A few examples of appraisal values for
YOUNG AMERICAN

• BOEHM LIMITED EDITION FIGURINE, YOUNG
  BOEHM LIMITED EDITION FIGURINE, YOUNG AMERICAN BALD EAG...Model number 498. A beautiful hand crafted and hand painted porcelain baby chick of a bald eagle. Boehm backstamp on the base, and Boehm mark on the side. Dimensions: 6.25"L x 6.25"W x 9.75"H Manufacturer: Boehm Porcelain Country of Origin: United States Condition: Age related wear.
• GROUP OF TWO CONTINENTAL PORCELAIN FIGURESA
  GROUP OF TWO CONTINENTAL PORCELAIN FIGURESA group of two Continental porcelain figures. To include: A Victorian woman, marked: 14.75" Young Americans, marked: 10.5"
• BUFFALO BILL'S WILD WEST PROGRAMME.Cody,
  BUFFALO BILL'S WILD WEST PROGRAMME.Cody, W.F. Buffalo Bill's Wild West Programme. Circa 1890. One page program for Buffalo Bill's Wild West Show, featuring, among others Miss Annie Oakley "Celebrated Shot" and Johnny Baker "Celebrated Young American Marksman." Some foxing and edge wear. Good.
• LARRY RILEY O/C PAINTING, INDIAN GIRLLarry
  LARRY RILEY O/C PAINTING, INDIAN GIRLLarry Riley (Arizona, b. 1947) oil on canvas painting of a young American Indian girl wearing turquoise jewelry including a large necklace. She places her hand on the edge of a wooden wagon or cart, the top of its wheel visible at lower right, and gazes thoughtfully into the distance behind the viewer. Signed lower right. With tag inscribed with title,"Indian Girl," and artist's name affixed to back of frame. Housed in a giltwood frame with ivory textile mat. Dimensions: Sight: 19 1/2" H x 15 1/2" W. Frame: 29 1/2" H x 25 1/2" W. Condition: Very good condition.
• WEINBERG GLASS,CLEAR CUBESigned,2008,
  WEINBERG GLASS,CLEAR CUBESigned,2008, Optical crystal, carved and polished with encapsulated bubble, 6.5h x 6.5w x 6.5d · Originally recruited by Dale Chihuly to join his graduate program at the Rhode Island School of Design, Steven Weinberg went on to create an innovative portfolio of sculptural crystal spanning four decades. Chihuly, a judge at the time, in the Young Americans in Clay and Glass competition in New York City, recognized promising talent. Weinberg won that competition and would go on to become a prominent figure in the burgeoning American Studio Glass Movement. · Steven was drawn to more pure geometries and the interplay between interior spaces and solid crystal. Diligently working in his original Pawtucket studio and pioneering the development of novel processes and materials, Weinberg hit his stride. Early pieces, such as the "puzzle pieces", showcase his intuitive understanding of complicated arrangements and command of casting technique. His subsequent body of work, the cubes, explored the use of veiling, detailed millwork, and encapsulated bubbles to create vivid interior landscapes frozen inside solid masses of optical crystal. Photo by Jeff Dimarco Condition: Excellent
• TWO BOEHM PORCELAIN EAGLES, "YOUNG AMERICAN
  TWO BOEHM PORCELAIN EAGLES, "YOUNG AMERICAN BALD EAGLE"...Two Boehm porcelain owls, "Young American Bald Eagle" and "Young & Spirited", both stamped to the underside, ht. 9". 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.
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet 'Bacchanale'", 1911-1914, possibly a working artist's proof, cast plaster, 26- x 16 x 2 in. Note: "Blame it on the Bacchanale. Or rather, celebrate the Bacchanale, danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become ?one of the few women to reach first rank as a sculptor,? as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband?s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine?s Cl?opŸtre. Set to Glazunov?s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux, which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina?s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale, in which Pavlova, ?so petite and lissome,? and Mordkin, ?well formed and virile,? swept onto the stage, then ?let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches ? Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.? Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman?s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn?t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York?s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin?s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn?s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman?s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman?s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova?s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman?s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale, which he called ?a great thing of beauty, like the Greeks created.? The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman?s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, ?My light is blotted out.? She kept the frieze of the Bacchanale, which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman?s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: missing lower left corner, other chips and abrasions, surface dirt, inscribed with numbers, some sticker accretion
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale , 1911-1914, possibly a working artist's proof, cast plaster, 25-1/2 x 21-1/2 x 2-1/2 in. Note: "Blame it on the Bacchanale . Or rather, celebrate the Bacchanale, danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre . Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux, which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale , in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.” Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.” The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: chips and abrasions, surface dirt, inscriptions, sticker accretion
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale , 1911-1914, possibly a working proof, polychromed cast plaster, 26-1/4 x 28-3/8 x 2-1/2 in. Note: "Blame it on the Bacchanale . Or rather, celebrate the Bacchanale , danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre. Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux, which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale, in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.” Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.” The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: chips and abrasions
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale , 1911-1914, possibly a working artist's proof, cast plaster, 25-7/8 x 29-1/2 x 2-1/2 in. Note: "Blame it on the Bacchanale. Or rather, celebrate the Bacchanale , danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre . Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux , which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale, in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.” Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.” The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale , which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: chips and abrasions, surface dirt, inscriptions, sticker accretion, cracks and repairs
• MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA
  MALVINA HOFFMAN PLASTER RELIEF, PAVLOVA AND MORDKIN(New York, 1887-1966) Anna Pavlova and Mikhail Mordkin performing Alexander Glazunov's ballet Bacchanale, 1911-1914, possibly a working proof, polychromed cast plaster, 26 x 30-1/4 x 2-1/2 in. Note: "Blame it on the Bacchanale . Or rather, celebrate the Bacchanale, danced by the great Russian ballerina Anna Pavlova, whose performance inspired a young American sculptor, Malvina Hoffman, to spend years creating a magnificent frieze of this iconic duet. Hoffman would go on to become “one of the few women to reach first rank as a sculptor,” as the New York Times said after her death in 1966. (Full disclosure: Malvina Hoffman was my husband’s great aunt.) The historic record is hazy, but it is likely that the Bacchanale began life as part of Mikhail Fokine’s Cléopâtre . Set to Glazunov’s Autumn movement of The Seasons, it featured a group of women pursued by a satyr. Later, Fokine reworked the piece as a pas de deux , which premiered in Saint Petersburg the following year with Pavlova and Laurent Novikoff. Another version of the Bacchanale was arranged by Mikhail Mordkin when he partnered Pavlova, and it is this version that became one of the ballerina’s signature works. Keith Money, in Anna Pavlova: Her Life and Art, reconstructs a performance of the Bacchanale , in which Pavlova, “so petite and lissome,” and Mordkin, “well formed and virile,” swept onto the stage, then “let their billowing veil drop, threw rose garlands at one another, ducked and twisted with almost animal vigor, and even went into kissing clinches … Together they struck gold, in this autumn bacchanal, which proved itself a display of finely tuned eroticism.” Hoffman, who was living in Paris while studying under Auguste Rodin, saw the duet in 1910, at the London Palace Theatre premiere of the Ballets Russes. The experience left her with an obsession to sculpt the ballerina. She purchased tickets to every other performance during her time in London, and stood in the aisles drawing the different movements of Pavlova and Mordkin. In 1912, Hoffman’s Russian Dancers, inspired by Pavlova, won first prize in the prestigious Paris Salon for its very modern way of showing movement in bronze for the first time. The bronze recreates Pavlova and Mordkin dancing the Bacchanale and you can feel the energy of their movements pushing them forward. The way their momentum and the lightness of their dancing is captured in the heavy medium was groundbreaking. Hoffman wouldn’t meet Pavlova until 1914, when both women were in New York. Pavlova was on a tour supported by Otto Kahn, chair of the board of New York’s Metropolitan Opera. A German native, Kahn missed the European arts in New York City, where he had immigrated, and after seeing Pavlova and Mordkin’s Bacchanale at its Paris premiere, the overwhelming reaction of the audience convinced him they must dance at the Met. He felt it was his responsibility to bring them to the United States. When Kahn’s wife invited the two women to her home for tea so they could meet, Pavlova graciously invited the sculptor backstage to rehearsals. After this, Hoffman’s study of the dance and the ballerina became more intense; she also began to learn Russian. Pavlova corrected Hoffman’s drawings, helping her perfect the arch of a pointed foot or the gesture of a hand. Hoffman encouraged the criticisms, and a friendship ensued. On her return to Europe, Hoffman designed many of Pavlova’s posters and playbills, while continuing to sculpt the ballerina in dance poses, welcoming critiques from Rodin. In Hoffman’s memoir, Yesterday is Tomorrow, she recalls her discussion with Rodin about the bas relief frieze of the Bacchanale , which he called “a great thing of beauty, like the Greeks created.” The plaster frieze broke down the dance into 26 panels, each one featuring a pose by Pavlova and a partner. Working sessions would take place whenever she and Hoffman were in the same city. Hoffman was allowed to photograph many of the poses, and in some of them, you see a playful, laughing Pavlova. She found this time relaxing, even though they might work well into the night after a performance or long rehearsal had ended. In 1919, Hoffman became the first woman ever installed in the Paris Luxembourg Gardens with her over-life-size bronze sculpture, titled Russian Bacchanale, which features Pavlova and Mordkin holding aloft a billowing veil. Anna Pavlova died unexpectedly in January 1931. Only weeks earlier, she had visited her friend Malvina Hoffman’s studio in Paris. Hoffman saw she was ill and begged her to slow down and rest, but Pavlova would never disappoint her audiences and continued to perform. When Pavlova died of pleurisy soon after, her manager called Hoffman to help him with the arrangements. Hoffman was so bereft at the death of her muse that she wrote in her diary, “My light is blotted out.” She kept the frieze of the Bacchanale , which had taken 15 years to complete, in her studio for the rest of her life. After Hoffman’s death, her estate gifted the entire Bacchanale frieze to the Cedar Rapids Museum of Art in Iowa, where it is displayed on a wall in their library." -Didi Hoffman (https://danceinternational.org/inspired-by-pavlova-malvina-hoffmans-bacchanale-frieze/) Provenance: Estate of the Artist Condition: chips, cracks, abrasions
• KAKAR SPEARKakar spear, with rattan
  KAKAR SPEARKakar spear, with rattan and rope band, face of ancestor figure. Kakar spears are some of the most sacred and important features of Murik society, as they are thought to possess spiritual powers to aid in (former) headhunting raids. The Kakar spears themselves embody ancestor spirits themselves. Referring to Ledoux while explaining how some missionaries were overzealous in eradicating the headhunting and other rituals, and their associated tools, including spears, David Lipset (1997) explains “In one village (Kaup), he [the over zealous missionary] took it upon himself to break the Kakar spears over his knee. Father Schmidt [an empathic missionary] dutifully stored the pieces in the attic of his house until 1936 when he gave them to a young American ethnographer, Pierre Ledoux, who was doing research in the Murik Lakes.” Source: LIPSET, David. Mangrove Man: Dialogic of Culture in the Sepik Estuary, Cambridge: University of Cambridge Press, page 196. Ledoux's list of Collection Items (lot 108 box E), corroborates Lipset's account. Similar item gifted by Ledoux in 1936 to the American Museum of Natural History - Division of Anthropology (80/9075). Locale: Murik Lakes, Lower Sepik River Country: Papua New Guinea Date: 1936 or earlier Material: Wood, rattan, rope Technique: Carved Dimensions: H 63" x W 3" Provenance: Louis Pierre Ledoux Collection Similar item: American Museum of Natural History - Division of Anthropology (80/9075) https://anthro.amnh.org/anthropology/databases/common/image_dup.cfm?catno=80%2E0%2F%209075
• IRVING RAMSEY WILES, AMERICAN (1861-1948),
  IRVING RAMSEY WILES, AMERICAN (1861-1948), THE PATH, 1888, OIL ON PANEL, 17 X 21 INCHESIRVING RAMSEY WILES, American, (1861-1948) The Path, 1888, oil on panel signed and dated lower left "Irving R. Wiles 1888" oil on panel Dimensions: 17 x 21 inches Provenance: Private Collection. Framed dimensions: 27 x 31 x 3 inches The son of landscape painter Lemuel Maynard Wiles, Irving Ramsey Wiles grew up in upstate New York, where his father worked as an art instructor. Eventually the Wiles family settled down in Silver Lake, New York, where his father established an art school. Irving assisted his father for a year before moving on to the Art Students League under the instruction of James Carroll Beckwith, Thomas Wilmer Dewing, and William Merritt Chase. Chase was an impressive figure in the New York art world of the 1880s and Wiles emulated him throughout his career, maintaining a lavish studio, succeeding him as an important teacher, and even setting up a plein air school on Long Island, just as Chase did. For his part, Chase thought Wiles to be one of the most talented students he ever had, and he encouraged Wiles to continue his studies abroad. Wiles first studied at the Académie Julian in Paris before entering the atelier of Carolus-Duran. Carolus, who attracted young Americans because of the dazzling success of his former student John Singer Sargent, taught a method of painting directly from the model with minimum preparatory drawing, which was the antithesis of the labor-intensive style advocated by the École des Beaux-Arts. His system was to create the illusion of form not through line, but through the juxtaposition of colors or tones.1 Wiles employed this technique for the rest of his life, becoming a master of the seemingly effortless bravura brushstroke. After returning to New York in 1884, Wiles made a living as a commissioned illustrator for Century Magazine, Harper's and Scribner's. By the mid-1890s he was able to give up his illustration work and focus exclusively on his paintings. He was receiving many commissions from prominent Americans, including Theodore Roosevelt, as his talents as a portrait and figure painter were becoming recognized. The novelist Theodore Dreiser wrote of him in 1898: "As a painter Mr. Wiles is greatly to the fore just at present, and his pictures are justly admired for a style that is not so much pleasing for what it accurately puts in as for what it leaves out. His art has originality, in that the situations presented are new, the attitudes possessing both the grace of naturalness and, what is not quite the same, the naturalness of grace. You can appreciate his work more when you understand that he believes art should present only the beautiful."2 In 1886 Wiles was elected as a member of the Society of American Artists and in 1897 elected to the National Academy of Design. In the winter time, he taught at the Art Students League and the Chase School in New York. During the summers, he would travel with his family to Peconic in Long Island across the bay from Chase's studio in the Sinnecock Hills. In his landscapes, including the present example, the persistent influence of his esteemed mentor Chase is apparent. 1 Reynolds, Wiles, 12. 2 Theodore Dreisser [sic], "Art Work of Irving R. Wiles," Metropolitan Magazine 7, no. 4 (April 1898), 357-61. Tags: oil painting, listed artist, American Impressionist, American Impressionism, William Merritt Chase, Peconic, Long Island, New York Condition: in very good to excellent overall condition; scattered pinholes along edges; in a period frame We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
• 2pc YOUNG American Modern Walnut Credenza
  2pc YOUNG American Modern Walnut Credenza Display Cabinet. Two Door China Display Cabinet rests on Long Low Credenza Sideboard with doors. Pieces can be separated. Marked. H: 74.25 inches: W: 78.25 inches: D: 19.25 inches --- Condition: Pieces can be separated. The top of credenza has some visible fading if top is removed. Minor nicks and scratches.
• (10) BOEHM COLLECTOR PLATES, EAGLE &
  (10) BOEHM COLLECTOR PLATES, EAGLE & SWAN(lot of 10) Boehm collector plates, all as new in original presentation boxes with plastic wrapping: (6) 13" diameter "Young America 1776" plates depicting a young American bald eagle: (4) 13" diameter "Bird of Peace" plates, exterior of some boxes stained, for shipping all boxes are approx 1.75"h, 14.75"w, 14.75"d; 49lbs total
• +ANTONIO NICOLO GASPARO JACOBSEN (DANISH/
  +ANTONIO NICOLO GASPARO JACOBSEN (DANISH/ AMERICAN 1850 - 1921) "YOUNG AMERICAN" OIL ON CANVAS, SHIP PORTRAIT OF THE YOUNG AMERICAN...+Antonio Nicolo Gasparo Jacobsen (Danish/ American 1850 - 1921) "Young American" oil on canvas, ship portrait of the Young American clipper, signed lower right and dated 1894, framed, wear consistent with age including craquelure, small repair made along left border, relined, ss: 21 1/2" h. x 35 1/2" w. [1963 sales receipt, and letter from the curator at the Mariner's Museum dated 1985 available to successful bidder.]
• (5) Boehm baby bird bisque porcelain
  (5) Boehm baby bird bisque porcelain figurines, c/o "Young American Bald Eagle" #498 (9-3/4" h), "Fledgling Great Horned Owl" #479D (7" h), "Fledgling Western Bluebirds" #494I (5-3/4" h), "Fledgling Magpie" #476 (6" h), "Baby Crested Flycatcher" #458 (5" h, chip to beak)
• TWO 22 CALIBER DOUBLE ACTION REVOLVERSTWO
  TWO 22 CALIBER DOUBLE ACTION REVOLVERSTWO 22 CALIBER DOUBLE ACTION REVOLVERS: Iver Johnson top break, black hard rubber grips, 6" barrel, serial 6427 (under grip); Harrington & Richardson "young American", blued trigger guard black hard rubber grips, 2" octagonal barrel, serial #298709. Both have nickel finish. Lot requires FFL or background check.
• 2 Part YOUNG American Modern Credenza,
  2 Part YOUNG American Modern Credenza, China Top. Bowed base with horizontal wood pulls. China Cabinet Top with glass doors and shelves. Marked Dimensions: H: 74 inches: W: 64 inches: D: 19 inches --- Condition: Minor nicks and scratches. Credenza has bruise to lower corner trim.
• CLAY MODEL HAPPY PASTIME MILLER HUM
  CLAY MODEL HAPPY PASTIME MILLER HUM 69Clay model Hummel, Happy Pastime. This piece is hand sculpted for the Millers' by M. Oliver. Mr. Oliver was, at that time, a young American sculptor working for Goebel, who occasionally toured the United States. This piece is one of two hand sculpted shipping info This item will need to be shipped by a packing company of your choice. We maintain a list of reliable shippers, or you may choose your own.
• DIRAN DOHANIAN NUDE FIGURE PAINTING
  DIRAN DOHANIAN NUDE FIGURE PAINTING Massachusetts,1931-2019Double sided painted board depicting a lounging nude red headed woman to one side and an abstract feminine lounging nude to the other. Dohanian received a Master of Arts from Harvard University in 1955 and became a Doctor of Philosophy from Harvard in 1964. Dohanian was a noted Art Historian who wrote "The Mahayana Buddhist Sculpture of Ceylon" and had his work displayed as part of the MoMa's 1953-54 Young American Printmakers exhibition.
• DIRAN DOHANIAN ABSTRACT SAILOR'S DELIGHT
  DIRAN DOHANIAN ABSTRACT SAILOR'S DELIGHT PAINTING Massachusetts,1931-2019Titled "Sailors' Delight," depicts an abstract landscape of red skies from the setting sun over a body of water. Dohanian received a Master of Arts from Harvard University in 1955, and became a Doctor of Philosophy from Harvard in 1964. Dohanian was a noted Art Historian who wrote "The Mahayana Buddhist Sculpture of Ceylon" and had his work displayed as part of the MoMa's 1953-54 Young American Printmakers exhibition.
• DIRAN DOHANIAN ABSTRACT STILL LIFE PAINTING
  DIRAN DOHANIAN ABSTRACT STILL LIFE PAINTING Massachusetts,1931-2019Depicts a polychromatic abstract still life depicting children's toys like a plane, xylophone, a stuffed cat, and other objects. Dohanian received a Master of Arts from Harvard University in 1955 and became a Doctor of Philosophy from Harvard in 1964. Dohanian was a noted Art Historian who wrote "The Mahayana Buddhist Sculpture of Ceylon" and had his work displayed as part of the MoMa's 1953-54 Young American Printmakers exhibition.
• DIRAN DOHANIAN ABSTRACT FIGURE WC PAINTING
  DIRAN DOHANIAN ABSTRACT FIGURE WC PAINTING Massachusetts,1931-2019Depicts a smiling feminine figure in a crowd comprised of white, yellow, green, and blue. Dohanian received a Master of Arts from Harvard University in 1955, and became a Doctor of Philosophy from Harvard in 1964. Dohanian was a noted Art Historian who wrote "The Mahayana Buddhist Sculpture of Ceylon" and had his work displayed as part of the MoMa's 1953-54 Young American Printmakers exhibition.
• DIRAN DOHANIAN ARCHITECTURAL WC PAINTING
  DIRAN DOHANIAN ARCHITECTURAL WC PAINTING Massachusetts,1931-2019Impressionist depiction of a red and yellow house with clothes hanging out on the line to dry. Dohanian received a Master of Arts from Harvard University in 1955, and became a Doctor of Philosophy from Harvard in 1964. Dohanian was a noted Art Historian who wrote "The Mahayana Buddhist Sculpture of Ceylon" and had his work displayed as part of the MoMa's 1953-54 Young American Printmakers exhibition.
• DIRAN DOHANIAN COASTAL NEIGHBORHOOD
  DIRAN DOHANIAN COASTAL NEIGHBORHOOD WC PAINTING Massachusetts,1931-2019Depicts a line of houses beside a rocky coastline on an overcast day. Dohanian received a Master of Arts from Harvard University in 1955, and became a Doctor of Philosophy from Harvard in 1964. Dohanian was a noted Art Historian who wrote "The Mahayana Buddhist Sculpture of Ceylon" and had his work displayed as part of the MoMa's 1953-54 Young American Printmakers exhibition.
• DIRAN DOHANIAN ABSTRACT FIGURE PAINTING
  DIRAN DOHANIAN ABSTRACT FIGURE PAINTING Massachusetts,1931-2019Depicts a bound and bleeding figure stuck with spears against a polychromatic background. Dohanian received a Master of Arts from Harvard University in 1955, and became a Doctor of Philosophy from Harvard in 1964. Dohanian was a noted Art Historian who wrote "The Mahayana Buddhist Sculpture of Ceylon" and had his work displayed as part of the MoMa's 1953-54 Young American Printmakers exhibition.
• ST. NICHOLAS PICTURE PUZZLE Part of
  ST. NICHOLAS PICTURE PUZZLE Part of the ''Young American Scrolls'' Series c. 1890 McLoughlin Bros. New York complete in box. 2'' x 12 1/2'' x 8''. Ingersoll Collection. Some edge wear to pieces (VG Cond.)
• GROUPING OF STILL BANKS Cast iron and
  GROUPING OF STILL BANKS Cast iron and one wood example includes: Wood Barrel two U.S. Mail boxes J. & E. Stevens Safe Vault nickeled coin debossed ''Little Millionaire '' and Young American bank broken interior coin slot. 3'' - 4 1/2'' h. Overall (Good to VG Cond.)
• YOUNG AMERICAN SAFE STILL BANK Kyser
  YOUNG AMERICAN SAFE STILL BANK Kyser & Rex c. 1882 cast iron japanned finish with gold and bronze highlights bicyclist featured on key lock door. ISB #295. 4 3/8'' h. (Exc. Cond.)
• Steven Montgomery (1954 USA) Untitled
  Steven Montgomery (1954 USA) Untitled No. 2 1977Earthenware latex house paint; ht. 13.75 wd. 23 dp. 5.5 in.Shown: Young Americans Clay and Glass Tucson Museum of Art AZ 1978;Young Americans Museum of Contemporary?Crafts NY 1978.Reference:Young Americans Ceramics Monthly September 1978 illustrated on page 59. Daniel Jacobs and Derek Mason Collection; Acquired directly from the Artist.