains no clockwork or other parts.
• MOTT ST. POKER CLUB: THE
  MOTT ST. POKER CLUB: THE SECRETARY’S MINUTES.Mott St. Poker Club: The Secretary’s Minutes. New York and London: White and Allen, 1889. Cloth-backed pictorial covers. Illustrated by M. Woolf. 8vo. Covers heavily soiled, else good overall.
• BROWN SABLE COAT20th century,
  BROWN SABLE COAT20th century, full length women's coat, black sateen lining with gold and brown embroidery, embroidered to interior "Created for Marjorie Weitzman", side slit pockets, in Furs by Don Woolf garment bag, length 44 in. /p> Provenance: Private Collection Condition: overall good condition
• FOLIO OF 12 LITHOGRAPHSFolio of
  FOLIO OF 12 LITHOGRAPHSFolio of 12 Lithographs to include six Aida Carballo (Argentina 1915-1985) lithographs of "de los locos", James Chapin "Sleeping Child", S.J. Woolf "FDR", Vanity Fair 1880 "Ficelle Dramatique" etc.. folio size 20 1/2" x 17" 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. Condition: Reports are available by request and answered in the order they are received starting the week of the sale. Our online buyers premium is 28%.
• YAYOI KUSAMA(New York/Japan, born
  YAYOI KUSAMA(New York/Japan, born 1929) Dancing Pumpkin, 1993, 78/120, signed lower right "Yayoi Kusama", titled in Japanese, screenprint on wove paper, image 19-5/8 x 28-5/8 in., sheet 23-7/8 x 32-1/2 in. Note: Denise Marshall was a research librarian, noted scholar of Virginia Woolf, and a professor at Fairleigh Dickinson University in New Jersey for 15 years or so before retiring. She also taught college courses through the University of Maryland to military personnel in the 1970s in Japan, Bali, and Korea, which is when she would have first traveled in Asia where she began collecting art. She traveled extensively in the 80s and 90s to the Far East and she lived and worked in Africa for a time. She was a collector of rare books and art for much of her life. Condition: full margins, strong color, corner margins with creases, some slight handling grime, abrasion to black ink lower right, remnant hinging tape verso top at two points
• EXHIBITED 20TH C. WILLOUGHBY
  EXHIBITED 20TH C. WILLOUGHBY PHOTO OF ELISABETH FRINK**Originally Listed At $2500** Bob Willoughby (American, 1927-2009). "Elisabeth Frink, Sculptress in her Chelsea, London Studio - 1956" - silver gelatin print, printed January 12, 1978, signed, numbered & annotated. An important photograph of British sculptor Elisabeth Frink in her Chelsea, London studio by American photographer Bob Willoughby. In the photo, Frink stands in profile, turned to her right. On the wall behind her are several sketches (presumably studies for sculptures), a wonderful painted handprint, a rendering of a mesmerizing visage staring out at the viewer as well as a postcard depicting a trio of Renaissance busts directly behind Frink's head, a collection of hanging frames at the center, and a large-scale painting of Christ. Size: 12" L x 16" W (30.5 cm x 40.6 cm) Elisabeth Frink and Bob Willoughby were good friends in the 1950s and admired one another's work. Not only did Bob take this special photograph of Elisabeth, he also asked her to create a bronze bust of his likeness finding Frink's work to be "powerful and important." Frink's bronze bust of Willoughby is also available for sale. Bob Willoughby has been described as "…the man who virtually invented the photojournalistic motion picture still" by Popular Photography. A pioneer of 20th century photography, he is best known for being a "link between the filmmakers and major magazines of the time, such as Life and Look" (source: The Bob Willoughby Photo Archive website). Willoughby studied film at the University of Southern California (USC) Cinema Department and design at the Kahn Institute of Art. He also apprenticed with famous Hollywood photographers such as Paul Hesse, Glenn Embree, and Wallace Seawell. Willoughby documented a golden era of cinema, shooting on the sets of A Star is Born, The Graduate, Rosemary's Baby, My Fair Lady, and Who's Afraid of Virginia Woolf? to name a few. In addition to capturing such Hollywood legends like Judy Garland, Elizabeth Taylor, and Audrey Hepburn, Willoughby had an immense appreciation for jazz and created a wonderful series portraying jazz musicians. Furthermore, his honors were numerous and his work has been collected internationally by esteemed museums and institutions. According to the Bob Willoughby Photo Archive, "The Academy of Motion Picture Arts and Sciences in Hollywood honored Willoughby with a major retrospective exhibition of his work. He was awarded the Lucie Award for Outstanding Achievement in Still Photography in New York in 2004. His photographs are in the permanent collections of The National Portrait Gallery, Washington, D.C.; The National Portrait Gallery, London; The National Museum of Photography, Bradford, UK; Bibliotheque Nationale de France, Paris; The Museum of Modern Art, Film Department, New York; The Academy of Motion Picture Arts and Sciences, Beverly Hills; The Metropolitan Museum of Art, New York; The Tate Gallery Collection, London; Theatre de la Photographie et de l'Image, Nice; and Musee de la Photographie, Charleroi, Belgium." Dame Elisabeth Frink discovered her love for Renaissance sculpture as a teenager when, being the daughter of an army officer, she lived in Trieste, Italy and traveled to Venice. She attended the Guildford School of Art and the Chelsea School of Art, studying under John Berger (1926-2017), Ceri Richards (1903-1971), and Julian Trevelyan (1910-1988). Frink's work came to be associated with artists Lynn Chadwick (1914-2003) and Kenneth Armitage (1916-2002) who were known as The Geometry of Fear sculptors (a term coined by critic Herbert Read). "These supposedly angst-ridden artists bridged the gap between 1930s geometric idealism and post-war existentialism." Frink associated with contemporary artists Francis Bacon, Lucian Freud, John Minton, and Michael Andrews in London pubs during the evenings and "held wild parties in her shared flat in Chelsea" (source: Christie's "Artist guide: Elisabeth Frink" - 14 September 2020). Frink's sculptures are on view throughout the world. These include her famous "Warhorse" at Chatsworth House in Derbyshire as well as "Eagle" which was commissioned as a lectern for Coventry Cathedral. Please note: According to the Bob Willoughby Photo Archive, only three of these photographs have ever been printed. The other two are in the permanent collections of The Tate Gallery in London and the National Portrait Gallery in London. In addition, this photograph has been shown in numerous gallery exhibitions over the years. Bob Willoughby's photograph of Marilyn Monroe (1960) hammered for $8,893 at Binoche Renaud Giquello SARL (April 30, 2011 - lot #136) and his photo of Audrey Hepburn and Assam on the set of My Fair Lady (1963) hammered for $7,373 at Christie's London (September 27, 2017 - lot #152). Provenance: private Washington, 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. We ship worldwide and handle all shipping in-house for your convenience. #167801 Condition: Signed, numbered, and annotated in pencil by Bob Willoughby on the verso. Although numbered 2/200, according to the Bob Willoughby Photo Archive, only 3 of these photographs have ever been printed. The photograph has been exhibited before and shows some wear, however the image is still vivid and strong. There is also a Bob Willoughby copyright stamp on the verso.
• MARGARET MELLIS INK PAINTING WITH
  MARGARET MELLIS INK PAINTING WITH CIGARETTEMargaret Mellis (Scottish born in China, 1914-2009). Ink painting with collaged cigarette, n.d. Inscribed "El Cigarillo y el Arte, Despues de Ferryfrost / London Oct. MM MA" at lower right. A fascinating piece by Margaret Mellis featuring two long-lashed eyes delineated in indigo blue ink, the eye to the right presenting the word "ART" on the sclera, as well as an actual cigarette collaged to the left of the composition with lyrical passages of yellow and pink ink suggesting light radiating from the cigarette butt, swirling plumes of smoke, and a heart surrounding the "ART" eye. The inscription below reads, "El Cigarillo y el Arte, Despues de Ferryfrost" suggesting enjoying a cigarette after partaking in a "Ferryfrost" - perhaps Mellis' alternative word for sex. A whimsical artwork by Margaret Mellis mounted under glass in a custom frame. Size: 5.875" L x 7.875" W (14.9 cm x 20 cm) About the artist: "Born in 1914, in China, Margaret Mellis and her family returned to Scotland soon after her birth. She studied at Edinburgh College of Art, where she was taught by SJ Peploe and WG Gillies, and learnt alongside Wilhelmina Barns-Graham and William Gear. In 1933, she went to Paris to study under Andre Lhote, followed by another visit in 1937. In between, in 1936, she met Adrian Stokes; the couple married in 1938. Together, they moved to St Ives, Cornwall, arguably heralding the next wave of artists to the area, with Ben Nicholson, Barbara Hepworth, Naum Gabo, Terry Frost, Patrick Heron, and Roger Hilton. Before this, she studied for a time at the Euston Road School, before fleeing to Cornwall following the outbreak of war. This move to St Ives coincided with Mellis exploring collage and relief. Created from found materials and paper, these collages were exhibited in New Movements in Art, at the London Museum in 1942. In 1946, following her divorce from Stokes, Mellis met the artist Francis Davison, with whom she moved to London, and then to Cap d' Antibes, in 1947. They married in 1948, and relocated to Walberswick, and later Syleham, Norfolk, in 1950, and then to Suffolk. For much of this time, though both continued to create artworks, neither was widely exhibited in London - they were geographically and, at times, conceptually, distant from life in the capital. This began to change, after Mellis embarked upon a series of large abstract paintings known as 'colour structures'. These were exhibited in London, with solo shows at Grabowski Gallery, in 1969, and then at Basil Jacobs Gallery, in 1972. From both shows, Mellis sold work to important public collections; the Government Art Collection bought a painting from the Basil Jacobs show, in 1972, while a painting had earlier been purchased by the Arts Council of Great Britain, in 1969. In 1978, Mellis started creating driftwood reliefs, which she found while walking along the local coast at Southwold, and likened the creative process to Surrealist automatism. In the mid-'80s, Mellis was included in several high-profile exhibitions, including the important survey show of St Ives 1939-64, staged at the Tate Gallery, London, in 1985, and later Scottish Art since 1900, at the Scottish National Gallery of Modern Art, Edinburgh. In 1987, the Redfern Gallery staged a retrospective exhibition, from which the Tate and Arts Council bought recent driftwood reliefs. The exhibition was also attended by a young Damien Hirst; intrigued by the driftwood constructions in particular, Hirst wrote to the artist, and was invited to visit Mellis in Southwold, forming a lasting friendship. Mellis was part of the Tate St Ives' inaugural exhibition in 1993, and was the subject of a retrospective that opened at City Art Centre, Edinburgh, and toured the UK, in 1997. Recent exhibitions include Modern Scottish Women 1885-1965, at the Scottish National Gallery of Modern Art, and a joint-show with Damien Hirst at Pier Arts Centre, Orkney. In 2018, her work featured in an exhibition inspired by Virginia Woolf and her writings, at Tate St Ives." (Redfern Gallery website) Provenance: private Santa Barbara, California, 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. We ship worldwide and handle all shipping in-house for your convenience. #179033 Condition: Inscribed "El Cigarillo y el Arte, Despues de Ferryfrost / London Oct. MM MA" at lower right. Artwork is mounted under glass in a custom frame. It has not been examined outside the frame but appears to be in excellent condition. Gold tone metal frame has minor surface wear but is otherwise very nice. Glass is intact. Frame is fit with suspension wire.
• EXHIBITED MARGARET MELLIS PASTEL
  EXHIBITED MARGARET MELLIS PASTEL - "BIG BURDOCK LEAF"Margaret Mellis (Scottish born in China, 1914-2009). "Big Burdock Leaf" pastel on envelope, n.d. Initialed "M.M." twice at lower left and once at lower right. Exhibition label on verso. A wonderful pastel composition on a deconstructed paper envelope by Margaret Mellis mounted behind glass in a custom frame. The composition is true to its title, depicting a bouquet of colorful flowers displayed in a glass vase before a massive Burdock leaf. All is delineated in Mellis' signature expressive style, and a label on the verso indicates that this piece was exhibited at Gainsborough's House Sudbury Suffolk, August 22 to October 18, 1992. In addition to Mellis' undeniable artistry, unique style and format, the theme of this piece is particularly symbolic as Burdock is associated with abundance and has been used in rituals to bring about vitality, prosperity, and virility. Size (artwork): 12" L x 15.5" W (30.5 cm x 39.4 cm) Size (frame): 19.2" L x 22.25" W (48.8 cm x 56.5 cm) About the artist: "Born in 1914, in China, Margaret Mellis and her family returned to Scotland soon after her birth. She studied at Edinburgh College of Art, where she was taught by SJ Peploe and WG Gillies, and learnt alongside Wilhelmina Barns-Graham and William Gear. In 1933, she went to Paris to study under Andre Lhote, followed by another visit in 1937. In between, in 1936, she met Adrian Stokes; the couple married in 1938. Together, they moved to St Ives, Cornwall, arguably heralding the next wave of artists to the area, with Ben Nicholson, Barbara Hepworth, Naum Gabo, Terry Frost, Patrick Heron, and Roger Hilton. Before this, she studied for a time at the Euston Road School, before fleeing to Cornwall following the outbreak of war. This move to St Ives coincided with Mellis exploring collage and relief. Created from found materials and paper, these collages were exhibited in New Movements in Art, at the London Museum in 1942. In 1946, following her divorce from Stokes, Mellis met the artist Francis Davison, with whom she moved to London, and then to Cap d' Antibes, in 1947. They married in 1948, and relocated to Walberswick, and later Syleham, Norfolk, in 1950, and then to Suffolk. For much of this time, though both continued to create artworks, neither was widely exhibited in London - they were geographically and, at times, conceptually, distant from life in the capital. This began to change, after Mellis embarked upon a series of large abstract paintings known as 'colour structures'. These were exhibited in London, with solo shows at Grabowski Gallery, in 1969, and then at Basil Jacobs Gallery, in 1972. From both shows, Mellis sold work to important public collections; the Government Art Collection bought a painting from the Basil Jacobs show, in 1972, while a painting had earlier been purchased by the Arts Council of Great Britain, in 1969. In 1978, Mellis started creating driftwood reliefs, which she found while walking along the local coast at Southwold, and likened the creative process to Surrealist automatism. In the mid-'80s, Mellis was included in several high-profile exhibitions, including the important survey show of St Ives 1939-64, staged at the Tate Gallery, London, in 1985, and later Scottish Art since 1900, at the Scottish National Gallery of Modern Art, Edinburgh. In 1987, the Redfern Gallery staged a retrospective exhibition, from which the Tate and Arts Council bought recent driftwood reliefs. The exhibition was also attended by a young Damien Hirst; intrigued by the driftwood constructions in particular, Hirst wrote to the artist, and was invited to visit Mellis in Southwold, forming a lasting friendship. Mellis was part of the Tate St Ives' inaugural exhibition in 1993, and was the subject of a retrospective that opened at City Art Centre, Edinburgh, and toured the UK, in 1997. Recent exhibitions include Modern Scottish Women 1885-1965, at the Scottish National Gallery of Modern Art, and a joint-show with Damien Hirst at Pier Arts Centre, Orkney. In 2018, her work featured in an exhibition inspired by Virginia Woolf and her writings, at Tate St Ives." (Redfern Gallery website) Provenance: private Santa Barbara, California, 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. We ship worldwide and handle all shipping in-house for your convenience. #179037 Condition: Initialed "MM" twice at lower left and once at lower right. Exhibition label for Gainsborough's House Sudbury Suffolk, August 22 to October 18, 1992 on verso. Artwork is mounted under glass in a custom frame. It has not been examined outside the frame but appears to be in excellent condition. Gold tone metal frame has minor surface wear but is otherwise very nice. Frame is fit with suspension wire.
• GISELE FREUND, GERMAN/FRENCH
  GISELE FREUND, GERMAN/FRENCH 1908-2000, VIRGINIA WOOLF'S WRITING TABLE, COLOR PHOTOGRAPH, 11 3/4 X 14 1/4 IN., SHEET: 11 5/8 X 14 1/8 IN., FRAME: 16 X 20 IN.GISELE FREUND, (German/French, 1908-2000) Virginia Woolf's Writing Table, color photograph signed Gisele Freund lower right; stamped copyright by Giselle Freund all rights reserved verso, numbered 10755 (31) verso. color photograph Dimensions: 11 3/4 x 14 1/4 in., sheet: 11 5/8 x 14 1/8 in., frame: 16 x 20 in. Provenance: The Collection of Guido Goldman, Concord, Massachusetts. Condition: With archival tape at top corners; appears somewhat toned, but otherwise in fine condition. 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.
• Suze Woolf (21st century,
  Suze Woolf (21st century, Washington) 'Breakfast Radishes' Watercolor Painting, 2019. Resin over watercolor on cradled panel. Measures 11x14''. Wire on verso, ready to hang.
• EASTON PRESS (7) VOLS, SIGNED
  EASTON PRESS (7) VOLS, SIGNED LITERATURE & DRAMA Includes: Edward Albee, Who's Afraid of Virginia Woolf?; Alan Stillitoe, The Loneliness of the Long Distance Runner; Richard Russo, Empire Falls; Gore Vidal, Burr; Rick Moody, The Ice Storm; Frank McCourt, Angela's Ashes; Joan Didion, A Book of Common Prayer; each signed by th eauthor and with a notecard about the author and Easton Press certificate of authenticity, smallest: 8.75"h x 6"w, largest: 9.5"h x 6.75"w
• (4) BOOKS INCL. 2 VIRGINIA WOOLF
  (4) BOOKS INCL. 2 VIRGINIA WOOLF 1ST EDS. IN DJS Includes The Common Reader, Second Series, The Hogarth Press, 1932, loose ad for the Hogarth Press Uniform Editions laid in; Between the Acts, Harcourt, Brace and Company, New York, 1941, First American Edition; Bennett, Virginia Woolf Her Art as a Novelist, Cambridge, 1945; and Best Plays by Checkhov, Modern Library, 1956, largest: 8.5"h x 5.5"w
• W. ARONSBERG BRASS LIBRARY
  W. ARONSBERG BRASS LIBRARY TELESCOPE IN CASE Woolf (William) Aronsberg (English, c. 1860-c.1892), 19th century. Brass two-draw library telescope on iron tripod base, in wooden case. Marked "W. Aronsberg/Manchester".
• BARBARA ROBERTS (1930-2016)
  BARBARA ROBERTS (1930-2016) WATERCOLOR ON PAPERBarbara Morgan Roberts (1930-2016)City Market (Third quarter of the 20th century.)The work of realism depicting a typical day at Kansas City's River Market area is signed lower right front.Born in New Jersey, Barbara Roberts grew up in Kansas City and, following graduation, attended the Parsons School of Design where she earned a degree that served her well during her early years as a fashion design illustrator for the Kansas City firms of Woolf Brothers, Kline's, Harzfeld's and Hallmark. Following her marriage in 1953, Barbara settled into a career as an accomplished studio painter. The decades that followed saw her work included in over 60 juried exhibitions and acquired by many private and corporate collections around the Midwest.This work is a fine example of the realism style of painting popular in the 1970s.Image measures 10.75 x 18.25 with a framed size of 24.5 x 31.75 inches.Apparently the condition is very good, very clean, intact, no visible stain, damage, repair, punctures or tears. This work has not been examined outside the frame.Provenance: The Robert W. Steinbach Trust and Steinbach Family Collection, Kansas City, Missouri.
• 3 BOOKS BY VIRGINIA WOOLF"A Room of
  3 BOOKS BY VIRGINIA WOOLF"A Room of One's Own". Published by Harcourt, Brace and Company, New York, 1929. First Printing. Wear to the binding. 7 1/2" L x 5 1/2" W. "Flush: A Biography". Published by Harcourt, Brace and Company, New York, 1933. First Edition. Mild soiling to the front and back cloth cover. 8 1/4" L x 5 1/2" W. "Orlando: A Biography". Published by Harcourt, Brace and Company, New York, 1928. Second Printing. Wear of gilt title on binding. 8 1/4" L x 6 1/4" W.
• TWO FRAMED ARTWORKS Including still
  TWO FRAMED ARTWORKS Including still life, signed Judy Woolfson, oil on panel, 20 X 21 1/4 in.; and a Japanese silk needlework landscape, about 20 x 24 in.
• SAMUEL JOHNSON WOOLF (UNITED STATES
  SAMUEL JOHNSON WOOLF (UNITED STATES 1880-1948), "PORTRAIT OF WHISTLER BY HIS ETCHING PRESS", LITHOGRAPH, C. 1900, ED: UNKNOWN, RARE,...Samuel Johnson Woolf (United States 1880-1948), "Portrait of Whistler by His Etching Press", lithograph, c. 1900, Ed: unknown, rare, Ref: not described in Gallitan, printed by the artist with black ink on soft white laid paper with complete margins, copyright "C" lower right, framed, not examined out of frame, 9 7/8" h. x 13 1/2" w.
• LARGE WICKER BASKET WITH
  LARGE WICKER BASKET WITH MISCELLANEOUS BOOKS FROM ANDRé LEON TALLEY'S COLLECTIONThe basket 19 x 30 x 20 in. Including: Gentle Giants by Bruce Weber, Bulfinch Press, 1994, with autograph by the author to André Leon Talley; The Golden Age of the Princess by H.D. Molesworth, G.P. Putnam's Sons, 1969; Webster's New World College Dictionary MacMillan USA, 1997; The Complete Works of Aristotle edited by Jonathan Barnes, Princeton University Press, 1994; Nicomachean Ethics by Aristotle, Barnes and Noble, 2004; To the Lighthouse by Virginia Woolf, Harcourt Brace and Co., copyright 1927; The Grandmothers: A Novel by Glenway Wescott, Atheneum, 1962; Beloved by Toni Morrison, Plume, 1988; Betrayed: A History of Presidential Failure to Protect Black Lives by Earl Ofari Hutchinson, Westview Press, 1966; Jackie by Nicole Salinger, Editions Assouline, 1998, with 'Galignani' bookmark; Vingt-Cinq Ans Delegance A Paris, Editions Pierre Tinsne, 1951; Olympia by Leni Riefenstahl, St. Martin's Press, 1994; Poetics and Rhetoric by Aristotle, Barnes and Noble Classics, 2005; Olmsted: Writing on Landscape, Culture, and Society edited by Charles E. Beveridge, Penguin Random House, 2015; Three Plays by Mae West: Sex, The Drug, The Pleasure Man edited by Lillian Schlissel, Routledge, 1997; Madame De Pompadour by Nancy Mitford, Hamish Hamilton, first published 1954; The Happy Summer Days by Fulco, Weidenfeld & Nicolson, 1998; George Cukor: A Double Life by Patrick McGilligan, St. Martin's Press, First Edition 1991; Exiles by Michael J. Arlen, Farrar, Straus, and Giroux, 1970; The Good Soldier: A Tale of Passion by Ford Madox Ford, Penguin Books; The Whims of Fortune: The Memoirs of Guy de Rothschild by Guy de Rothschild, Random House, 1985. Condition The wicker basket with minor wear and staining on the bottom. All books with wear consistent with age and use. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• FIVE FIRST OR EARLY EDITION
  FIVE FIRST OR EARLY EDITION HARDCOVER VOLUMES OF POST-WAR AND CONTEMPORARY THEATREFive First or Early Edition Hardcover Volumes of Post-War and Contemporary Theatre,, Consisting of: 'The Visit', Friedrich Duerrenmatt, Adapted by Maurice Valency for Random House, New York, 1958 (First Printing) 'The Dark at the Top of the Stairs', William Inge for Random House, New York, 1958 (First Printing) 'Who's Afraid of Virginia Woolf?', Edward Albee for Atheneum, New York, 1962 (First Edition) 'Rosencrantz & Guildenstern Are Dead', Tom Stoppard for Grove Press, Inc., New York, 1967 (Fourth Printing) 'Ballad of a Sweet Dream of Peace: A Charade for Easter', Robert Penn Warren and Illustrated by Bill Komodore for Pressworks, Dallas, 1980, Signed Edition 80/350 (Water Damage)
• AMERICAN SCHOOL, 20TH CAmerican
  AMERICAN SCHOOL, 20TH CAmerican School, 20th c., "The Green Hat", acrylic on masonite, signed "Woolf" lower right, 24 in. x 36 in., framed. Condition: Overall fair condition. Ext. Frame: 25 1/4 in. x 37 1/4 in. x 1 in.
• TWO ANTIQUE ENGRAVINGS; CORNELIS
  TWO ANTIQUE ENGRAVINGS; CORNELIS VAN DALEN (DUTCH,17TH CENTURY) ALLEGORICAL SCENIC AND ARHITECTURAL PLAN AND ELEVATION ETCHING OF SIR CHAS. ASGILL'S VILLA AT RICHMOND, SURRY, J. WOOLFE, T. WHITE, AND R. TAYLOR. 14 1/4"HTwo antique engravings; Cornelis Van Dalen (Dutch,17th Century) allegorical scenic and arhitectural plan and elevation etching of Sir Chas. Asgill's Villa at Richmond, Surry, J. Woolfe, T. White, and R. Taylor. 14 1/4"H x 17 1/4"W (larger image), 20 1/2"H x 25 1/4"W (frame) Dimensions: 14 1/4"H x 17 1/4"W (larger image), 20 1/2"H x 25 1/4"W (frame)
• 7-PIECE DOCUMENT LOT CA.
  7-PIECE DOCUMENT LOT CA. 1788-1848 RELATING TOGEORGIA. LOT INCLUDES A NUMBER OF RECEIPTS, LEGAL DOCUMENTS, AND SLAVERY RELATED DOCUMENTS. TO INCLUDE: FEBRUARY 23, 1788 BILL OF SALE FROM EPHRAIM WILLARD OF FAIRFIELD, CT TO EBEN BRADFORD WIDDING AND THOMAS CUMMING OF SAVANNAH, GA, DOCUMENT READS “ONE NEGRO MAN, NAMED PETER, AGED ABOUT 21 YEARS OLD, AND HIS WIFE, NAMED CATE, ABOUT 26 YEARS OLD, AND HER TWO CHILDREN, ONE A GIRL, ABOUT 5 YEARS OLD, AND THE OTHER A BOY ABOUT 18 MONTHS OLD. AND ONE OTHER NEGRO WOMAN NAMED VIOLET, ABOUT 21 YEARS OLD". AN 1809 BILL OF SALE FOR 3 SLAVES (JUDY, A SEAMSTRESS, AND HER CHILDREN, EDWARD, AND ELIZA) IN AUGUSTA, GA, JUNE 8, 1809, FROM THOMAS CUMMING TO JOHN WOOLFOLK. AN 1812-13 LAND DISPUTE COURT DOCUMENT FROM CHATHAM COUNTY, GA SUPERIOR COURT, BETWEEN J. KNOWLE FANNING AND THE ESTATE OF JOSEPH CLAY SENIOR, HEAVY STAINING, CHIPPING, PAPER LOSS, AND TEAR, 28 WRITTEN PAGES. 1815 RECEIPT FROM RICHMOND COUNTY, GA RECEIVED FROM THOMAS CUMMING. A MARCH 1842 ARREST WARRANT FOR A SLAVE ACCUSED OF ASSAULT IN WARREN COUNTY, GA, DOCUMENT READS “HENRY, NEGRO BOY." A MAY 30, 1844 ARREST WARRANT FROM WARREN COUNTY, GA, FOR “A SLAVE GIRL, NAMED ALLY", WHO WAS ACCUSED OF MURDER BY DROWNING TWO GIRLS, AGED 7 AND 10, IN SWEETWATER CREEK, GA. FINALLY, A DECEMBER 8, 1848, AUGUSTA, GA RECEIPT FOR HENRY CUMMING. OVERALL GOOD CONDITION, SAVE FOR THE LAND DISPUTE, WITH AGE APPROPRIATE WEAR, DISCOLORATION, CHIPPING, ETC.
• SAMUEL WOOLF NUDE FIGURE STUDY
  SAMUEL WOOLF NUDE FIGURE STUDY PASTEL DRAWING New York,1880-1948Natural depiction of a nude woman standing to the side and reaching above her head.
• Oil on canvas painting of a clipper
  Oil on canvas painting of a clipper ship at sea. Signed with what appears to read ''Woolf'' in lower right corner. Framed in ornate wood frame. Good condition some dings to frame but no damage to the art. Frame measures 42.75'' wide x 30.75'' tall art measures 35'' wide x 23'' tall. Shipping weight 10 lbs.
• Lot approx. 27 various books
  Lot approx. 27 various books including design books ''The Face of the World'' by Cecil Beaton (1st Edition) Bemelmans Beerbohm ''Hollywood Costumes'' (1976 Metropolitan Museum exhibit) Richard Neutra group Knoll (Elsie de Woolf C. 1915) Elbert Hubbard's Scrapbook etc.