2007 CROW Art Partnership Signature Auction

Enamel Glass Window

Unknown maker, France
Glass and wood
72 inches high x 78.5 inches wide

This superbly crafted semi-circular French enameled glass window is a spectacularly decorative piece. Framed in wood that has some slight damage, the ornately painted glass is in good condition. Signed at the factory 'Cours Champion', the work has a Moroccan flavor and eye-catching ruby color, especially with light pouring through the back in its intended use as a window.

Provenance:
Hanks Arch. Antiques (1983)

A Circular Stained Glass Window

Unknown maker, possibly American
Late 19th century
Wood, leading, glass
Unmarked
84-1/2 inches diameter (214.6 cm)

Of circular form with eight radiating lobed panels with stylized floral and scroll glazing set with cabochons, centering circular panel with five petal floral motif and cabochon center within borders; painted wood frame.

Provenance:
Red Baron, Atlanta (1983)

An Arched Top Stained Glass Window

Unknown maker, possibly American
20th century
Iron, leading, glass
Unmarked
95 x 121 inches (241.3 x 307.3 cm)
Of arched form, the center of radiating multi-colored panes within stylized floral border; within iron frame.

Condition:
Cracking panes, repairs to leading, denting to iron frame.

Provenance:
Golden Movement, Los Angeles (1981)

A Stained Glass Transom

Unknown maker, American
Circa 1880-1920
Oak, leading, stained glass
Unmarked
21.5 inches high x 77 inches wide

Of semi-elliptical form with a central medallion with ribboned swags inset with cabochons, within oak frame.

Provenance:
Red Baron, Atlanta (1982)

A Stained Glass Window

Unknown maker, possibly American
Circa 1880-1920
Wood, leading, glass
Unmarked
71-1/4 x 42 inches (181.0 x 106.7 cm)

The rectangular window with lozenge-shaped decoration and amber-colored "jewels" at the intersections of the lozenges in wood frame.

Provenance:
Red Baron, Atlanta (1982)

A Pair of Flemish Stained Glass Panels

Unknown maker, Belgium
19th century
Leading, glass
Unmarked
25.5 inches high x 15 inches wide

A pair of stained glass panels, each centering a painted figure roundel.

A Set of Four Stained Glass Window Panels

Unknown maker, American
20th century
Metal, leading, stained glass
Unmarked
9 foot 8 inches high x 5 foot 5 inches wide

The animal safari motif windows held in metal surrounds.

Provenance:
Hollander Gallery, Milwaukee (1983)

A Pair of Renaissance Revival Style Stained Glass Windows

Unknown maker, Continental
19th century
Iron, leading, glass
Unmarked
105 x 24-1/4 inches (266.7 x 61.6 cm)

Of hand painted bottle green ground glass, each panel with arched top center reserve of soldier in Renaissance style costume, surrounded by pendant, cartouche, scroll and floral motifs; within iron frames.

Condition: minor buckling, rusting to iron

Provenance:
Hanks Architectural Antiques (1983)

TWO MASSIVE PORTE COCHERE (CARRIAGE PORCH) LANTERNS

Unknown maker, France
Circa 1820
Brass, sheet metal, gilt, with acrylic lenses and glass globes
62 inches high
These two monumental lanterns graced a chateau in the Loire Valley of France before being taken down for refitting to electrical current. At 62 inches in height, they are very rare not only for their size but for their ornate craftsmanship. The four panels, which originally were made of glass, have been replaced with durable acrylic, with one panel being fashioned as a door that opens for maintenance of the electrical chandelier inside each of the lanterns.

The porte cochere lantern, literally 'carriage door' lantern, hung inside the carriageway in front of the chateau where the carriages would be sheltered from the weather while unloading their aristocratic passengers. Porte cochere lanterns of this dimension are only seen in the largest chateaus or other fine homes around the world today. There is a porte cochere known at the 'North Portico' of the White House in Washington, DC where foreign dignitaries are greeted. A large porte cochere lantern of similar size to this example is prominently displayed from the ceiling of the Portico. Congress provided funds during the administration of Andrew Jackson for the porte cochere's construction.

While the White House has only one porte cochere lantern centered under the portico, these two lanterns are a matched pair with their ornate fleur-de-lis design motif and gilt metal in very good condition. The lanterns are tethered by heavy chains from which they would be suspended under a portico or ceiling. These two lanterns recently graced the ceiling of the Peacock Ballroom of the Anatole Hotel.

Provenance:
Acquired in Brussels in 1985.

Exhibited:
The Anatole Hotel, Peacock Ballroom

A Pair of Baroque-Style Carved And Silvered Floor Lamps (Torchieres)

Unknown maker, probably Italy
19th century
Unmarked
91 x 13 inches

Each of the tall, single-light lamps with dome-topped hexagonal lantern over a turned and carved standard with acanthus-leaf and egg-and-ball carvings raised on triangular base with lion's paw feet.
Provenance:
Christie's, Sale 6950, Lot 50, November, 2004

A Pair of Bronze Door Knockers

Unknown maker, Continental
19th century
Bronze
Unmarked
9.45 inches high x 8.50 inches wide
These two elaborate door knockers are made of heavy bronze and feature two intertwined snakes forming the knocker ring. With a rosette fashioning the uppermost part of the knockers at the point of attachment, they are very attractive and date to the 19th century. They exhibit a coarse greenish patina and are in overall excellent condition.

Provenance:
Christie's, London (1978)

A Pair of Monumental Mamluk-Revival Inlaid Bronze Doors

Unknown maker, Cairo, Egypt
Circa 1905
Bronze over wood with silvered and gilded inlay
Unmarked
123-1/2 inches high x 34-1/2 inches wide (313.7 x 87.6 cm) (plus hinge pin)

Based on doors designed for the Sultan Hassan Mosque in the fourteenth century, each rectangular panel of repeating star pattern, the bosses inlaid in silver and gild within pierced stylized foliate borders; inlaid calligraphic inscriptions at top and bottom of borders; pierced medallion form pendant knockers with inlaid bosses.

Provenance:
E. Halton & Sons, Cairo (1966)

An Art Nouveau Painted Wood and Etched Flashed Glass Entryway

Unknown maker, possibly Continental
Circa 1890-1920
Painted wood, glass, brass
Unmarked
102-1/2 x 83 inches (260.4 x 210.8 cm)

Comprising a single door with two panels below a glazed panel of stylized floral design in etched flashed glass of purple, yellow, amber, gray and pink to clear; with matching side lights and center transom; within painted wood frame with engaged stacked columns above waist rail; brass knob.

Provenance:
Golden Movement, Los Angeles (1981)

A Pair of Oak French Doors with Leaded Glazing and Transom

Unknown maker
Circa 1900-1930
Oak, lead, glass
Unmarked
103-3/4 inches high x 67-1/4 inches wide (263.5 x 170.8 cm)

The doors with single raised panel below interlaced beveled leaded glass panels, with matching transom.

Provenance:
Golden Movement, Los Angeles (1977)

A Three Piece Mahogany and Walnut Shop Front

Unknown maker, probably English
Circa 1880-1920
Mahogany, walnut, oak, glazing, brass
Unmarked
103-1/2 x 154 inches (262.9 x 391.2 cm)

Comprising two bow fronted bays with horizontally divided glazing framed in mahogany with burl walnut panels above and below, and an entrance door of mahogany, the door in the Aesthetic style with two panels below a glazed panel, fitted with brass mail slot and knob, within a molded frame with stepped egg and dart outer border.

Provenance:
Golden Movement, Los Angeles (1977)

A Pair of Carved Wooden Doors

Unknown maker, possibly American
19th century
Carved pine
Unmarked
Each door: 100 inches high x 25 inches wide x 2.2 inches deep (hinge edge)

The tall three panel doors, one side deeply carved with scrolling foliage and masks, the reverse with smooth panels, some lock hardware still attached.

A Pair of Spanish Colonial-Style Carved and Partially Painted Wood Architectural Panels

Unknown maker, Colonial America
20th century
Carved and painted pine
Unmarked
95-1/2 high x 24 inches wide (242.6 x 61.0 cm)

Each rectangular panel in three sections, the lower most with radiating scroll and fluted carving centering quatrefoil medallion; the center most with radiating fluted carving centering painted panels, one of the Madonna and Child, the other of Christ and a Child, above stylized floral motifs and winged head; the top most with full relief figures, of of the Madonna and Child, the other of St. Luke.

Provenance:
Materials Marketing, Dallas (1978)

A Large Stained Glass and Oak Ceiling Dome

Unknown maker, American
20th century
Oak solids and veneers, leading, stained glass, iron
Unmarked
43 x 103-1/2 x 103-1/2 inches (109.2 x 262.9 x 262.9 cm)

Of canopy form, the squared oak frame with projecting upcurving panels centering half-round dome with five toupee form finials, fitted with paneled amber glass and cabochon inserts with stylized floral and tendril borders.

Provenance:
Golden Movement, Los Angeles (1981)

An American Oak Triple-Arch Back Bar

Attributed to Brunswick-Balke-Collender Company, Dubuque, Iowa
An American Oak Triple-Arch Back Bar, Circa 1900
Oak, mirrored glass, brass
124 x 252 inches (315.0 x 640.1 cm)
Unmarked
'The focal point of many western saloons and now upscale bars and restaurants since 1884, the Brunswick Billiard Company could not produce enough of these hand-made elaborate and ornate back and matching front bars to meet the demand for them. Internationally known for their design awards, the Brunswick company originally offered the bars on special order but finally built a manufacturing plant at Dubuque, Iowa where German craftsmen made them to ship all over the world.

Brunswick produced approximately 95% of the saloon furniture between 1885 and 1900, many of the bars ending up in frontier settlement saloons where there was a ratio of 100 people for every bar. It is estimated that only about 150 of these elegant bars are still in existence with most gracing old frontier town saloons as well as being centerpieces of urban upscale restaurants and bars.'
The oak back bar of triple-arch form supported by four squat columns with egg and dart capitals, the arches framed by egg and dart moldings terminating in corbels at center, with applied torch and scroll motifs and spandrels, stepped cornice with egg and dart molding; arch mirrored glass panels fitted to back and later ribbed glass shade pendant lights; above cabinet with double full height end cabinets framing eight drawers with brass pulls, two double wood fronted cabinets and two glazed front cabinets; bar with four engaged columns supported by corbels.
Attributed to Brunswick-Balke-Collender Company, Dubuque, Iowa

Provenance:
Red Baron, Atlanta (1982)

A Low Oak Front Bar

Attributed to Brunswick-Balke-Collender Company, Dubuque, Iowa
Circa 1900-1930
Oak
Unmarked
39-1/2 x 250 x 17-1/4 inches (100.3 x 635 x 43.8 cm)

This oak low front bar is a complement to the arched back bar above and would be placed for the patrons' use, sometimes with bar stools, at other times as a 'stand-up' bar. While it is missing its original brass 'kick-rail' at the bottom, the front bar is in good condition and is very attractive with its eight squared and fluted columns.

Provenance:
Golden Movement, Los Angeles (1977)

An English paneled room in the style of Robert Adam

Unknown maker
19th century
Painted wooden panels, doors, glass and iron fireplace
Unmarked
10 feet high x 23 feet wide x 25 feet deep
Robert Adam was one of the premier architects and decorators in 18th-century England. His influence spread to the American colonies, became adopted and was further known as the 'Federal' architectural style so prominent in many New England building exteriors and interiors that exist today. His architectural styles have been re-produced all over the world, including this example based on the tenets of Adamesque design with slight modifications made to accommodate nineteenth century taste.

The approximately 23 feet by 25 feet room consists of three walls and an archway entrance, the walls adorned with large mirrors and panels with a period 39" x 40" fireplace at the back wall. The walls measure over 10 feet in height and the single door is 36" x 83." Both the walls and door have carved panels above and below a chair rail molding that extends around the room.

The signatures of Adam's style and form appear most markedly at the detail and composition of the pilasters that appear all around the room - at the fireplace, in the doorway and at the entrance flanking the archway. Adam took the, at the time, daring step of combining the Ionic, Doric and Corinthian orders together in devising the capitals and entablatures for the pilasters. The narrowly fluted columns have tall bases and are seen in many of Adam's works.

Beside the elaborate fireplace with identical pilasters the designer placed another element common to Adam's work. On the cornice above an oval mirror is an anthemion, or honeysuckle device surrounded by palmettes. The niches on either side of the fireplace are a fixture in Adam's architectural interiors as well. A cornice identical to that over the door graces the top of the fireplace works.

The series of running flowers that surround the fireplace in a festoon continue around the room and are a decorative effect that brings the room together. The massive mirrors, each measuring 64" in height give the room a sense of greater size with a ballroom effect. The archway, massive at 141," also gives the room a more expansive feel. On the cornice appears the anthemion device again with two pilasters at each side of the archway. In essence it is a larger, repeated effect as seen at the fireplace where an identical device is above the fireplace cornice. The walls of the room are painted in a sea foam greenish blue, perhaps in keeping with the nature of Adam's relationship with Josiah Wedgwood and his use of Wedgwood medallions in some of his designs.

A native of Fife, Scotland, at the age of 20 Adam worked with his brothers in the family architectural firm. After a few years he embarked on the Grand Tour of Europe and studied architecture in France and Italy. It was in Rome that he became fascinated with the architectural style of the ancient Romans, a style that he adapted and refined into one of his own that became known as 'Adamesque', a neo-classical form that challenged the conventions of the time. His success in England can only be described as monumental as he became arguably the most famous British architect of the 18th century with his influence on style being felt worldwide. He designed some of the most noted buildings in England, both public and private, including his redesign of the interiors of Syon House. He died in 1792 and was honored by burial in Westminster Abbey.

This room was deconstructed from an English home and brought to the United States to be part of a sale of historic interiors. It was then acquired by Trammell Crow in 1970.

Provenance:
Golden Movement Auctions, Los Angeles (1979)

A Massive Marble Basin

Unknown maker, Continental
20th century
Marble
Unmarked
28 inches high x 57 inches wide

The variegated marble basin in the form of a half shell, scalloped rims and wavy side designs, drain hole in bottom.

Two 'Grand-Tour' Siena Marble Models of Ruins
Unknown maker, probably Italy
Late 19th century
Marble and slate
Unmarked
27.75 inches high x 13.25 inches wide

Each with Corinthian columns supporting a partial entablature, the entire raised on rectangular slate plinth; one representing the ruins of the Temple of Castor and Pollux; the other the Temple of Vespasian.

The 'Grand Tour' of the Continent constituted an educational journey, primarily to Italy, to absorb European politics, culture and art. The nobility of England and the wealthy of the United States were the primary participants in this 18th and early 19th century pilgrimage to the center of the ancient and Renaissance arts. Attracted by the heritage of the ancient Roman monuments, especially those still half-buried in the Roman Forum, travelers on the 'Grand Tour' usually bought mementos along the way. Miniature models, like the two models of ruins offered, were especially prized as keepsakes of the 'Grand Tour' to be taken home and shown to friends and relatives.

Provenance:
Sotheby's London 2005

A PAIR OF SPANISH GILT CARVED COLUMNS

Unknown maker, Spain
17th century
Wood, gilt
Unmarked
62 inches high x 9 inches wide
This stunning pair of Spanish carved wood gilt columns are surmounted by Corinthian-style capitals that retain approximately 60% of their original gilt. The columns are done in a grapevine motif with the bunches of grapes and vines making complete turns up the columns at intervals of approximately every 10 inches. The removable capitals complete the effect of motion and life that would have brought the outdoors into an indoor setting of a fine residence or palace in 17th-century Spain. Perhaps, considering the design motif of these columns, they would have been used in the wine growing regions of that country.

Provenance:
Sotheby's, Madrid (1985)

A PAIR OF WOODEN CORINTHIAN PILASTERS
Unknown maker
19th century
Wood
131.5 inches high x 17 inches wide x 5.5 inches deep
These ornate carved wooden Corinthian pilasters at over 10 feet in height, are decorative and imposing. The detailed Corinthian order is the most ornate and intricate of the classical Greek styles of architecture and was used widely by the Roman people.

A Pair of Onyx and Gilt-Bronze Pedestals

Unknown maker, French
Late 19th century
Marble and bronze
Unmarked
42.4 inches high x 12 inches wide x 12 inches deep


These two pedestals have decorative Ionic order capitals with four fluted volutes. The capitals and base of the columns are cast gilt bronze while the plain column, base and top of the capital are of white marble.

Provenance:
Clements Antiques, Forney 1980

A Pair of Carved Wood Columns
Unknown, India
20th Century
Wood
90 inches high x 9 inches wide x 9 inches deep. Splits and checks in wood
Each of the square columns carved from a single timber with matching capital and base carved to represent rope-banded wheat shafts and sunflowers centering the central shaft of spiral design.

An American Trolley Car Fruit Cart

Unknown maker, American
Late 19th/early 20th century
Iron, glass, wood, rubber
Unmarked
100 inches high x 132 inches wide x 51 inches deep


This restored fruit cart trolley is fully functional and very attractive with its etched glass, bright paint and fine oak upper frame and canopy. The 33-inch wheel base has rubber covered red iron wheels and a tongue attached to the front for pulling. The rear has a knuckle style coupler for attachment to another car.

This type of car was popular in the late 1800s and early 1900s when street vendors were a common sight on America's city streets. This car has complete glass intact with 'Fresh Fruit' etched on the middle pane back glass between two highly-etched panes with floral designs. The front and rear glasses have the same floral etching and the curb side of the car has a fold down glass window to allow access to the interior of the car. Inside, a slatted wooden shelf can be lifted to display the fruits that the vendor would offer. A galvanized tin reservoir with a drain hole is fitted inside at the edge of the car acting as an ice receptacle to chill items for the vendor and his customers.

Provenance:
Golden Movement, Los Angeles (1979)

The canopy over the car gives the fruit cart a San Francisco 'cable car' look.

A Custom-Built 16' 8" Whitehall Pulling Boat
Unknown maker, American
Circa 1987
23 inches high x 51 inches wide x 192 inches long


Based on old New England designs, this fine vessel offers ease of rowing, stability and speed. This boating classic made its Boston debut as a water taxi over 100 years ago. Built for speed, they were later raced before achieving general recognition by the boating public as a design classic.

Provenance:
Purchased from the Maine Maritime Museum on December 10, 1987.

A Custom-Built 17' Rangeley Lakes Boat
Unknown maker, American
Circa 1987
Wood
23 inches high x 51 inches wide x 192 inches long
Known for its stable handling, the Rangeley Lake Boat has been a classic small craft for over 100 years. In use prior to 1900 on the Rangeley Lakes of Maine, the excellent design appealed to fishermen on the nearby Belgrade and Sebago Lakes as well. Its popularity and use continued to grow through the 20th century, establishing it as a time-tested boating classic.

Provenance:
Purchased from the Maine Maritime Museum on December 10, 1987.

An American Bronze Bell

Stuckstede & Brothers, St. Louis, Missouri, USA
1909
Cast Bronze
Marks: Cast by Stuckstede & Bro. St. Louis. Mo. 1909
27 inches high x 18 inches wide

This magnificent bell was cast in solid bronze by the Stuckstede Brothers Foundry at St. Louis, Missouri in 1909. At 18 inches in diameter and 27 inches in height, the bell has a nice, rich green patina throughout. The Stuckstede Foundry was begun in 1855 by Johann Stuckstede and grew to be the largest bell foundry west of Cincinnati. His sons carried on the tradition casting bronze bells from 1890 until 1940 with limited production continuing until 1961.

The bell is marked 'Cast By Stuckstede & Bro. St. Louis, Mo. 1909', at the front and center. The iron headstock or yoke is somewhat rusted from use but the clapper is in good condition. The soundbow, or main part of the bell, is completely sound making this a great example of the Stuckstede master craftsmen's work. The bell and headstock are mounted on a sturdy iron and wood frame.

Provenance:
Horst Dimmler, Dallas (1982)

An American Bronze Bell

Meneely Bell Company, New York, USA
1883
Cast Bronze
Marks: Meneely Rotaryyoke Patented Oct. 8. 1860
38 inches high x 34 inches wide


This beautiful bell, cast in solid bronze by the famous Meneely Foundry of what was then West Troy, now Watervliet, New York, has a shiny patina and is structurally very sound. With its heavy red painted Meneely headstock or yoke attached, the bell is securely mounted onto a heavy wooden frame. Measuring 38 inches in height with a diameter of 34 inches, this massive bell has a wonderful tone with its original clapper intact.

The Meneely company was formed in 1826 by Andrew Meneely at Gibbonsville, New York on the Hudson River near Albany. Later incorporated into the town of West Troy, the city was later renamed Watervliet. This fine example of Meneely work is actually two works in one. While the bell itself was manufactured in 1883 as stamped on the front center portion of the soundbow, the bell is supported by a yoke, or metal headstock, of red painted iron manufactured by Meneely as well. With the words 'Meneely's Patented Yoke, Oct. 8, 1860' cast into the yoke, the 'Meneely & Co. West Troy, NY 1883' is cast into the bell itself.

Because the Meneely Company was a premier and early bell maker in America, the bells have become quite collectible with installations in churches and public buildings worldwide. Indeed, the archives of the bells they sold still survive. In 1883, the year this bell was cast, the company installed a bell at St. Patrick's Church at Dallas, Texas, the only one delivered to the city during that year.

Provenance:
Horst Dimmler, Dallas (1982)

An American Bronze Bell

McShane Bell Foundry, USA
1894
Cast Bronze
Bell embossed with symbol of foundry
44 inches high x 32 inches wide

Manufacturers of bells since 1856, the McShane Bell Foundry has cast over 300,000 bells that still ring in churches, schoolhouses and public buildings worldwide. Located in Glen Burnie, Maryland, the company made this bell in 1894 as noted by the casting on the soundbow or body of the bell. The headstock is of cast iron and the clapper is in good condition.

Provenance:
Horst Dimmler, Dallas (1981)

An American Bronze Bell

Meneely Bell Company, New York, USA
Late nineteenth century
Cast Bronze
Yoke embossed with 'Meneelys Rotating Yoke'
48 inches high x 36 inches wide

Provenance:
Horst Dimmler, Dallas (1981)

An American Bronze Bell
Unknown Maker, USA
Late nineteenth century
Cast Bronze
11 x 11 x13 inches

An American Bronze Bell

Unknown Maker, USA
Nineteenth century
Cast Bronze
24 x 16 inches

An American Iron Bell

Vanduzen & Tift Co., U

Vanduzen & Tift Co., USA
1889
Cast Iron
The bell marked with 'Buckeye Bell Foundry 1889/Vanduzen & Tift Cincinnati'. The yoke marked with 'Rotary Yoke Pat. Oct.22 1866'
30 inches high x 28 inches wide

An American Bronze Liberty Bell Replica

Unknown Maker, USA
Twentieth century
Cast Bronze
40.5 inches high x 34.7 inches wide
Fixed to a wooden pedestal. With clapper.

An American Bronze Ships Bell with Wooden Stand

Unknown maker, USA
Nineteenth century
Cast Bronze
Hallmark on top of bell
31.5 inches high x 14 inches wide x 17 inches deep (overall)

An American Bronze Bell

Unknown maker, USA
Nineteenth century
Cast Bronze
Unmarked
19.5 inches high x 18 inches wide

With partial cast iron brace.

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Train Bell

Unknown Maker, USA
Nineteenth century
Cast Bronze
Unmarked
16.5 inches high x 10 inches wide

With brace.

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Train Bell

Unknown Maker, USA
Nineteenth century
Cast Bronze
Unmarked
12.25 inches high x 10 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Bell

Unknown Maker, USA
Nineteenth century
Cast Bronze
Unmarked
24 inches high x 22 inches wide


Provenance:
Horst Dimmler, Dallas (1984)

An American Iron Bell
Unknown Maker, USA
Nineteenth century
Cast Iron
Marked on top with '28'
20 inches high x 22 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Bell

Unknown Maker, USA
Nineteenth century
Cast Bronze
Unmarked
20 inches high x 30 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

A Mexican Bronze Bell

Unknown Maker, Mexico
Nineteenth century
Cast Bronze
Marked on top 'Mexico'
15 inches high x 17 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

A Mexican Bronze Mission Bell

Unknown Maker, Mexico
Nineteenth century
Cast Bronze
Unmarked
16.5 inches high x 15 inches wide




With raised foliate pattern to the soundbow or main body of the bell.

Provenance:
Horst Dimmler, Dallas (1984)

An American Iron Bell

O.S. Bell Company, Hillsboro, Ohio, USA
Nineteenth century
Cast Iron
The bell marked with '26'. The yoke marked with 'The O.S. Bell Co., Hillsboro, O. 22'
25.5 inches high x 22 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Iron Bell

Unknown Maker, USA
Nineteenth century
Cast Iron
Yoke marked with 'No. 24 Yoke'.
24 inches high x 20 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Liberty Bell Replica

Unknown Maker, USA
Twentieth century
Cast Bronze
Unmarked
17.5 inches high x 12 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Bell

Unknown Maker, USA
Nineteenth century
Cast Bronze
23.5 inches high x 28 inches wide
With unusually shaped clapper

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Bell

National Bell Foundry Company, Ohio, USA
Nineteenth century
Cast Bronze
Marked on yoke 'National Bell Foundry Co. Ohio'
35 inches high x 33 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Iron Bell

O.S. Bell Company, Hillsboro, Ohio, USA
Nineteenth century
Cast Iron
Marked on top of bell '20'. Marked on yoke 'O.S. Bell Co, Hillsboro, O'
20 inches high x 19 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Iron Bell

Unknown Maker, USA
Nineteenth century
Cast Iron
Marked on front '28 OK'
27.5 inches high x 28 inches wide
With top brace and wheel

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Train Bell

Unknown Maker, USA
Nineteenth century
Cast Bronze
Unmarked
16 inches high x 10 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Iron Bell

Unknown Maker, USA
Nineteenth century
Cast Iron
Marked on top '271414'
13.5 inches high x 12 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Train Bell

Unknown Maker, USA
Nineteenth century
Cast Bronze
Unmarked
12.5 inches high x 13 inches wide

Provenance:
Horst Dimmler, Dallas (1984)

An American Bronze Bell

G.L. Hanks Company, Cincinnati, Ohio, USA
1882
Cast Bronze
The bell marked with 'Cast by G.L. Hanks Co. Cincinnati, Ohio'
21 inches high x 17.75 inches wide

Provenance:
Horst Dimmler, Dallas (1981)

An American Bronze Bell

Fulton Foundry, Pennsylvania, USA
1848
Cast Bronze
Marks: The bell marked "A.Fulton/Pittsburgh/1848"
27 inches high x 21 inches wide

Very rare bronze bell with two raised designs on each side of the year mark and a flower on the yoke.

Provenance:
Horst Dimmler, Dallas (1981)

An American Bronze Bell

E.W. Vanduzen Co./Buckeye Bell Foundry, Cincinnati, Ohio, USA
1898
Cast Bronze
The bell marked 'Buckeye Bell Foundry 1898' and 'The E.W. Vanduzen Co. Cincinnati'.
21 inches high x 19.5 inches wide
The yoke marked with '151A' and 'Rotary Yoke Pat'.

An American Iron Bell

O.S. Bell Co., Hillsboro, Ohio, USA
Nineteenth century
Cast Iron
The yoke marked 'No. 2 Yoke'
24 inches high x 20 inches wide

Bronze bell

Unknown maker, probably Continental
Nineteenth century
Bronze
Unmarked
The largest: 6 inches high x 3.5 inches wide


One bell decorated with a religious theme with clapper.

Provenance:
Sotheby's, New York (1984)

A Renaissance Revival Sideboard

Unknown maker, American
Circa 1870-1890
Walnut, marble, glass, brass
Unmarked
120 inches high x 80.5 inches wide x 26.5 inches deep

The base with rounded ends, fitted with three cupboard doors, the center with relief carved oval panel of pheasants in landscape, the curved end doors with pendant floral swags suspended from bows, with fluted volutes separating doors, topped with conforming rouge marble; upper portion supported by two winged griffins carrying glazed center cabinet crowned by pediment with flanking putti supporting an urn.

Provenance:
Clements, Forney (1983)

A Massive American Walnut Circular Exhibition Cabinet

Unknown maker, American
Circa 1853
Walnut veneer and solids on pine carcass, marble, silvered glass, painted wood
Unmarked
107 inches high x 64 inches diameter

Of stepped drum form, the base with four raised panel doors alternating with stacks of three drawers, with shaped apron fitted with four drawers above slide out felt covered shelves, crowned by a four step top, the bottom most section with inverted mirrored panels separating arch topped cabinet doors (one with hidden compartments) above drawer, with white marble inserts between mirrored panels, surmounted by three graduated shelves with fretwork supports joining to central knop at top and with interlaced carving edging topmost shelf.

This massive full round cabinet was purported to have been created for the New York Crystal Palace Exhibition of 1853-1854, though no provenance is available regarding this. Staged in a glass and iron building modeled after the original Crystal Palace in London, the "Exhibition of Industry of All Nations" was held in what today is New York City's Bryant Park and featured four thousand exhibitors displaying industrial wares, consumer goods and artwork.

Provenance:
Red Baron, Atlanta (1982)

A Pair of Mid-Nineteenth Century German Walnut Veneered Marquetry Wardrobes With Applied Carvings

John Falconer Slater (British, 1857-1937), German
Mid-19th century
mahogany, walnut with mother-of-pearl inlays
85 in. high x 52 in. wide x 22 in. deep
Pair of German walnut veneered wardrobes each with an applied carved mahogany crest above two doors each with 3 oval or circular reserves containing figural marquetry panels and surrounded by triangular applied mahogany carvings; supported on carved bun feet.

Provenance: Purchased in Europe after WWI, the owner stated that these pieces had belonged to the family of Kaiser Wilhelm I, who reigned from 1861-1888 but offered no proof of this ownership. Acquired in 1984.

A Moorish Revival Inlaid Cabinet

Unknown maker, possibly Egypt or Syria
Circa 1890-1900
Hardwood, mother of pearl
Unmarked
87.5 inches high x 55 inches wide x 17.75 inches deep

The rectangular galleried overhanging top supported by tiered muqarnas above a central panel inlaid with Arabic script over a woodwork mishrabi cupboard door, flanked to each side by an arched top recess, the lower portion with central cupboard door inlaid with geometric decoration, flanked to each side by an arch top recess; overall geometric mother of pearl inlay.

A Chinese Carved and Painted Cabinet on Cabinet

Unknown maker, China
20th century
Wood, pigment
Unmarked
55 inches high x 25 inches wide x 16.5 inches deep


The flat-top upper section with carved and painted cornice over fitted with glazed double doors opening to fitted interior with one shelf and two drawers, the side stiles with raised carvings of the Eight Taoist Immortals, raised on carved and painted foo-dog feet centered with pierced apron; the lower section with eight carved panels and fitted with a pair of drawers over double doors opening to an unfitted interior, raised on carved and painted foo-dog feet centered with pierced apron.

The wooden cabinets appear to be of tropical hardwood construction.

A Black Lacquered Commode and Mirror

Drexel Heritage Furnishings, Inc., High Point, North Carolina
Late 20th century
Lacquered wood, mirrored glass, brass
Marks: manufacturer's label and stencil
Mirror: 48-1/2 x 23-1/4 inches (123.2 x 59.1 cm)
Commode: 31 1/2 x 38 1/2 x 19 inches ( 48.3 cm)

The three drawer commode with shaped front on bracket feet, with chinoiserie decoration on a black lacquered ground with brass pulls and escutcheons, with matching shaped arch top mirror.

A Black Lacquered Cabinet and Mirror

Drexel Heritage Furnishings, Inc., High Point, North Carolina
Late 20th century
Lacquered wood, mirrored glass, brass
Marks: manufacturer's label and stencil
Mirror: 44 inches high x 18 inches wide
Cabinet: 29 inches high x 30 inches wide x 19 inches deep


The Chinese-style cabinet in black lacquer with Chinoiserie decoration within gilded borders, brass circular lock plate and pull; with matching mirror.

A Louis XV-Style Parquetry Commode of Bombé Form

Unknown maker, France
Early 20th century
Parquetry veneered on oak carcass, gilt bronze, marble
Unmarked
34 x 48-1/2 x 20-1/2 inches (86.4 x 123.2 x 52.1 cm)


Gilt-bronze mounted Louis XV style commode with Tulip wood parquetry veneer on oak carcass and Spanish brochette marble top. 3 sabots missing.

Provenance:
Clements Antiques (1980)

An Austrian Art Deco Buffet Cabinet

Unknown maker, Austria
Circa 1930-1940
Burl walnut, mahogany, glass
Unmarked
62.75 inches high x 70.75 inches wide x 24 inches deep

The walnut burl cabinet in two sections, the lower of inverted breakfront form with double doors in center and single doors on each end, surmounted by set back cabinet with two doors at the ends centering mahogany lined display cabinet with two sliding glass doors, the whole raised on plinth feet; interior in mahogany.

Provenance:
Hollander Gallery, Milwaukee (1983)

A Continental Marble-Topped Walnut Console With Frieze Drawer-Table

Unknown maker, possibly Italian
Last quarter 19th century
Wood, marble-brêche de Vendane marble
Unmarked
37 inches high x 63 inches wide x 20 inches deep

With back board and low shelf. The frieze carved with a garland of fruit and flowers above carved front legs terminating in paw feet. Losses to front corner of the marble.

Provenance:
Previously located in Nana Restaurant - Hilton Anatole Hotel

A Continental Walnut Veneered Pine Silver Colored Metal Inlays, Possibly Pewter Pianoforte

Unknown maker, Austrian or Italian
Late 18th/early 19th c.
Walnut, brass, silvered metal, ivory, ebony
Unmarked
34 inches high x 45 inches wide x 87.5 inches deep

This pianoforte dates to around 1800 and is a magnificently attractive piece. The pianoforte is veneered with walnut and inlaid with a silver-colored metal, the pianoforte has its original ivory keys. The Italian harpsichord maker Bartolomeo Cristofori is credited with inventing the pianoforte in the 1690s. Italian for 'soft and loud', the pianoforte, or 'fortepiano' later became known simply as the 'piano' and underwent a series of design changes that continue today. However, rarely is an example so elaborately crafted as the piece we see here. The legs appear to be a later addition.

This early example of the pianoforte employs knee pedal dampers instead of foot pedals which were developed later. Crafted with fine walnut and silver inlay in an arabesque fashion, the grand pianoforte has a folding keyboard cover that rests atop the piano when the ivory and ebony keys are exposed. Conservation and tuning needed. Painted ivory label above the keyboard has the name, probably of the maker. The name is unclear but appears to be "Schweighofer Promberger Burger in Wien (from Vienna).

Provenance:
Schwighofers & Sohne was established in 1792 in Vienna, Austria, it is possible that this pianoforte is associated with that company.

A Pair of Lead Greyhounds

Unknown maker, American
19th century
Lead
Unmarked
20.2 inches high x 48 inches long

The greyhounds, both in an alert reclined position
Both tails dissassociated

Condition: Tails and ears are broken; conservation needed.

Provenance:
Sotheby's, New York (1976)
Victoria Dreyfus, Madrey Farm, Brewster, New York.

A Pair of Cast and Chiseled Marble Lions

After Antonio Canova (Italian, 1757-1822), England
Late 19th/Early 20th century
Marble
Unmarked
24 inches high x 46 inches wide x 17 inches deep

Each of the recumbent lions with full mane, front paws extending beyond the plinth base and tail at side beneath hind paw, one slumbering, the other awake; each raised on Breccia Aurora Classica rectangular plinth bases.

The pair of lions offered are full-scale re-creations of those by Antonio Canova (1757-1822) originally created between 1783 and 1792 for installation at the base of the statue of Clement XIII in St. Peter's Basilica, Rome.

Fine re-creations of Canova's lions are included in important collections of marble statuary, including the famous collection of William Spencer Cavendish, 6th Duke of Devonshire housed at Chatsworth, one of England's most celebrated historic houses.

Provenance:
Marjorie Howard, England (1980)

A Pair of Winged Lion Table Bases

Unknown maker, possibly India
19th century
Marble
Unmarked
28 inches high x 26.5 inches wide

These classically handsome marble table bases are carved from white marble and finely detailed. Each base depicts two winged lions, back-to-back, separated by a fluted column. The neo-classical look of the 19th century makes these highly decorative pieces. The winged lion, the symbol of Saint Mark, is used extensively in fine architectural applications.

Provenance:
Art of Old India, Dallas (1994)

A Pair of White Marble Pedestals

Unknown maker, Continental
Circa 1865
Marble unmarked
34 inches high

Each surmounted with a square platform with canted corners and with overhanging collar rim, above a spreading square body carved with alternating pairs of medallions and trophies carved on the sides and punctuated by up-scrolled acanthus leaves at the corners, raised on square plinth with foliage border.

Provenance:
Christie's, Sale 6626, Lot 381

A Pine & Bleached Mahogany Desk

Unknown maker, English
Late 19th century
Pine, brass, leather
Unmarked
31.5 inches high x 72 inches wide x 53.5 inches deep

Of double pedestal form, each pedestal fitted with three drawers on each side; the top fitted with four drawers on each side, all drawers with recessed brass "campaign style" pulls; the top inset with tan tooled leather border.

An English Victorian Mahogany Partner's Writing Table

Unknown maker, English
Circa 1850
Walnut, brass, leather
Unmarked
31 inches high x 72 inches wide x 46 inches deep

The mahogany desk with two drawers on each side with gold tooled leather top and lathe-turned legs. The legs end in brass caps and casters.

Provenance:
E.C. Dicken, Dallas 1982

A Mahogany Standing Desk

Kittinger Furniture Co., Buffalo, New York
20th century
Mahogany solids and veneer, leather, brass
Marks: manufacturer's brand
48.75 inches high x 36 inches wide x 28.5 inches deep


A slant top standing desk with squared fluted legs and single drawer, the top inset with green leather; brass bail pulls and foot bar.

A French Louis XV-Style Desserte Table

Paul Sormani, Paris, France
Circa 1870-1880
Kingwood, gilt bronze, glass
Marks: metal label: PAUL SORMANI; tray stamped P. SORMANI
38 inches high x 39.5 inches wide x 22.5 inches deep


Louis XV style gilt-bronze mounted two-tier desserte table with greater-matched kingwood veneer. The top tier in the form of a removable glass-bottomed tray above scrolling-foliate supports. The base has a shaped apron, gilt-bronze banding to the top and gilt-bronze chutes and sabots. Paul Sormani and his company produced fine quality reproduction furniture in the 19th and early 20th centuries (1847-1934).

Provenance:
Sotheby's, London (2005)

A Pair of Siamese Low Tables

Unknown maker, Siamese
Early 20th century
Lacquered and gilded wood
Unmarked
Each: 16-3/4 x 79-1/4 x 36 inches (42.5 x 201.3 x 91.4 cm)


The pair of low rectangular tables with plain red lacquered tops over shaped foliate carved giltwood apron with stylized dragon corners terminating in curved talon legs.

Provenance:
Pettigrew Associates (1973)

German Marquetry Gothic-Revival-Influenced Table

Circa 1890
Unknown maker
Ebony, mother-of-pearl inlay, burl wood
30-1/4 x 41-1/2 inches (76.8 x 105.4 cm)
German marquetry table veneered with what appears to be walnut, bud walnut, mahogany ebonized pear wood, mother-of-pearl and pewter stringing. The rectangular top has canted corners and is supported by a central pedestal descending to a quadripartite base.

A Carved Ebonized Wood CenterTable

Unknown maker, South East Asian
Late 19th century
Ebonized wood, ivory
Unmarked
30.25 inches high x 35.5 inches wide x 23 inches deep


The elaborately carved shaped ebonized wood center table with cloud pattern at frieze above apron with carved dragon at front and back, with ivory eyes, and stylized dragon head at ends; mythical beast heads at corners with ivory inset eyes surmounting curved cabriole legs with scroll feet.

Provenance:
Garrett Galleries, Dallas 1983

Three American Train Station Double Benches

Unknown maker, American
Early 20th century
Oak, cast iron paw feet
Unmarked
43.5 inches high x 168 inches wide x 56.5 inches deep

These three double-sided oak train station benches are from the historic LaSalle Street Station in Chicago that once served the Rock Island Railroad line. Saved when the building was demolished in 1981, the benches show the usual signs of wear to the sturdy legs, seats and backs. Rock Island's famed Golden State Limited train terminated at the LaSalle station where these benches were used.

Provenance:
Chicago RI and Pacific Railroad (1982)

An English Mahogany and Brass Display Cabinet

Co-Operative Wholesale Society, Ltd., Salford, Lancashire, England
Circa 1880-1910
Mahogany, brass, oak, mastic
Marks: manufacturer's tags attached
87.5 inches high x 115 inches wide x 30 inches deep


The large commercial display cabinet composed of two addorsed D-end glazed cabinets joined at the center, with mahogany frame and brass between glazed panels; the interior with mirrored back and center wall with raised oak display platform inlayed with mastic. The cabinets with English electrical fittings.

Provenance:
Golden Movement, Los Angeles (1977)

An American Mahogany Display Cabinet

Unknown maker, American
Circa 1930
Mahogany, glass
Unmarked
51.75 inches high x 67.5 inches wide x 15 inches deep

With three glazed doors separated by engaged fluted columns, raised on bun feet.

A Pair of Corner Vitrine Cabinets

Unknown maker, American/English
c. 1930
Mahogany, satinwood, ebonized wood, mirrored glass
Unmarked
Each: 68 x 30-1/2 x 21-1/4 inches (172.7 x 77.5 x 54.0 cm)


In the Moderne style, the pair of bow fronted cabinets raised on three tapered legs outlined in inlay, with a band of alternating mahogany and birch or sycamore at apron between bands of Greek key inlay with a matching band at crown; mirrored back and base of interior. Originally fitted with curved glazed doors, which are now lacking. Damage to center.

Provenance:
Karos Fine Art, Milwaukee, WI, 1996

A Pair of Glazed Vitrine Cabinets

Unknown maker, American
c. 1930
Mahogany, birch or sycamore, ebonized wood, mirrored glass, brass
Unmarked
Each: 68 x 60 x 14-3/4 inches (172.7 x 152.4 x 37.5 cm)


In the Moderne style, the pair of glazed cabinets raised on tapered legs outlined in inlay, with a band of alternating mahogany and satinwood at apron between bands of Greek key inlay with a matching band at crown; the apron fitted with two flap doors with brass pendant pulls; mirrored back and base of interior. Originally fitted with glazed doors, which are now lacking.

Provenance:
Karos Fine Art, Milwaukee, WI 1996

A Large Mediterranean Revival-Style Display Cabinet

Unknown maker, American
Circa 1970-1980
Painted pine, brass, glass
Unmarked
104 inches high x 102.5 inches wide x 17 inches deep


With four glazed doors above lower carved doors, the three compartment cabinet with antiqued orange/coral painted finish, brass escutcheons and drop pulls; fitted with lighting.

A Large Mediterranean Revival-Style Breakfront Display Cabinet

Unknown maker, American
Circa 1970-1980
Oak, glass, brass
Unmarked
108 inches high x 122.5 inches wide x 25.25 inches deep


The large oak cabinet of breakfront form with three bevel glazed doors at center flanked by single bevel glazed doors, each above doors with star pattern outlined in bolection molding; fitted with lighting.

A French Wooden Carved Sculpture of Bacchus

Unknown maker, Northern France
Circa 1700
Carved pine
Unmarked
60 inches high


Bacchus, the Roman god of wine, became a favorite of sculptors, especially after Michelangelo's famous sculpture was completed in 1497. This early 18th century rendition of the swaggering god was completed in walnut, probably in northern France. Due to the short proportion of the legs to the body, the statue was probably displayed at a height on a building and was sculpted so as to be seen in an upward perspective.

Detailed with the familiar accoutrements of the god of wine, Bacchus is adorned in his tiger head and skin garment, according to legend, because of the animal's love of the grape. Bacchus holds a bunch of grapes in his left hand and rests his right arm on a tree adorned with grape vines. His right leg is crossed in front of him. The sculpture has an iron ring affixed to the back to anchor the piece to a building or other structure.

Five Important Bronze Figures: Herauts d'Armes

Guillaume de Groot (1839-1922), Brussels, Belgium
19th century
Bronze, marble
Unmarked
49 inches high x 22 inches wide
Guillaume de Groot was born in Brussels, Belgium in 1839. He rose to become a member of the Belgian Royal Academy with his works attaining much notoriety in the 1870s and 1880s throughout Europe. De Groot specialized in the military form in bronze and his works have been eagerly collected for over 100 years, especially after his death in 1922.

The five bronze figures here represent standard bearers and warriors of the Papal Swiss Guard in 16th-century uniforms. With each measuring approximately 49 inches in height, the soldiers, while similarly attired in the classical military dress of the Swiss Guards, the protectors of Vatican City and the Pope of the Catholic Church, they each have different accoutrements such as swords, banners and standards of the Vatican. Two carry the halberd, a lance with an axe affixed to the top, the traditional weapon of the Swiss Guards, along with the others carrying another typical weapon of the Guard, the broadsword.

Guillaume de Groot provided exquisite details in his bronze work; the Papal standard carried by one of the guardsmen, the bloused doublet that is bound at the knee, even the arms the men carry are strikingly realistic. De Groot depicts them as they would have appeared at their introduction to the Pope in their first appearance as the Pontifical Swiss Guard in 1506. The bronze has a nice, even patina and each figure is attached to a pink marble 6" round base.

Provenance:
Acquired in Brussels in 1989.

A Bronze Equestrian Figure of Louis XIV

After François Giradon (1636-1711), French
19th century
Bronze
Unmarked
43 inches high x 36 inches wide x 14.5 inches deep

This 43-inch bronze sculpture of King Louis XIV of France (1638 - 1715) is after the French sculptor François Giradon (1636 - 1711). The original dating from the late 17th century to early 18th century, this striking piece depicts the 'Sun King' in all his glory astride his magnificent mount. It was the age of enlightenment as Louis presided over a cultural revolution in France while maintaining absolute rule. His famous quote, "L'Etat c'est moi", translated to "I am the state," gives one an indication of his power captured here in this sculpture.

King Louis is wearing armor and a cloak with his curly wig to his shoulders. His face is detailed as he looks to his left while on his prancing horse, reins in hand. The bright patina is appropriate for this likeness of the Sun King as one can imagine him riding into his palace at Versailles during the middle of his 72-year rein.

A Bronze Figure of Augustus Caesar

F. Barbedienne Foundry, Paris, France
Late 19th century
Bronze
Marks: F. Barbedienne Fondeur Paris
ERRATUM: 42.5 inches tall
A bronze after the antique marble Augustus Prima Porta which was discovered at Livia's Villa at Prima Porta, Italy, this sculpture of the Roman Emperor Augustus, formerly known as Octavian, depicts Augustus barefoot and heroic, addressing his empire. Dressed in military attire, a small Cupid appears at his feet, a reference to his claimed divine descent from the goddess Venus.

The marble portrait resides at The Vatican in Rome and is believed to be a copy of the original bronze sculpted circa 20 B.C. This example dates from the late 19th century and is a stunning portrayal of the ruler from the renowned F. Barbedienne Foundry. Augustus appears in the traditional controposto pose. The portrait is clearly of Augustus as his distinct facial features are instantly recognizable - the wide head and deep-set eyes are penetrating with the golden patina adding to the effect of motion. The details of his general's uniform such as the breastplate depiction of the Romans' victory over the Parthians are meticulous. Augustus would deliver his 'Pax Romana', a period of peace to the Roman people through his successes during his 42-year reign.

A Continental Art Nouveau Carved Figure

Unknown artist
Circa 1900
Carved partial-gilt alabaster and glass
34 inches high x 18 inches wide x 19 inches deep

This figure of an Egyptian woman is hand-crafted of fine alabaster and fitted with faceted glass at the headband and on the jewelry. Adorned with her beautiful jewels and headband, she sits atop a recumbent lion, both atop an architectural plinth with a short flight of stairs.

Provenance:
Christie's (October 1, 2002 Lot 375)

A Bronze Figure of Diana, Goddess of the Hunt

After Mathurin Moreau, France
Late 19th century
Bronze with basalt base
Marks: Inscribed Moreau
26.5 inches high


Mathurin Moreau attended the Ecole de Beaux Arts in Paris in 1841 and exhibited at the Salon in 1844. A prominent sculptor of the female form in the classical style, he was made a member of the Legion de Honneur as a chevalier in 1885. This attractive bronze of Huntress is inscribed 'Moreau' and has a basalt base. There are minor chips to the basalt base, however the patina is a nice, rich brown.

Condition:
Restorations have been made.

Provenance:
Sotheby's, New York (1981)
Installed in the Nana Restaurant Lobby of the Hilton Anatole Hotel, Dallas, until 2001.

Bust of Sir John Mowbray

Conrad Dressler (British, 1856-1940)
1880
Marble sculpture
Marks: signed on reverse 'Conrad Dressler 1880'
30.75 inches high x 51.75 inches wide

A staunch conservative British politician, Oxford graduate and a long-term member of the House of Commons, John Mowbray (1815-1899) was born John Cornish, taking the surname of Mowbray after his sonless father-in-law Robert Sterling Cornish in 1847. Although he was elected to his seat in the House of Commons originally from Durham, it is for his 40-year representation of Oxford that he is most well-known. In that sense, being the longest serving member, the title of 'Father of the House' was bestowed upon him. Has was made a Baronet by Queen Victoria in 1880, the year this portrait bust was completed. Portraits of Mowbray are displayed in the National Portrait Gallery at London.

Conrad Dressler, a young sculptor of 24 years at the time he completed this fine marble sculpture of Sir John, went on to have an illustrious career in sculpting and the pottery industry. Inventor of the tunnel kiln, his work can be seen at the National Portrait Galley at London and at the Tate in London where his beautiful sculpture of John Ruskin can be seen. Dressler's marble sculpture depicts Sir John in a waistcoat, necktie and overcoat looking straight ahead. Situated on a variegated marble socle with a brown plinth, attached is a brass plaque inscribed with John Mowbray, Bart MPDCL, Director of the Society 1846-1863, Chairman of the Society 1863-1899.

Provenance:
Christie's, London (2001)

Marble Bust of a Gentleman

Unknown artist, probably European
Second quarter 19th century
White marble
24 inches high

The bust of the gentleman is depicted classically draped, on a waisted socle.

Provenance:
Christie's, London 2001

After Hiram Powers (American, 1805-1873)

Bust of Clytie, second half of 19th century
Marble
28 x 48 inches (71.1 x 121.9 cm)
Hiram Powers' sculpture was highly sought after, his works of a Greek slave girl copied throughout America and Europe. After its appearance at the Great Exhibition of 1851 in London, interest in his work increased exponentially.

This marble portrait bust of Clytie, the daughter of the King of Babylon represents the artist's attempt to capture perfect beauty through the Greek symbol of true love eternal. The unknown artist depicts Clytie with loose drapery above downturned petals. On a variegated yellow scagliola pedestal, this is a beautiful sculpture.

Provenance:
Christie's, London 2001

A French Marble Sculpture: Le Rieur Napolitain

Jean-Baptiste Carpeaux (French, 1827-1875)
Late 19th century
Marble
Marks: Inscribed JB Carpeaux
21 inches high

Jean-Baptiste Carpeaux, a French sculptor and painter who traveled to Rome where he won the Prix de Rome in 1854, was famous for his works he completed for Napoleon III. He submitted one of his sculptures, Pêcheur Napolitain à la coquille to the French Academy which led to further commissions from Napoleon III and the sale of the original work in plaster to him for his empress, Eugenie. Carpeaux made several versions of the Neopolitain fisher-boy, many executed in marble such as this Le Rieur Napolitain, or the 'Happy Neopolitain'.

This exquisite marble portrait bust is a version of the Pecheur that Carpeaux had created earlier. An oil sketch of this smiling young man is now in the Musee du Louvre. For the first time Carpeaux gave the subject a detailed smile, carving each tooth as the boy turns slightly and mischievously to his right. His eyes are alive with possibilities, his hair tossed about as he looks for his next bit of trouble. His cloak and hat are finely carved making this one of Carpeaux's signature works, devoid of classical influence, instead focusing on subjects he would see in everyday life.

Provenance:
Christie's (2002)

A Cast Plaster/Composition Bust of A Man, Possibly the Prince Regent, Later George IV

Unknown artist
19th century
Plaster/composition
39 inches high x 30 inches wide x 18 inches deep
The bust is depicted in the costume of late 18th to early 19th century.

A Marble Bust of Julius Caesar

Unknown artist
Marble
26 inches high x 25 inches wide x 16 inches deep

This marble bust of Julius Caesar is after the antique portrait portraying Caesar with the laurel wreath crown. Caesar accepted the laurel wreath instead of the diadem in order not to offend the Roman people, even though he effectively enjoyed a one-man rule.

This portrait bust is of finely carved Carrara marble with Caesar depicted in the lion cloth symbolic of the heroic Hercules.

A Pair of Bronze Busts Depicting Othello and Desdemona

Cast by Fratelli Galli, Florence, Italy
Late 19th century
Bronze on wooden pedestals
Marks: inscribed on back Filli Galli/Firenze
36.5 inches high

The bronze busts of Othello and Desdemona, characters from Shakespeare's play, were cast by Fratelli Galli of Florence, Italy from a model by Antonio Garella. The two characters are the essence of the play and are captured here in all their characteristic style. Othello, the Moor, and Desdemona, the strikingly beautiful daughter of a Venetian senator, are finely detailed atop the carved wooden Ionic columnar pedestals. Their beauty belies the tragedy of the play as the master Italian sculptor Garella has portrayed them with all their dynamic traits.

Provenance:
Christie's (2003)

A Bronze Bust: Lord George Allardice Riddell

Cast from a model by Sir William Reid Dick, RA (Scottish 1878-1961)
1930
Bronze
Marks: signed and dated Reid Dick 1930 and inscribed Lord Riddell
23-1/2 inches (59.7 cm) high


George Allardice Riddell, later Lord Riddell, was a newspaper publisher in London and became a celebrated friend of British Prime Minister David Lloyd George. Prime Minister George made sure Riddell was knighted in 1909 and then made a Baronet in 1918 for his service as a liaison between the media and the British government during World War I. His skills were put to great use at the Disarmament Conference in Washington, DC in 1921 as he was, as Time magazine put it, "a well of information" for the media. Time devoted lengthy space to his obituary upon his death in 1934 noting his publishing, political and philanthropic work in their December 17th edition of that year.

This bronze bust of Lord Riddell was completed from a cast model by the famous Scottish sculptor Sir William Reid Dick. Born in Glasgow in 1879, Dick rose to the top of the sculptor's art, eventually being named president of the Royal Society of British Sculptors from 1933 to 1938. He was well known for this type of portrait statuary in the example of Lord Riddell. His statue of Franklin Delano Roosevelt is a landmark in London's Grosvenor Square and his imposing equestrian statue of Lady Godiva can be seen in Coventry, England. Sir William was so beloved at his death that he was buried in St. Paul's Cathedral in London.

The bust has an even, rich patina and is an excellent likeness of the popular British publisher and statesman. Depicted in coat and tie, Sir William's casting captures the serious expression of Lord Riddell in his most powerful years, the man Time called "one of the most successful publishers the world has ever known."

An American Bronze Bust: Portrait Head of a Woman

John J. Boyle (American 1851-1917)
Late 19th century
Bronze
Marks: Signed on shoulder John J. Boyle, Bureau Brothers foundry mark
25-1/2 inches (64.8 cm) high


John Boyle was descended from a family of sculptors from Ireland. After studying under the master artist Thomas Eakins, he traveled to Paris in 1877 and enrolled at the famous Ecole de Beaux Arts taking on portrait commissions. Upon his return to the United States in 1902 he opened a studio at Philadelphia and then moved on to New York where his career flourished.

This Portrait Head of a Woman is one of the most famous sculptures he would produce. Cast at the Bureau Brothers shop at Philadelphia and signed 'John J. Boyle' on the left shoulder, the nude portrait bust is of a petite, happy woman with a graceful neck, and short, wavy hair. Looking slightly up and to her right, Boyle has placed his work on a short Ionic column thus incorporating an ancient look and form with the modern expression of the subject. The patina is shiny at the cheeks and waves of the hair, a rich, dark brown elsewhere.

Before his death in 1917 Boyle would produce enormously popular work - the statue of Benjamin Franklin at Philadelphia, first exhibited at the 1904 Lewis and Clark Exposition. It may be his most famous, while other noted examples can be found at the Library of Congress and in Lincoln Park at Chicago.

Provenance:
R.C. Eldred, East Dennis, Mass. (1981)

A Belgian Bronze Bust: Face of a Child

Rik Wouters (Brussels, Belgium, 1882 - 1916)
Early 20th century
Bronze, rose marble base
Marks: signed Rik Wouters on back of neck
14.5 inches high x 8 inches wide









A work of the noted Belgian artist Rik Wouters whose sculpture work is very scarce, partly due to his early death and because so many of his works are held in museums worldwide, Face of a Child exhibits the smooth facial features and subtle style for which Wouters was so well known. With a dark chocolate patina, Wouters worked the bronze into swirls of hair, cherubic cheeks and a dainty nose in creating the beautiful head of the little girl. Mounted on a rose marble base, the piece is signed on the back of the neck.

Exhibited:
Brussels International Trade Mart

A Belgian Bronze Bust: Nel Wouters

Rik Wouters (Brussels, Belgium, 1882-1916)
20th century
Bronze with marble base
Marks: signed Rik Wouters on back of neck
14-1/2 inches (36.8 cm) high


His work contemplative and serene, Rik Wouters often used his beloved wife Nel as a model. His works capture a snapshot of emotion and life as in Nel Wouters, a sculpture displayed at the Brussels International Trade Mart in 2000. With the subtle sculpting of the hair and face, Wouters was a master of shaping the female form through capturing light in subtle shades in his sculpture. Due to his brief life of only 34 years, only a few of his works are extant. His pioneering work has made him recognized as the most important Belgian sculptor of the first half of the 20th century, and his sculptures have been exhibited in museums in London and Paris as well as the Royal Museum of Fine Arts in Brussels for decades.

This piece is emblematic of the inspiration he received from his wife that resulted in some of his best work. An artist by the age of 12 years, Wouters was transformed by the work of Rodin and others, but developed his own calm style, later moving on to painting using familiar poses, again, many times depicting his wife Nel in art form with her slightly pursed lips, the prominent ears and textured neck with her hair pulled tightly back. Wouters' work, especially that depicting his wife, is highly sought after for its beauty and simplicity.

A German Bronze Sculpture

Unknown maker, Germany
1879
Bronze
Marks: indistinct signature with date
14 inches high x 35.4 inches wide x 20.2 inches deep

In the shape of a leaf surmounted at the stem by a winged male figure embracing a naked satyrs.

A French Bronze Sculpture

Alfred Dubucand (French, 1828-1894)
Entitled Anier de Caire, the sculpture of an Arab boy and his donkey, the boy leaning against the saddle holding the reins, on an oval base, mid to dark brown patina. Dubucand was inspired by his interest in North Africa. The original wax version of this sculpture was shown at the Paris Salon in 1876 and later in bronze at the Exposition Universelle, 1878.
Signed Dubucand
13.2 inches high

Provenance:
Christie's, London (1978)

Lead Antique Deer Sculpture

Unknown maker, possibly German
19th/early 20th century
46 x 27 inches

Condition: Back leg broken - needs conservation.

Provenance:
Loyd-Paxton, Dallas (1973)

A German Wood Sculpture: Esel

Richard Lang (German)
20th century
Wood
Unmarked
13 x 11 x 7-1/2 inches (33.0 x 27.9 x 19.1 cm)

This touching wood carving by Richard Lang is crafted in an attractive manner using the grain of the wood to give the piece an appealing, eye-catching appearance. Lang is known for his flair for depiction of serene animal figures and lifelike style.

Provenance:
Acquired from the artist in 1985.

An American Bronze Sculpture: Figure of a Woman

Alan Gamache (American)
20th century
Bronze, acrylic base
Unmarked
22 x 5-1/2 x 7-1/2 inches (55.9 x 14.0 x 19.1 cm)


The figurative sculptor Alan Gamache taught sculpting in Wisconsin for many years. This 22-inch figure is a graceful representation of the female form with her hands behind her head and a classical face.

Provenance:
Art Team, Boston (1984)

Edward E. Hlavka (American)

Pops, 1989
Bronze
67 x 21-1/4 x 31-1/4 inches (170.2 x 54.0 x 79.4 cm)
Limited Edition of 12 castings

Life-size naturalistic portrait of Louie Armstrong with his trumpet and handkerchief in cast and patinated bronze; raised and mounted on base measuring 30 inches square x 2.25 inches thick.

Known for realistic portraits of people and wildlife, Hlavka has a special passion for portraits of famous Americans. Among his life-size commissioned works are Presidents Andrew Jackson, Richard Nixon, and George Bush.

Provenance:
Purchased in 1991 from the Knox Gallery in Beaver Creek, Colorado

An American Bronze Sculpture: Monkey Business

Mark Lundeen (American, b. 1958)
1989
Bronze
Edition 11/18
60 x 96 inches (152.4 x 243.8 cm)

An award-winning sculptor as judged by Westword magazine and receiving Best of Show at Scottsdale, Mark Lundeen's work is in public placements such as the Ballpark at Arlington and Statuary Hall at the nation's capitol building, even in the Baseball Hall of Fame. His whimsical figures such as Monkey Business have captured the stories and emotions of the characters he depicts in bronze.

Born in Holdredge, Nebraska, after graduation at the University of Nebraska he toured Europe studying the great masters before opening his sculpting studio in Loveland, Colorado. His sculpture has appeared in Sports Illustrated, Southwest Art Magazine and Newsweek among other noted publications. This life-size sculpture of an organ grinder and his monkey has a light brown patina and is situated on a sturdy oval bronze and marble base.

Provenance:
Driscol Gallery, Vail, Colorado (1990)

An American Bronze Sculptural Group: Herd of Horses

Anna Debska (American, 1929- )
1994
Bronze
Marks: signed 'Anna Debska, 1994' on base
19 x 72 x 9 inches (48.3 x 182.9 x 22.9 cm)

Anna Debska was born 1929 in Warsaw, Poland. From 1948 to 1953, she studied at the Academy of Fine Arts in Warsaw and had her first exhibition in 1954. In 1959 she exhibited at the Biennale Internazionale de Graphica e Sculptura in Carrara, Italy. In 1963 she sculpted for an international display on contemporary art at Monte Carlo.

In Herd of Horses, Debska has taking a hard-charging group of horses and captured their energy and motion. A master sculptor for over fifty years, Debska was recently honored with a private exhibition of her work at the Zapiecek Gallery in Warsaw.
Provenance:
Acquired from the artist in 1994.

An American Bronze Fountain: Rain Child

Philip Richard Szeitz (American)
1966
Bronze
Unmarked
72 inches high x 36 inches wide
This wonderfully whimsical bronze fountain was sculpted by Philip Richard Szeitz, a Hungarian-born artist who has completed bronze sculpture, particularly fountains, since the 1960s. Szeitz was one of the founders of the University of Dallas' art department and was a long-term professor of art at Moorhead State University.

With a greenish patina, the 72-inch fountain depicts a young girl, her umbrella open, sheltering her from the rain. She stands on a lily pad, the roots of which form the foundation of the piece.

Provenance:
Acquired from the artist in 1966.

An American Iron Sculpture: The Prophet

Robert Shinn (American)
20th century
Iron on stone base
Unmarked
28.5 inches high x 13 inches wide

Robert Shinn has created a compelling piece in The Prophet. Depicted standing with his staff in one hand and his finger pointing upward toward the heavens, the subject is intense and declaratory, forcefully making a statement. A dark brown patina makes the piece even more dynamic.

Provenance:
Maxwell Gallery, San Francisco (1966)

A Russian Carved Hardstone Flower Study

Unknown maker, Russian
20th century
Quartz, jade, amethyst, gilt bronze, diamond
Unmarked
4-1/2 inches (11.4 cm) tall

The Russian carved hardstone flower study depicting three branches of violets composed of gilt bronze stems with carved jade foliage and amethyst petals centering diamonds, all set in a clear vase. One flower dissassociated.

Provenance:
Karos Fine Art, Milwaukee (1990)

A Russian Carved Hardstone Flower Study

Unknown maker, Russian
20th century
Quartz, jade, carnelian, gilt bronze
Unmarked
5 inches (12.7 cm) tall

The Russian carved hardstone flower study depicting a holly branch composed of a gilt bronze stem with nephrite jade carved foliage and carnelian berries, all set in a clear quartz vase.

Condition:
One leaf has small chip.

Provenance:
Karos Fine Art, Milwaukee (1990)
Floyd Segel Collection

A Russian Carved Hardstone Flower Study

Unknown maker, Russian
20th century
Quartz, jade, onyx, gilt bronze, diamond
Unmarked
6-3/4 inches (17.1 cm) tall

The Russian carved hardstone flower study depicting an apple branch and apple blossoms, composed of a gilt bronze stem with carved nephrite jade foliage and white onyx petals centering diamonds, all set in a clear quartz vase.

Provenance:
Karos Fine Art, Milwaukee (1990)

A Russian Carved Hardstone Flower Study

Unknown maker, Russian
20th century
Quartz, jade, rose quartz, gilt bronze
Unmarked
6-1/4 inches (15.9 cm) tall

The Russian carved hardstone flower study depicting a branch of roses composed of a gilt bronze stem with carved nephrite jade foliage and rose quartz blossoms, all set in a clear quartz vase.

Provenance:
Karos Fine Art, Milwaukee (1990)
Floyd Segel Collection

A Russian Carved Hardstone Flower Study

Unknown maker, Russian
20th century
Quartz, jade, carnelian, onyx, gilt bronze, diamond
Unmarked
5-1/2 inches (14.0 cm) tall

The Russian carved hardstone flower study depicting an apple branch and apple blossoms, each composed of gilt bronze stem with nephrite jade carved foliage; one with carnelian balls and the other with white onyx petals centering diamonds, all set in a clear quartz vase.

Provenance:
Karos Fine Art, Milwaukee (1990)

A Russian Carved Hardstone Flower Study

Unknown maker, Russian
20th century
Quartz, amethyst, jade, gilt bronze, diamond
Unmarked
4 inches (10.2 cm) tall


The Russian carved hardstone flower study depicting a single violet with amethyst petals centering a diamond and surmounting a gilt bronze stem with carved nephrite jade foliage, all set in a clear quartz vase.

Provenance:
Karos Fine Art, Milwaukee (1990)

Eight English Wedgwood Stoneware Plaques and Medallions

Wedgwood, Stoke-on-Trent, Staffordshire, England
19th century
Jasperware
Marks: impressed maker's mark and potter's mark,'Wedgwood'
The largest: 10-1/2 inches wide (without frame)

All decorated in white relief with classical themes, three on a black ground; three on a blue ground and two on a green ground.

Provenance:
Sotheby's, New York

Five English Ceramic Plaques

Wedgwood, Stoke-on-Trent, Staffordshire, England
Late 18th century
Jasperware
Marks: impressed mark, 'Wedgwood' & 'Wedgwood England'
The largest: 5.5 inches long

The five blue Jasperware plaques each decorated with classical scenes and putti in white relief.

An English Wedgwood Stoneware Plaque

Wedgwood, Stoke-on-Trent, Staffordshire, England
Circa 1900
Jasperware
Marks: impressed mark
6 inches high x 18 inches wide

The horizontal blue jasperware plaque with white relief figures of the Dancing Hours; ebonized frame with gilt slip.

Provenance:
Garrett Galleries, Dallas (1987)
Estate of Pearle Collins, Wichita Falls, Texas

Black Basalt Wedgwood Mantel Clock

Wedgwood, Stoke-on-Trent, Staffordshire, England
19th century
Carved basalt
Marks: Impressed 'Wedgwood' on back
7.5 inches high x 4.87 inches wide x 2.62 inches deep

This basalt Wedgwood clock is decorated on the front with muses, one reading to a child. The sides are decorated with winged putti with flower garlands. At the top amid scrollwork above an angelic device is the Latin phrase 'Tempus Fugit' or, translated, 'Time Flees (Flies)'. With Arabic numerals on a white face surrounded by a gold disk, this is a very attractive and rare timepiece.

Provenance:
Garrett Galleries, Dallas (1987)

A Group of English Wedgwood Basalt Medallions

Wedgwood, Stoke-on-Trent, Staffordshire, England
Circa 1800
Basalt ware
Marks: impressed mark
2.7 inches high (each)

The group of eight black basalt medallions from a set of the twelve Caesars, each of oval shape with gilt borders enclosing a profile portrait relief of Julius Caesar, Galba, Vespasian, Domitian, Nero, Tiberius, Vitellius and Otho, all mounted within one frame.

Provenance:
Sotheby's, London (1986)

An English Wedgwood Stoneware Vase

Wedgwood, Stoke-on-Trent, Staffordshire, England
Late 19th century
Jasperware
Marks: impressed mark 'Wedgwood'
8 inches high

Blue-dip jasperware in the style of the Portland Vase, with classical scene around.

Provenance:
Sotheby's, London (1983)

An English Wedgwood Stoneware Covered Urn

Wedgwood, Stoke-on-Trent, Staffordshire, England
19th century
Stoneware
Marks: impressed mark 'Wedgwood'
10 inches high

Of ovoid form, undecorated jasperware with applied mask handles, acorn knop. Restored.

Provenance:
Sotheby's London 1983

An English Wedgwood Blue-dip Stoneware Covered Potpourri Bowl

Wedgwood, Stoke-on-Trent, Staffordshire, England
Circa 1900
Jasperware
Marks: impressed mark Wedgwood
9 inches high x 6 inch diameter

The bluedip jasperware dish and cover decorated with muses bearing gifts, winged putti and landscape in white sprigging.

An English Ceramic Miniature Tea Set

Wedgwood, Stoke-on-Trent, Staffordshire, England
1877
Jasperware
Marks: Impressed mark
Teapot: 2.5 inches high

The miniature blue Jasperware trio comprises a milk jug, covered sugar bowl, and covered teapot all decorated with classical figures in white relief.

Provenance:
Sotheby's, New York (1988)

Two English Wedgwood Blue-dip Stoneware Pots

Wedgwood, Stoke-on-Trent, Staffordshire, England
Circa 1900
Jasperware
Marked underside
6-1/2 inches high (each)

The dark blue jasperware decorated with white classical figures and garlands.

Provenance:
Hollander Gallery, Milwaukee 1983

An English Three-color Wedgwood Stoneware Vase

Wedgwood, Stoke-on-Trent, Staffordshire, England
19th century
Jasperware
Marks: impressed mark
9 inches high

The three-color vase in a blue ground with applied white relief garlands and vines, two lavender medallions, one depicting Mrs. Matilda Fielding, the other a grape-filled basket.

Publication:
The vase is illustrated in Jean Gorely Old Wedgwood, 1943, no. 10, p. 67.

Provenance:
Sotheby's, New York (1983)

A Pair of English Wedgwood Barber Bottles

Wedgwood, Stoke-on-Trent, Staffordshire, England
1879
Glazed ceramic
Marks: impressed mark and date code, Wedgwood
9.5 inches high

With lids, all in a blue ground with white applied wreaths, medallions of classical motifs. One damaged lid at base.

Provenance:
Sotheby's London 1986

Two Wedgwood Three Color Stoneware Vases with Greendip Ground

Wedgwood, Stoke-on-Trent, Staffordshire, England
19th century
Jasperware
Marks: impressed makers mark with letter H and potters mark
11.7 inches high

Three-color jasperware in a green ground with blue and white sprigged decoration, the central scene portrays Venus and Cupid and Offering to Peace between borders, double handles and lid. One cover missing.

Provenance:
Sotheby's, New York 1983 and 1988

A Pair of English Wedgwood Basaltes Krater Vases

Wedgwood, Stoke-on-Trent, Staffordshire, England
Early 19th century
Basaltes ware
Marks: impressed mark "Wedgwood"
8.1 inches high x 11.2 inches wide

Each in a krater form in black basaltes with a sprigging of fruiting vines and palmettes in rosso antico.

Condition: One has had the socle broken and glued

Provenance:
Sotheby's London 1985

An English Wedgwood Basalt

Wedgwood, Stoke-on-Trent, Staffordshire, England
c. 1880
Basalt ware
Marks: impressed maker's mark and potter's mark
8-1/4 inches high

Black basalt urn with bronzed and gilt sprigged garlands and florettes, four medallions with classical scenes depicting the four seasons.

Provenance:
Sotheby's, New York 1983

ERRATUM:
The lid is broken

An English Wedgwood Basalt

Wedgwood, Stoke-on-Trent, Staffordshire, England
Circa 1775
Basalt ware
Marks: Molded mark, 'Wedgwood & Bentley, Etruria'
9.7 inches high

A classical form urn decorated with a medallion of a maiden, satyr mask handles.

Provenance:
Sotheby's, London (1986)

An English Wedgwood Green-dip Stoneware Coffee Can

Wedgwood, Stoke-on-Trent, Staffordshire, England
19th century
Jasperware
Marks: impressed mark
The cup: 2.8 inches high; the saucer: 4.5 inch diameter

Both in a green ground, the can sprigged with white reliefs of classical and mythological subjects between leaf borders; the saucer with florettes.

Provenance:
Sotheby's, London 1984

An English Wedgwood Caneware Game Dish

Wedgwood, Stoke-on-Trent, Staffordshire, England
Circa 1815
Cane ware
Marks: impressed mark
6.5 inches high x 10.2 inches wide x 7.7 inches deep

The oval caneware game-pie dish with original liner, the top with a vegetable finial, the body elaborately decorated with game birds and grape clusters. Cover probably not original.

Provenance:
Estate of Pearle Collins, Wichita Falls, Texas
Garrett Galleries, Dallas 1987

An English Wedgwood Caneware Game Pie Dish

Wedgwood, Stoke-on-Trent, Staffordshire, England
Circa 1815
Cane ware
Marks: impressed mark
5.2 inches high x 9 inches wide x 6.5 inches deep

The oval caneware pie dish, the top with a vegetable finial, the body bound with grape clusters.

Provenance:
Estate of Pearle Collins, Wichita Falls, Texas
Garrett Galleries, Dallas 1987

A Pair of English Wedgwood Stoneware Potpourri Vases/Pastille Burners

Wedgwood, Stoke-on-Trent, Staffordshire, England
Circa 1900
Jasperware
Marks: impressed mark 'Wedgwood'
7.5 inches high x 10.2 inches wide

The pair of smear-glazed cream colored krater form potpourri vases/pastile burners with perforated grids and large loop handles, also with flat lids with button finial, the body adorned with deep green grape vine sprigging. Small chip to handle.

Provenance:
Estate of Pearle Collins, Wichita Falls, Texas
Garrett Galleries, Dallas 1987

An English Royal Worcester Porcelain Cabinet Vase

Royal Worcester, England
Designed by George Owen
1919
Porcelain with gilt decoration
Marks: Gilt crowned circle mark underside with shape number 871, incised signature G. Owen and date code
7 inches high x 4 inches wide

Signed by George Owen, the reticulated ovoid vessel with round mouth over tapered long neck fitted with double handles, the entire enhanced with gilt decoration and applied beading at the neck and shoulder.

Provenance:
Sotheby's London 1983

A Pair of German Porcelain Urns

Dresden, Germany
Circa 1900
Porcelain with polychrome enamel and gilt decoration
Marks: Maker's mark
39 inches high x 18.5 inches wide x 12 inches deep

The ornate lidded urns heavily decorated with applied flowers and a cartouche of more flowers; double handles.

Provenance:
Hollander Gallery, Milwaukee (1984)

A Pair of German Porcelain Covered Urns

Unknown maker, Germany
19th century
Porcelain with unmarked polychrome enamel and gilt decoration
Unmarked
22 inches high

Ornately decorated with ram's head handles and applied flowers to body and lid.

Condition: hair-line cracks, losses to flowers and leaves; base of one damaged

A Pair of German Porcelain Urns

KPM, Berlin, Germany
Late 19th century
Porcelain with polychrome enamel and gilt decoration
Marks: red KPM stamp, blue scepter under base
20.7 inches high x 10 inches wide x 7 inches deep


Each double-handled covered urn painted with a woodland scene of a courting couple, a spray of flowers to the verso.

Provenance:
Sotheby's, New York (1980)

A Monumental Earthenware Urn and Stand

Utzschneider, Sarreguemines, France
Late 19th century
Earthenware with enamel and gilt decoration
Marks: Stand with underglaze mark UTZ
73 inches high

Glazed in blue on an ivory ground with gilt highlights.

Condition:
Foot restored.

Provenance:
Sotheby's, New York (1980)

A Pair of Majolica Figures on Stands

Unknown maker, Italian
Late 19th century
Tin glazed earthenware
Marks: male: impressed 4993; female: impressed 4884
Male: 39 inches high
Female: 37 inches high
Pedestals: 36.5 inches high


Provenance:
Hollander Gallery, Milwaukee (1984)

Twelve Pieces of American Brilliant Period Cut Crystal

Unknown maker, American
Cut crystal
Unmarked
The tallest: 12 inches high

Comprising a pitcher, a vase, smaller (chipped) vase, four nappys, two celery dishes, two sugar bowls and a 2-part compote.

A Pair of English Silverplate Urns

Joseph Rodgers & Sons, Sheffield, England
Early 19th century
Silverplate on copper
Marks: Joseph/Rodgers/& Sons/Sheffield/EP
21.5 inches high x 12.5 inches diameter

The delicately engraved urns with loop handles held in the mouths of lions, tap to the front, domed lid with floral motif, all elevated on a square base with ball feet.

Provenance:
Corell & Co., Los Angeles (1977)

An American Silver Ewer

Peter L. Krider Co., Philadelphia, Pennsylvania
Circa 1890
Sterling silver
Marked underside
17.7 inches high

The Peter L. Krider Company of Philadelphia was located at Artisan Hall on Chestnut Street and produced fine silver through the 1890s. This elaborate ewer has a vase-shaped body with a sloping pedestal base. The entire piece is embellished and embossed with hand-chased grapes and vines. The beautiful handle is in a rustic hand-chased and applied branch form.

Provenance:
Sotheby's, New York (1980)

A Pair of Bronze Ewers

Unknown maker
Late 19th century
Bronze
Unmarked
38 inches high

Each of the dark brown patinated baluster bodies cast with bacchanalian scenes between bands of fruiting grape vines and with scrolled handle surmounted by a putto holding a cluster of grapes. Now mounted on 20th century rectangular plinths.

Provenance:
Christie's, London (1978)

A Pair of Gold-Plated Urns

Unknown maker, Continental
19th century
Gilt metal
Unmarked
17 inches high x 9 inches wide

Decorated with snake form handles and raised dancing figures to the center.

Provenance:
Purchased in Brussels in 1983.

A Continental Miniature Palace Model

Unknown maker, possibly France
Late 19th through 20th century
Wood, lampwork glass, ivory, alabaster, paper, fabric, paint and electric lights
Unmarked
29 inches high x 27 inches wide x 12 inches deep

Comprising elements of various ages, some possibly late 18th century "verre de Nevers;" an elliptical two-story building with blue and gold façade and terraces fitted with miniature figures, furniture, and accessories including electric lights; the entire raised on conforming satinwood-inlaid rosewood plinth with four bunn feet.

The upper terrace with a rural fantasy of peasant life incorporating a windmill, house and landscape with lampwork glass figures of three humans in domestic pursuits, sheep, goat, rabbit, ducks, dog, and birds; the two mezzanine terraces with glass items including vases of flowers and pitcher; the interior of the upper floor with mirrored floor to simulate a multi-fountain-fed pool with three nude female bathers; the flanking terraces on the upper floor fitted with glass items including a strolling gentleman looking at the bathers; the colonnaded lower level fitted with alabaster clock, steps and flooring and furnished with carved and pierced ivory furniture for the twenty figures therein.

The entire model now housed in a custom-fitted case comprising an acrylic rectangular dome and a conforming travertine base with engraved brass plate: "Miniature Glass Palace/In Part Nevers/c. 1875-1900".

Provenance:
Sotheby's (12/04/1985)

Exhibited:
Nana Lobby, 27th Floor, the Hilton Anatole until 2001

A Bird Palace

John Buford, English
19th century
Glass, metal
Unmarked
100 inches high x 25 inches wide x 25 inches deep

The bird palace in the the style of the north tower of Chartres Cathedral, the spire with flying buttresses, rose windows and a façade covered in twenty-four karat gold glass mosaics with figures in various finishes.

Condition: Some repairs needed to figures.

Provenance:
Joal, S.A. Mexica (1972)

A French Enamel Plaque: The Roman Emperor

After Pierre Reymond, Limoges, France
19th century
Polychrome enamel on copper
Unmarked
29 x 27 x 12 inches

A Limoges polychrome enamel plaquette in the 16th century style, after Pierre Reymond, painted in oranges, yellows, reds, blues and white heightened with body color and gilding, depicting a Roman Emperor meting out justice, the reverse enameled in dark blue and inscribed in gold "P PR 1580". Within ebonized and giltwood frame, the reverse with paper label from the framer E.Rousseau, Paris. (The present plaquette may depict the Justice of Trajan, a popular subject in the mid-19th century as evidenced by the painting by Eugene Delacroix of this subject from 1840. Similarly, it may depict a variant episode from the "Story of Coriolanus", a popular tapestry subject in the late 16th and early 17th centuries.)

Provenance:
Christie's, LA (1998), Sale 6528, Lot 475

Polychrome Tondo

Limoges, France
19th century
Polychrome enamel, wood frame
9.5 inches diameter
Limoges polychrome enamel tondo in the 16th century style, French, 19th century, painted in strong blues, purples, reds and yellows heightened with body color and gilding, depicting the kneeling Hermes offering the apple of discord to The Shepherd Paris with Juno, Minerva and Venus in attendance, within a floral band. The underside enamelled in black, within an ebonized wood frame. (Embossed enamels from the 16th century upon which the present example is based are rare. Large plaques depicting the Twelve Gods by Pierre Courteys After Il Rosso are known, as are a few Tazza lids attributed to the hand of Pierre Raymond.)

Provenance:
Christie's Los Angeles (1988), Sale 6528, Lot 474

A French Bronze and Marble Mantle Clock

Unknown maker, French
19th century
Patinated and gilt bronze, marble, glass
Unmarked
25 inches high

The bronze figures of two female figures on a marble clock case with gilt mounts.

Provenance:
Sotheby's, New York (1981)

A Pair of Continental Gilt Wood Figures

In the manner of Pinelli, possibly Italian
19th century
Gilt wood
Unmarked
37.7 inches high

The pair of Comedia del Arte figures of dancing musicians, one with the bagpipes, the other playing castanets. Bagpipes dissassociated.

Provenance:
Christie's, East 1981

Boy and Girl Fountain

Attributed to the Joseph Winn Fiske Foundry , America, New York
19th century
Cast lead and zinc - enamel
47 inches high x 72 inches wide x 11 inches deep;











The Joseph Winn Fiske Foundry Company of New York City was the preeminent maker of garden fountains and other ornamental metal objects in the 19th Century. Fiske used an outside foundry and patternmakers for his objects which are highly collected today.

This attractive working fountain is cast of lead and zinc and depicts two children sheltering themselves with an open umbrella. The brightly colored enamel brings the piece to life, especially when the fountain is active and the water is flowing over their heads.

A Heriz-style Rug

Unknown maker, possibly Iran
20th century
Wool, cotton
Unmarked
186 inches high x 120 inches wide


A loosely woven Heriz style rug with central medallion on faded red/rose ground and blue borders.

An Wool Area Rug

Unknown, Morocco
19th century
115 inches high x 64 inches wide

This Moroccan area rug is woven in an intricate geometric pattern with a red background and is quite possibly of the Ouaouzguite tribe. Finely woven and retaining its bright color, the rug is 115 x 64 inches.

Provenance:
Palais Vizir, Morocco (1992)

A Moroccan Rug

Unknown maker, Morocco
20th century
Wool, cotton
100 x 62-1/2 inches (254 x 158.8 cm)
Unmarked

The flat woven rug with red ground over embroidered with geometric decoration.

Provenance:
Palais Vizir, Morocco (1992)

A Large Moroccan Rug

Unknown maker, Morocco
20th century
Wool, cotton
Unmarked
118 x 71 inches (299.7 x 180.3 cm)

A large room sized over embroidered flat woven rug with pale pink ground and overall geometric decoration and bird border.

A Moroccan Tribal Rug

Unknown maker, possibly North Atlas Region
20th century
Wool, cotton
Unmarked
62-1/2 x 40 inches (158.8 x 101.6 cm)

The flat weave rug over embroidered bands of repeating geometric decoration highlighted in cream, gold and red.

Provenance:
Palais Vizir, Morocco (1992)

A Moroccan Rug

Unknown maker, Morocco
Late 19th/early 20th century
Wool, cotton
Unmarked
107 x 67-1/2 inches (271.8 x 171.5 cm)


The flat woven rug with pale pink ground over embroidered with bands of diamond shaped decoration.

Provenance:
Palais Vizir, Morocco (1992)

A Moroccan Rug

Unknown maker, Morocco
20th century
Wool, cotton
Unmarked
100-3/4 x 74-1/4 inches (255.9 x 188.6 cm)

The flat woven rug of pale blue ground over embroidered with all over geometric and animal decoration.

An Important Set of Three English Needleworks

Unknown maker, English
18th century
Silk
Unmarked
17 x 12 inches (43.2 x 30.5 cm) (largest)


These three English needlework pieces are elaborately crafted with beautiful golds and blues worked into an Oriental scene. With each piece nicely framed in a wooden gilt frame, the beauty of these meticulously stitched pieces is engaging.

Provenance:
Mayorcas Ltd., London (1980)

A Monumental Texas Wildflower Hanging Tapestry: Bluebonnets

Helena Hernmarck (Sweden, 1941-)
1979
Wool, linen and cotton
Unmarked
132 inches high x 231 inches wide

This Texas Bluebonnets tapestry portrays individual blue flower-stalks with photo-realistic accuracy in a naturalistic setting beneath full sunlight, the foreground rendered in crisp detail and transitioning to a contrasting dark background with blurred focus; the 11 feet 4 inches x 19 feet 3 inches format of the tapestry required 29 weeks of continuous work for Hernmark to complete in her Soho studio.

Born in Stockholm in 1941, Hernmarck trained at the Handarbetets Vanner (Weaving School) during her early teen years, then attended the Konstfackskolan (University College of Arts, Crafts & Designs) from 1959-63. She began completing corporate commissions in the late 1960s, including Cunard Steamship Company and the Swedish Embassy in London.

In 1973, Hernmarck was awarded the American Institute of Architects Craftsmanship Medal. She lived and worked in Canada and England prior to establishing residency in the US in 1975. Steeped in the rich Swedish textile tradition, Hernmarck created a professional career as textile artist by focusing on the small, often-overlooked beauties of life, and presenting them on a grand, architectural scale. Working with customized yarns prepared for her in her native Sweden, Hernmarck uses a carpet loom to create monumental tapestries that are well-suited to her numerous corporate commissions. Bluebonnets serves as an excellent example of Hernmarck's artistic vision in terms of high quality, famous commission, photo-realistic detail, textile medium, larger-than-life scale, and mundane subject glorified.

Bluebonnets typifies the artist's understanding of the mechanics of visual perception of color, light and shadow for the production of loomed photo-realism. Her characteristically deft ability to translate the flat medium of woven threads into a large-scale and three-dimensional visual experience has been central to her career.

Hernmarck's textile art has been included in numerous important permanent collections and exhibitions. The following is a partial listing: Metropolitan Museum of Art, New York, New York; Museum of Modern Art, New York, New York, (solo exhibition); Minneapolis Institute of Art, Minnesota; National Museum, Stockholm, Sweden; Renwick Gallery, National Museum of American Art, Smithsonian Institution, Washington, D.C.; Museum of Arts and Design, New York, New York; Musée des Arts Décoratifs de Montreal, Quebec, Canada; and Cleveland Museum of Art, Ohio.

Corporate commissions include:
Federal Reserve Bank, Boston; Stanford University Library; Johnson & Johnson Baby Products; Pitney Bowes: and Kellogg Company.

While continuing her artistic career, Hernmarck also has had an academic career, teaching at Rhode Island School of Design and Split Rock. She also serves as speaker at numerous universities and museums around the world.

Provenance:
Commissioned in 1979 for the Dallas Centre, a Dallas office and hotel complex, built by real estate developer, Vincent Cerrozza, and designed by Harry Cobb, of I.M. Pei & Partners
Purchased by Trammell Crow, in conjunction with his purchase of the Dallas Centre, in 1982 and installed in the Anatole Hotel's Chantilly Lobby Entrance
Later installed in the Atrium, First Floor to the Mensware Mart of the World Trade Center in 2002

Exhibited:
Bluebonnets was loaned to the Museum at the Fashion Institute of Technology in New York for a special three-month exhibition in 1999.

A Monumental Texas Wildflower Tapestry: Poppies

Helena Hernmarck (Sweden, 1941- )
1979
Wool, linen and cotton
Unmarked
153.5 inches high x 234 inches wide

Poppies depicts the yellow Eschscholzia Mexicana, chosen for the commissioned tapestry because this variety has acclimatized and grows wild in Texas. The photo-realistic portrayal of the eleven poppies in a garden setting beneath full sunlight contrasts with the dark, angular background rendered in blurred focus, the 11 feet 21 ½ inches by 19 feet 6 inches format of the tapestry required 24 weeks for Hernmark and her staff to complete.

Provenance:
Commissioned in 1979 for the Dallas Centre, a Dallas office and hotel complex built by real estate developer Vincent Cerrozza and designed by Harry Cobb, of I.M. Pei & Partners
Purchased by Trammell Crow, in conjunction with his purchase of the Dallas Centre, in 1982 and installed in the Anatole Hotel's Chantilly Lobby Entrance
Later installed in the Atrium, First Floor to the Mensware Mart of the World Trade Center in 2002

Exhibited:
Poppies was loaned to the Museum at the Fashion Institute of Technology in New York for a special three-month exhibition in 1999.
Subsequently loaned to the Prince Eugen's Waldemarsudde Museum, Sweden for a two-month special exhibit in 1999.

STEPHANIE GRUBBS (American, 20th century)

Sea Chart (triptych), circa 1982
Felted wool, flax paper
Unsigned
72 x 72 inches (182.9 x 182.9 cm) (each panel)

The three individually framed panels depicting a portion of a cresting wave, composed of pieced woven squares of felted wool and handmade flax paper overlaid with gauze.

A native of Oklahoma, Stephanie Grubbs has been an acclaimed regional weaver and textile artist for over 35 years. Her work is included in many corporate and public collections and she has exhibited in local, regional, and national juried and invitational shows.

Provenance:
Acquired from the artist in 1982.

King Duncan's Cape

Jagoda Buic (Croatian, b. 1930)
1984
Tapestry
72 inches high x 120 inches wide

Jagoda Buic was born in Split, Croatia. In Vienna and Zagreb she studied interior architecture, stage set design and textile art. She has participated in the Lausanne Bienale (1965) and the Venice Bienale (1970) . Her textiles are included in some of the most important public and private collections the world over. In 1976 Buic was awarded the Grand Prize for Applied Arts at the Bienale in Sao Paolo, Brazil. She currently ranks among the foremost textile artists in contemporary art.

The tapestry is woven with hemp rope dyed in various rust, gold and red colors.

Provenance:
Acquired in Brussels in 1989.

Fischer of Kassel

Red Copper
Two Tapestries
72 x 240 inches (182.9 x 609.6 cm)

Woven in deep hues of dyed red hemp strands interwoven with copper, these monumental tapestries have gilt copper bands that protrude determining a relief style , forming undulating golden lines that catch and reflect the light. This is a masterful approach by the artist to convey the feeling of light, warmth and movement simultaneously.

Provenance:
AKA Art Consultants (1982)

A Pair of Woven Textured Tapestries: Colmena I and Colmena II

Olga de Amaral (Colombian, born 1932)
Circa 1977
Woven textile
Unsigned
108 x 72 inches (274.3 x 182.9 cm)


The large rectangular tapestries of pieced multi-colored coarsely woven textile strips, interwoven with interleaved braiding, mounted on painted wooden frames.

Originally from Colombia, Olga de Amaral completed her studies at the Cranbrook Academy of Art in Bloomfield Hills, Michigan in the weaving workshops founded by Loja Saarinen. Amaral's work contains strong references to her native Colombia, as well as early pre-Columbian weavings, in this instance the long tradition of brightly colored, coarsely woven textiles.

Provenance:
Acquired from the artist in 1977.

A Three-Dimensional Woven Tapestry

Jagoda Buic (Croatian, born 1930)
1975
Woven textile
Signed and dated lower left Jagoda Buic 75
72 x 120 inches (182.9 x 304.8 cm)
The three dimensional woven tapestry in shades of bright pink, camel and rust with five projecting cylinders on front.

Jagoda Buic is a renowned textile artist and sculptor who in the 1970s entered the international art stage beginning with the ROSK international exhibition in Ireland in 1971. Entitled "La poesie de la vision", the exhibition was organized by James Sweeney, the director of the Guggenheim Museum in New York, Werner Schmalenbach, the director of the Kunsthalle in Dusseldorf, and Ponte Hunten, the director of the Centre Pompidou in Paris. It was in Ireland that Jagoda met Henry Moore, who felt enthusiastic about her art and became a close friend. The master sculptor's positive feedback as well as James Sweeney's admiration were strong influences on the development of her artistic expression. During this prestigious exhibition, the work of Jagoda Buic aroused considerable interest among art historians and museum directors and in 1975, Buic held an independent exhibition at the Museum of Modern Arts of the City of Paris. Later that year, she was awarded the main prize at the XIII biennial art festival in Sao Paulo.

Provenance:
Acquired in Brussels in 1984.

Charles Willson Peale (American, 1741-1827)

General Anthony Lamb, 1787
Watercolor on ivory
Back of frame inscribed Anthony Lamb, Aged 19/Painted by Charles Wilson (sic) Peale/1787
2-5/8 x 2-1/8 inches (6.7 x 5.4 cm)



Anthony Lamb was the son of Brevet General John Lamb who served during the American Revolution and the War of 1812. The elder Lamb was in command at West Point at the time of Benedict Arnold's treason, but was not present at the time. Anthony Lamb rose to the rank of General and held several commissions and posts such as being a commissioner to the committee who decided where to build Revolutionary War monuments. He was a member of the Society of the Cincinnati. In a nice gold frame, the back of the frame is inscribed 'Anthony Lamb, Aged 19/Painted by Charles Wilson (sic) Peale/1787'. An archive of biographical material on Lamb accompanies this portrait.

Provenance:
Acquired from the descendants of General Lamb

ERRATUM
The following additional provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Robert Livingston (1746-1813)
Watercolor on ivory
Reverse of frame engraved with Livingston's name and C.W. Peale Pinxt
1-5/8 x 1-1/2 inches (4.1 x 3.8 cm)



An attorney in New York City in practice with John Jay, Robert Livingston became active in the movement for American Independence. He was a member of the Committee of Five which drafted the Declaration of Independence. It was later in his capacity as Chancellor of the State of New York that he administered the first oath of office to George Washington. As U.S. Minister to France he negotiated with Talleyrand the purchase of the Louisiana Territory. He supported Robert Fulton in his successful development of the steam engine with Fulton naming the steamship Clermont after Clermont Manor, Livingston's estate.

In its locket-sized gold frame, the reverse is engraved with Livingston's name and 'C.W. Peale Pinxt'. An archive of biographical information accompanies the portrait.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Mary McIlvaine Bloomfield, Mrs. Joseph Bloomfield (1752-1818)
Watercolor on ivory
Unsigned
1-3/4 x 1-1/4 inches (4.4 x 3.2 cm)


Mary McIlvaine Bloomfield was the wife of Joseph Bloomfield, a member of the provincial Congress and the fourth governor of New Jersey. He served as a general in the New Jersey militia and helped put down the Whiskey Rebellion. A descendent of Thomas Bloomfield, a major in Oliver Cromwell's army in England, Bloomfield was the son of a prominent physician. As war with England loomed, Bloomfield served as General Schuyler's guard officer and brought the Declaration of Independence to Fort Stanwix. He fought in the American Revolution and rose to the rank of major. He also served as governor of New Jersey before being appointed a brigadier general in the War of 1812. The town of Bloomfield, New Jersey is named in his honor. Mary was the daughter of Dr. William McIlvaine of Burlington, New Jersey and was Bloomfield's first wife. She died in 1818 with Joseph surviving until 1823.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

John B. Fitch (1743-1798)
Watercolor on ivory
Unsigned
1-1/2 x 1-1/4 inches (3.8 x 3.2 cm)


John B. Fitch was a pioneer in the development of the first successful steamboat. He successfully demonstrated the ship on the Delaware River before members of the Constitutional Convention in 1787. He unfortunately failed to receive the recognition he deserved and died in 1798.

The portrait is enclosed in a gold case with beveled glass and its original pin.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

John Beale Bordley (1727-1804)
Watercolor on ivory
Unsigned
1-3/8 x 1 inches (3.5 x 2.5 cm)


John Beale Bordley was a lifelong friend and patron of Charles Willson Peale. Peale's father Charles Peale was Bordley's schoolmaster. It was Bordley who arranged for Charles Willson Peale to travel to England to study under the noted artist Benjamin West. Peale would return to the United States and eventually paint four portraits of Bordley and pictures of two of his sons. Bordley became a Maryland lawyer and farmer who founded the first American agricultural society. George Washington corresponded with Bordley concerning a threshing machine that Bordley owned as Bordley farmed on a large scale. His farm at Poole's Island became an important base for supplying the troops of the American army. His writings on agriculture made him a very well known and respected figure in early American society.

A lock of Bordley's hair is encased in a glass window on the reverse of the gold frame. Biographical material accompanies this portrait as well.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Mary Cox Morris, Wife of General Jacob Morris (1759-1827)
Undated
Watercolor on ivory
Unsigned
2 x 1-1/2 inches (5.1 x 3.8 cm)


On July 16, 1777, Mary Cox Morris married Jacob Morris, a prominent military officer in the American Revolution. Charles Willson Peale's miniature of her husband Jacob Morris is also being offered in this auction. These two items are obviously a pair. Each portrait is enclosed in a locket with the subject's name, birth and death dates on the reverse.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Jacob Morris (1755-1844)
Watercolor on ivory
Inscription on back of frame is 'Dec. 28th 1775 Jan. 10th 1844', General Morris' birth and death dates
1-3/8 x 1 inches (3.5 x 2.5 cm)

Son of Lewis Morris, a signer of the Declaration of Independence, Jacob Morris fought in the American Revolution, was conspicuous at the Battle of Monmouth, and rose to the rank of general. The town of Morris New York, located on land awarded to General Morris as compensation for family property destroyed by the British during the Revolutionary War, was named for him. He fought at Trenton, Monmouth, and Rhode Island. He served admirably as an aide-de-camp to Generals Charles Lee and Nathaniel Greene as well. An extensive archive copy of Morris' war service records is included with this portrait.

Jacob Morris was the husband of Mary Cox Morris whose Charles Willson Peale portrait miniature is also offered in this auction. These two items are obviously a pair, each portrait enclosed in a locket with the subject's name, birth, and death dates on the reverse.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Elizabeth Digby Peale, Mrs. Robert Polk (1744-1777)
Watercolor on ivory
Unsigned
2 x 1-1/2 inches (5.1 x 3.8 cm)


Elizabeth Digby Peale was the sister of Charles Willson Peale and married Captain Robert Polk in 1765. Elizabeth was noted as an early school teacher in Maryland. Her husband was killed in battle in 1777 as captain of the schooner Montgomery. She is the mother of famed portraiture artist Charles Peale Polk.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Dr. Ebenezer Crosby (1753-1788)
Circa 1777
Watercolor on ivory
Unsigned
1-1/4 x 2-1/8 inches (3.2 x 5.4 cm)


Dr. Ebenezer Crosby, surgeon to General George Washington's Guards was born in 1753 in Braintree, Massachusetts. In 1783, he was one of the original members of the Society of the Cincinnati, the oldest military hereditary society in the United States. A Harvard graduate, he later served as a professor at Columbia College until he died in 1788. Included with this portrait are extensive records of Crosby's service with General Washington as surgeon of the 'Commander-in-Chief's Guards.' The oval portrait is encased in a gold rectangular frame.


ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Major Ennion Williams, Circa 1777
Watercolor on ivory
Unsigned
1-5/8 x 1-1/4 inches (4.1 x 3.2 cm)

This is a very colorful and detailed portrait by Charles Willson Peale. In one of his finest miniature portraits, Peale uses vibrant blue and red to depict the young officer in the uniform of the American Revolutionary War army. Ennion Williams was a major in the First Battalion, Miles' Rifles during the American Revolution. He served with George Washington at the battles of Trenton and Princeton from 1776-1777. Williams kept a meticulous diary in 1775, a transcript of which is included with this portrait along with other biographical information. Williams was the great-grandfather of Dallas, Texas pioneer Edmiston Kennedy Martyn. A lock of Williams' hair is enclosed on the reverse of this unusual and beautiful gold frame.

Published: Sellers. Portraits and Miniatures by Charles Willson Peale, Number 984, pages 249, 367.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Catherine Alexander (Lady Kitty) Duer (1755-1826)
Undated
Watercolor on ivory
Inscribed on verso of frame
1-1/4 x 1-1/2 inches (3.2 x 3.8 cm)


Catherine Alexander, affectionately called 'Lady Kitty' by her friend George Washington, married William Duer with Washington giving her away at the altar. A New York City socialite, her husband was an avid supporter of the Revolution and was a member of the Continental Congress and a signer of the Articles of Confederation. Catherine Alexander Duer was the daughter of General William Alexander, Lord Stirling, an officer in the American Revolution commanding troops in New York City and a favorite of General Washington.

On verso of this beautiful gold frame is inscribed 'Catherine Alexander, Born 1755, Died 1826, Daughter of General William Alexander, Earl of Stirling and Sarah van Brugh Livingston wife of Colonel Wm Duer'. The portrait is accompanied by an archive of biographical information on William Duer.

Published: Sellers. Portraits and Miniatures of Charles Willson Peale, page 71, number 232.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Richard Cary
Undated
Watercolor on ivory
Unsigned
1-1/2 x 1-1/8 inches (3.8 x 2.9 cm)

Lieutenant Colonel Richard Cary was an aide to General George Washington from June to December of 1776 during the Revolutionary War. Peale depicts Cary in his American Continental officer's uniform in bright color and detail. A lawyer from Virginia who served as a judge on the Court of Admiralty and the first Court of Appeals, Cary was also quite well known as an amateur botanist. He lived in Ostego County, New York after the war and was a large landowner. He married Ann Lowe, daughter of Cornelius Lowe. The portrait is in a beautiful scalloped gold frame and comes with an archive of information on Cary.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Mary Riche Swift, Mrs. Charles Swift
Undated
Watercolor on ivory
Unsigned
1-1/2 x 1 inches (3.8 x 2.5 cm)


Mary Riche Swift was the daughter of Thomas Riche, a Bordentown New Jersey Revolutionary War Tory. Mary married Charles Swift and was the mother of several sons, among whom was John Swift, three time mayor of Philadelphia in the early part of the 19th century.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Charles Willson Peale (American, 1741-1827)

Sir Henry Clinton (1738-1795)
Watercolor on ivory
Unsigned
1-1/2 x 1-1/4 inches (3.8 x 3.2 cm)

Sir Henry Clinton (1738-1795) was a British general in the American Revolution, his father the former Governor General of Newfoundland. Born in 1730 he embarked on a military career and rose steadily through the ranks to colonel by the 1770's. Upon the death of his wife in 1775, he accepted the position of third in command in the American colonies just before the American Revolution broke out. By 1777-1778 he had risen to the rank of Commander-in-Chief of the British forces in North America. Although he led his army in the Carolinas, he left the command of forces to Lord Charles Cornwallis who eventually surrendered the British army at Yorktown. Clinton resigned his commission in 1781 and returned to England where he died in 1795.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Walter Robertson (Irish/American, 1750-1802)

GEORGE WASHINGTON, Late 18th century
Framed watercolor on ivory
6 x 5 inches (15.2 x 12.7 cm)
signed bottom left, 'W. Robertson'


Walter Robertson was an Irish portraiture artist famous for his fine miniature work and his early association with Gilbert Stuart, the American artist well-known for his Athenaeum portraits of George Washington. Robertson came to New York with Stuart after Stuart had spent time in Dublin doing portraiture commissions. The two had an agreement that Robertson would complete portrait miniatures of Stuart's works which carried on for several years until the two traveled to Philadelphia where Robertson's work took on a life of its own. He later moved to India where he died in 1802.

In this portrait of George Washington, Robertson captures in the painstakingly miniaturist form of watercolor on ivory, the essence of Washington the soldier. While Stuart would complete the full-length portrait of Washington in civilian dress, here Robertson has taken a turn from Charles Willson Peale in depicting George Washington as the leader of the Continental troops. The meticulous detail of the face, the clothing, including the jabot, the epaulets and officer's coat make this a historical treasure from an artist who lived through these early American days, working not only as a fine artist but as a chronicler of American history.

Walter Robertson went on to complete portraits of many famous and important American figures until his death in 1802. Robertson's works are included in the collections of the Smithsonian Institution and in prominent museums and private collections around the world. His brother Charles (1760-1821) became a famous portrait miniaturist in his own right completing his portraits with distinctive slate-gray tones.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Walter Robertson (Irish/American, 1750-1802)

George Washington, 1793
Framed watercolor on ivory
4-1/4 x 3-1/4 inches (10.8 x 8.3 cm)
signed bottom left, 'G. S. 1793'


Walter Robertson spent much time in his native Dublin with the noted American portraiture artist Gilbert Stuart. Stuart brought his friend to the United States with the agreement that Robertson would complete copies of his portraits in the miniature form which Robertson had mastered. Later moving to Philadelphia at the same time, the two had much success in their portraiture art, particularly in the images of noted early Americans, none more famous than George Washington.

Here Walter Robertson portrays George Washington as the father of our country in the same pose as Stuart's Athenaeum portrait which appears on the American dollar bill today, an image of Washington loved and revered worldwide. Robertson's near-perfect rendition of Stuart's master work includes remarkable detail not easily achieved in the miniature. Robertson has the essence of the face, the details of the frock coat, the delicate jabot at Washington's throat, and the presence of Washington that Stuart made so famous. In tribute, Robertson signed the work 'G. S. 1793', paying homage to his friend who had originally captured the most famous image of Washington.





ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Walter Robertson (Irish/American, 1750-1802)

George Washington, Late 18th century
Framed watercolor on ivory
3-1/2 x 2-3/4 inches (8.9 x 7.0 cm)
Signed "Stuart"


Walter Robertson produced many portraits in miniature on commission, especially after his popularity and that of his friend Gilbert Stuart widened. Stuart's Athenaeum portrait of George Washington was widely known, affectionately called his '$100 bills' by Stuart since he would produce one for a client when he needed money.

Walter Robertson was Stuart's good friend having known him well enough from their time spent together in Dublin to travel to the United States with him and forge a career as a portraiture artist, originally agreeing to complete miniatures of Stuart's work. In George Washington, Robertson painted a slightly different version of Gilbert Stuart's portrait of Washington than before. While each portrait miniature he produced was slightly different, here he delivered a Washington with a more vivid expression and a lighter background than before. There are added elements of color with the vest Washington wears and more texture in his frock coat. Surviving examples of Robertson's work are rare, especially in this excellent condition.



ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Walter Robertson (Irish/American, 1750-1802)

Charles Robertson (1760-1821), Late 18th century
Framed watercolor on ivory
2 x 1-1/2 inches (5.1 x 3.8 cm)
Unsigned


Walter Robertson completed many portrait miniatures of famous Americans including George Washington. However his work extended to private commissions and portraits of his family. Robertson's brother Charles was a renowned portrait miniaturist in his own right. While the brothers had grown up in a family of miniaturists and jewelers in Dublin, Ireland, Charles had remained mostly in Dublin spending some time in London and had a prolific career of his own.
In this watercolor on ivory miniature, Walter Robertson memorializes his brother who had remained in Ireland after Walter's leaving for America with his friend Gilbert Stuart. In an elaborate period frame, the miniature has exquisite details, the hair golden and flowing, with careful attention to the particulars of the clothing. The intense face is a look into the mind of Walter Robertson as he transfers the memory of his brother into art.





ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Jean Georget (1763 - 1823)

Louis XVIII, Circa 1820
Oil on Paris Porcelain
32-3/4 x 27 inches (83.3 x 68.6 cm)
signed: 'Georget' middle right


Jean Georget was an important miniature and porcelain artist in France during the reign of Louis XVIII, a craftsman of the painted face and an artisan at the Sevres ceramic works in France. His most famous work, a magnificently painted La Table des Saisons at Fontainebleu is a masterpiece. In this portrait on Paris porcelain, LOUIS XVIII, Georget captures the monarch in his later years, only four years from his death. Louis had only been restored to the throne for a few years since the defeat of Napoleon and Georget was completing pieces on porcelain with extraordinary quality and detail during the period.

This portrait was executed during Jean Georget's tenure at Sevres, probably circa 1820 considering the details of the picture. Louis is dressed in a blue velvet frock coat, the sheen of which Georget captures perfectly. The color contrasts are keen as Georget accentuates the gold bullion of the royal epaulets Louis wears on his shoulders, replete with the diamond encrusted royal crown. The finely-detailed jabot Louis wears from his neck, the intricacy of the Legion of Honor medal that extends below the sash and the fine hair extending over the collar are complete. Georget treats the diagonal silk blue sash with such care as to capture the moiré pattern within it, leaving nothing to the viewer's imagination.

This is a portrait of a royal, a monarch that would help establish a legislature and allow more freedom among the people of post-Napoleonic France. In this contemporary portrait Georget knew that the face must be right. The piercing brown eyes and dominant nose, the corpulent chin, all are done with dignity and regality. Louis surely personally approved of this work as by tradition he presented the work as a gift to Charles of Saxe for his hospitality when Louis was a guest at Rastrelli Palace in Latvia, a time when Louis was in exile during the reign of Napoleon around 1800. This Paris porcelain ¾ - length portrait would have been given to Charles around 1820. The portrait was used in the making of a tapestry at the Gobelins Factory as well.

Provenance: From Louis XVIII to Charles of Saxe; thence from a royal Austrian family; Christie's, December 16, 2002.

Illustrated: (La Table des Saisons) Sevres, des Origines a nas Jours. Fribourg, 1978, p.245, pl. LVIII.

Exhibited: (in Gobelins) Musee National du Chateau de Versailles.

Xanthus Smith (American, 1839-1929)

Sinking of the Alabama
Circa 1865-1870
Oil on canvas
Signed on reverse Xanthus Smith, Sinking of the Alabama


One of Xanthus Smith's most famous subjects was the sinking of the Confederate raider CSS Alabama by the Union ship USS Kearsarge on June 19, 1864 off the coast of Cherbourg, France. This dynamic and panoramic painting depicts the Alabama, at the right of the canvas as she is taking on water, with the Kearsarge on the left making sure she is done for, eventually standing by to take on survivors. Although Smith served in the Union Navy during the Civil War, he relied on first-hand published accounts in completing this picture including those of Confederate Captain Raphael Semmes and the captain of the Union vessel, John Winslow.

This monumental encounter is captured by Xanthus Smith in minute detail. His use of the small canvas in successfully achieving a lifelike image of the ships, the sea and the ferocious battle made him famous in his own time, much sought after for his Civil War naval scenes.

The CSS Alabama had been marauding Northern shipping for two years when it made its way to the relative safety of European waters for much-needed repairs. Always on the hunt for the rebel raider, the USS Kearsarge learned of the Alabama being docked at Cherbourg and gave chase, setting up at the port to await Alabama's exit. On June 19, 1864, escorted by a neutral French ironclad Couronne, the Alabama entered international waters where it engaged the Kearsarge. Although the Alabama's shells found their mark on several occasions, the superior gunnery of the Kearsarge and the deterioration of the Alabama's weaponry turned the tide of battle in favor of the Union ship, a point of battle depicted here by Smith.


ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Xanthus Smith (American, 1839-1929)

United States Steamer Kearsage Leaving Boston Harbor
1869
Oil on canvas
Signed bottom right Xanthus Smith, 1869
7-3/4 x 11-3/4 inches (19.7 x 29.8 cm)


Xanthus Smith served in the Union Navy during the Civil War as a ship's clerk, a perfect vantage point for seeing warships and action up close. He made sketches of what he saw, later transferring the images onto canvas in small scale in order to capture the intimate details of the majestic ships that, like him, became so famous.

The USS Kearsarge was one of the most famous gunboats in the Union Navy. Its destruction of the Confederate ship CSS Alabama in the English Channel made it a legend. Technically a Mohican-class 'sloop-of-war', the 1550-ton steamship was commissioned at the Portsmouth Naval Yard in response to the outbreak of the Civil War. It searched for Confederate ships throughout the coast of Europe where the raiders were sinking Union ships at a prolific rate, especially the steamer CSS Alabama. On June 14, 1864 the Kearsarge found the Alabama at the French port of Cherbourg and sank her five days later in one of the most famous naval battles of the Civil War.

Xanthus Smith depicts the Kearsarge's glorious return to sea out of Boston Harbor after the ship had returned to the United States for repairs the next year. The white sails are full; the naval ensign flying proudly as she gallantly sails out to sea to chase Confederate shipping until the close of the Civil War. The ship served gallantly around the world until it sunk after striking a reef off Nicaragua in 1894. Smith went on to be regarded as the premier naval artist of the Civil War. Known for his portraiture art as well, he is most revered for works such as this, ones that memorialize the proud ships that served both North and South.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Xanthus Smith (American, 1839-1929)

Palmettos at Port Royal
1866
Oil on canvas
Signed lower right Xanthus Smith, 1866
Inscribed on reverse Palmettos at the Mouth of Statitor Creek, Port Royal, S.C., Painted by Xanthus Smith 1866




Xanthus Smith, the most prolific painter of Civil War maritime scenes, was born into a family of artists in Philadelphia. He was educated at the Pennsylvania Academy of Fine Arts and at the Royal Academy in London. But it was his first-hand experience in the Civil War as he served on the USS Wabash that he drew upon to complete his masterpieces of Civil War.

In Palmettos at Port Royal, Smith gives an artistically superb account of South Carolina as he saw it when he served onboard the Wabash at that location from 1862-1863. Smith would complete sketches during the war, sometimes taking a launch to the shore to complete pictures from a different perspective such as this piece. In a successful effort to depict a more calm scene with ships in the distance and smaller craft in the foreground, this oil on canvas was done in 1866 just after the war. Smith was a master at using the small canvas to capture detail, as he put it, "small, compact and neat," in this case incorporating the South Carolina palmetto tree prominently in the composition.

Xanthus Smith continued to produce quality work for public and private commissions including portraiture work. But it is Civil War maritime work with its painstakingly minute brushwork that he is most well known. Many credit his success to his upbringing by Russell and Mary Smith, both accomplished artists, who at age 12 took him on a European tour where he learned much from studying great art and from his sea voyage. He developed a love for the sea and at the outbreak of the Civil War enlisted as a ship's clerk where he became a chronicler of sea battles and scenes, drawing on his own experiences and from photographs. By the time of the 1876 Centennial Exhibition he was regarded as the premier painter of Civil War scenes.

ERRATUM
The following provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

Hermanus Willem Koekkoek (Dutch, 1867-1929)

A Cavalry Charge
Undated
Oil on canvas
Signed lower left H.W. Koekkoek
22 x 26 inches (55.9 x 66.0 cm)

H. W. Koekkoek, mostly known for his paintings of military engagements, produced a vivid action scene in this Cavalry Charge with thundering horses and cavaliers, swords at the ready. With their commander leading the way on his white charger, one of their own has already fallen in the foreground. With rich texture and full of motion, the work captures the moment men engage in battle.

Provenance:
Christie's, London (2001)

After Sir Anthony Dyck

Portrait of a Genoese Senator
Oil on canvas
31-1/2 x 27-1/4 inches (80.0 x 69.2 cm)

This portrait of a man is after the famous Flemish portraiture artist Sir Anthony Van Dyck (1599-1641). He became the artist at court for Charles I of England and was the leading influence on portraiture art for many years. This portrait is well-executed, the cleric in his high, white lace collar, the face serious with eyes darting to his right.

Provenance:
Christie's, London (2000)

After Arnold Bocklin (1827-1901)

Self-portrait with Death playing the fiddle
Oil on canvas laid down on panel
23-1/2 x 19-1/2 inches (59.7 x 49.5 cm)

Arnold Bocklin's work was quite popular during his lifetime, highly collected now for its mythological references and eccentric details such as seen in this famous Self-Portrait, the original of which is housed at the Staatliche Museum in Munich. Originally entitled Portrait of Myself, with Death playing a violin, 1872, the artist that completed this work has done an excellent job of honoring the original. The playful skeleton perched on the artist's back is a mere distraction to Bocklin as he completes his picture, palette in hand.

Provenance:
Christie's, London (2001)

Anton Raphael Mengs (1728-1779)

Ismael Mengs(Portrait of the Artist's Father) , 18th century
Pastel on paper laid down on panel
36x 30 inches (90.2 x 76.2 cm) (framed)
23 x 18 inches (unframed)





Anton Raphael Mengs was born to parents of German ancestry in Bohemia in 1728. His father, Ismael Mengs was an accomplished artist and started tutoring his son at an early age. Raphael would rise to the pinnacle of European portraiture art, becoming not only the leading German artist of the 18th Century, but also enjoying an international reputation as an artist to royalty. From the king of Poland, the Pope in Rome to being the artist to Charles III of Spain, Mengs' work included decorating the Royal Palace in Madrid.

But it was at his father's side that he first experienced the love of art. In Ismael Mengs, Anton Raphael Mengs honors his father and tutor from whom he received his earliest training even before traveling to Rome to study the art of the great Italian Renaissance artists. This is one of his finest works, understandable that he would work his most marvelous palette in the depiction of his father for posterity. Mengs applied a delicate brush in the portrayal of his father's face, a signature aspect of his work for which he was so well-known and sought-after by Europe's royalty. His works are still in the possession of royals and museums alike, from the halls of Oxford University to Saint Petersburg and the Louvre, his art and his talent owe much to the man he chose as his subject in this picture.

The portrait is in a heavy, period and ornate, highly carved wooden gilt frame done in a floral design with rosettes at each corner with the picture surrounded by a blue-painted border within the frame which is covered by glass. A small brass plaque at the front reads 'Portrait of Ismael Mengs, The Artist's Father (1688-1764) by Anton Raphael Mengs (1728-1779)'. At the top of the frame is a small brass plaque with the words 'Lent Anonymously' inscribed.

Provenance: C.D.Molesworth, The Orangery, Moore Park, Hertfordshire
William Thuillier,Old Master Paintings & Drawings, London

ERRATUM
This lot was catalogued as "Attributed to Anton Raphael Mengs" in the printed catalogue. It has since been upgraded to "Anton Raphael Mengs", meaning in our opinion, the work is by the artist.

Attributed to Sir Francis Grant, PRA (1803 - 1878)

Portrait of a Young Man, George Osbaldeston, Mid 19th Century
Oil on canvas
102 x 80-1/2 inches (259.1 x 204.5 cm)


Francis Grant was born to a wealthy Scottish landowner in 1803 at Edinburgh. While his early life was spent enjoying his passion for fox hunting and collecting sporting paintings, after the death of his father he took up painting the outdoors scenes he had loved so much. In Portrait of a Young Man, George Osbaldeston, Grant portrays a young gentleman posing beside his favorite mount, a striking white horse while flanked by two hounds and a terrier, ready for the excitement of the next hunt. The subject of the portrait is believed to be George Osbaldeston, a famous sportsman of the period whose portrait, done on a much smaller scale, was completed by Grant after this sitting and now hangs in the National Portrait Gallery at London.

Grant's detail work in this portrait is stunning, especially considering the impressive size of the work at 102 by 80 ½ inches. The waistcoat of the young man is a medium red, a color Grant continues into the man's breeches which are multi-colored and detailed. His youthful face and hands are athletic, yet subdued and refined, reminding the viewer that this is an aristocratic youth, a subject of some note who would have commissioned such a well-known artist to complete this impressive work.

But Grant is in his element here, mixing the sporting scene with portraiture work for which he became famous, ultimately being knighted for his contributions to the art world soon after being honored by being named president of the Royal Academy in 1866. He was commissioned to complete portraits of the Queen, Sir Walter Scott, the author of Ivanhoe, Macaulay, Disraeli and many other famous subjects of his era. It is not surprising that many of his portraits can still be seen at the National Portrait Gallery in London, including the smaller portrait of this same sitter.

In Portrait of a Young Man, Sir Francis Grant's work glows in his mastery of the equestrian element, the hunt, the hounds and even a terrier that waits patiently, staring at the hare in the foreground, the evidence of the day's hunt. Sir Francis uses his skills and experience from the field to capture the mood of the hounds, one lying down and passive, the other alert and attentive to his master, perhaps anxious and waiting for the next hunt. The young man's horse serves as a horizontal intersection to Sir Francis' focus on the vertical young man Osbaldeston whom he masterful conveys as confident in himself, his hand on one hip and the other on his steed. Osbaldeston was famous for his antics on horseback, having once trotted his noted American horse Tom Thumb over 100 miles in 10 hours. This beautiful picture is a fine example of Sir Francis Grant's portraiture and sporting artistic talents combined into one monumental work.

Alenson G. Powers (1817-1867)

Franklin Pierce, 1852
Oil on canvas
36 x 29 inches (91.4 x 73.7 cm)
Signed and dated lower left:' A. G. Powers/pinxt./1852'

Franklin Pierce, the fourteenth president of the United States became an instant celebrity in 1852, the year this portrait of him was completed by Alenson G. Powers, a portraiture artist from Louisiana. Pierce had seen little action in the War with Mexico but rose to rank of brigadier general and was a compromise candidate for president, having been nominated on the 49th ballot at the Democratic presidential convention. Even though he was a life-long New Englander, his sympathies lay with the pro-slavery wing of the party and he defeated the Whig candidate Winfield Scott by a narrow margin of the popular vote in 1852.

This appears to be a painting of Pierce from life of which very few exist. It is likely that the artist Powers made the trip from his native Louisiana just to complete this painting of the newly-nominated Pierce as the date '1852' appears on the portrait. Of further evidence is the note which Pierce holds in his hand in the painting. Reading 'Genl. Frank Pierce/Concord/NH', the note painted into the picture by Powers may be further proof that the painting is indeed from life. Portrayed seated and dressed in a suit, Pierce has a slight smile and appears every bit in the presidential style to which he would soon be accustomed.

Provenance:
Jay Altmayer Collection
James Ellis Richardson, Rosewood Manor, Brittany, Louisiana
Weschler's Gallery, Washington, DC

John Zachary Kneller (German/British, 1642-1702)

Lucy Sherard
Oil on canvas
68 x 40 inches (172.7 x 101.6 cm)




John Zachary Kneller was born at Lubeck, Germany in 1642 but came to England with his younger brother, the premier portraiture artist of the era, Sir Godfrey Kneller. John Zachary and his brother were very close with the younger brother being the artist at court while John Zachary did portraiture work and miniatures.

This painting of Lucy Sherard, the daughter of the Earl of Harborough, incorporates an English garden scene as the backdrop for the portrait of this beautiful woman with her crimson drape. Her green velvet dress stands in sharp contrast to her ivory skin as she holds a twig of daisies. Lucy would later marry the Duke of Rutland in 1713. The painting is in a superb, original, hand-carved gilt frame.
Provenance:
From the Worthington Manor Estate, England

ERRATUM
The following additional provenance information was not included in the printed catalogue. Heritage regrets any confusion this may have caused.

Provenance:
From a private collection other than the Crow Art Partnership

George Fiddes Watt (British 1873-1960)

Potrait of the Honorable Evelyn Hubbard
Oil on board
53 x 43 inches (134.6 x 109.2 cm)


George Fiddes Watt was born in Aberdeen, Scotland and studied at the Edinburg School and exhibited at the Royal Academy. Watt became well-known for his portraiture art, the current example of which he completed for the Honorable Evelyn Hubbard, a serious and distinguished picture of a refined British man, one of many such notables that Watts would paint throughout his career. There was a revival of his work in 1997 during the 'Symbolism in Britain' exhibition. His portraiture art is housed in the Tate at London and in museums around the world.

Emery Seaman (American, 1822-1865)

Daniel Webster, 1852
Oil on canvas
50 x 40 inches (127 x 101.6 cm)
Signed and dated: 'Emery Seaman 1852' lower right

Emery Seaman devoted almost his entire body of work to completing pictures of Daniel Webster. Working mostly in Boston, Massachusetts, Seaman painted this dramatic portrait of Webster after a famous daguerreotype by James Adams Whipple of Boston. Seaman would later take up photography as a vocation himself.

Daniel Webster (1782 - 1852) was the one of the foremost statesmen in American history. A lawyer, after serving in the United States House of Representatives, he moved to Boston where he made a name for himself as the country's premier constitutional law expert. He served in the United States Senate and as Secretary of State for two terms, dying in office in 1852. He ran for president in 1836 as the nominee of the Whig party, losing to Martin Van Buren.

This famous likeness of Webster by Seaman is well-executed and appears to have been completed for public display. Seaman painted two other versions of this picture which are now held in the collections of Dartmouth University and the University of Michigan.



Provenance:
Jay Altmayer Collection, 1965
Berry-Hill Galleries, New York City

ERNEST CROFTS (England 1847-1911)

Prince Rupert, 1893
Oil on canvas
39-3/4 x 30-1/4 inches (101.0 x 76.9 cm)
Signed and dated lower right 'E. Crofts 1893'

Ernest Crofts was a leading military and historical artist of the late Victorian period in England and Europe. He had over 40 works exhibited at the Royal Academy and was greatly influenced by the ten years he spent in Germany and Europe where he actually witnessed the combat of the Franco-Prussian War. He completed portraits of many of the Continent's military figures as well as those in England, also heroes in the not-so-distant past as Prince Rupert.

Prince Rupert, Count Palatine of the Rhine and Duke of Bavaria (1619-1682) served under the Prince of Orange and in the English Civil War in 1642, serving the Royalist cause. He was named General of the Horse and raised money and troops tirelessly. He was named an Admiral and distinguished himself at the Battle of Texel in 1673, honored by Charles II for his bravery.

This dramatic action portrait of Prince Rupert depicts him leading a cavalry charge when he served as General of the Horse. Ernest Crofts used his considerable knowledge of military history in great detail here, defining the accoutrements of war in excellent fashion.



Exhibited: London, The Royal Academy, 1893, no. 445

Provenance:
Christie's, London (1999)

Circle of Cornelius

Thomas Coventry, First Baron of Coventry (1578-1640)
c.17th century
Oil on canvas
29-1/2 x 24 inches (74.9 x 61.0 cm)

This nicely completed portrait is reportedly of Thomas Coventry (1578-1640) who was a member of Parliament and received the title 'Baron of Coventry' in 1628 and was keeper of the great seal for fifty years. There are similar portraits by Cornelius Johnson in the National Portrait Gallery at London, with the high lace collar and distinctive facial features. This portrait is finely detailed and is an attractive work by an unknown artist, the sitter a historical figure in England.

Young Boy with Staff

Unknown Artist
19th century
Oil on canvas
Unsigned
38 x 30 inches (96.5 x 76.2 cm)

Portrait of a young boy in costume with staff looking over his shoulder.
This copy of an Italian antique is superbly done, probably 19th century Italian. The young boy's face is soft and bright, his lace collar detailed and his leather waistcoat supple. The boy is grasping his staff while he holds his hat behind his back and flashes a coy smile. The elements of brown are used in fine detail producing a vignette of the boy in a very lifelike stance. The artist who completed this work had an eye for copying the Old Master style and content. The painting is in a wood carved frame which has attractive paint work at each corner.

Provenance:
Presenting Italy, florence (1984)

Ivan Konstantinovich Aivazovsky (Crimean, 1817-1900)

Pushkin at the Waters Edge
1886
Oil on canvas
Signed and dated to the lower right
31 x 40-1/2 inches (78.7 x 102.9 cm)

Ivan Konstantinovich Aivazovsky a master Russian artist was revered and copied world wide for his magnificent seascapes. The British master JMW Turner, upon seeing one of Aivazovsky's seascapes in Italy, composed a poem in honor of his work. Aivazovky has been recognized for his brilliant use of color and his depictions of the sea, in essence creating a new style of work which would make him fast friends with people such as Alexander Pushkin, the father of Russian literature, whom Aivazovsky included in this work, Pushkin at the Water's Edge.

Born in 1817 in the ancient Crimean town of Theodosia, young Ivan's charcoal drawings drew the attention of the town mayor who helped the young man enroll in the St. Petersburg Academy of Arts where he would win the gold medal. Heavily influenced by the work of Karl Briullov, Aivazovsky's works took on a romantic flair, a style that he incorporated with his love of the sea. Indeed in 1836 his instructor at the Academy took him onto the water with the Russian fleet as they conducted exercises on the Baltic Sea, an event that would shape the young artist's life forever. After winning the gold medal he was sponsored by the Academy to continue advanced studies where he chose to sail with the fleet three more times over two summers, honing his skills as a marine artist before landing in Rome to exhibit his skills which already were winning him wide acclaim.

In this painting of Pushkin at the Water's Edge, Aivazovsky incorporates all his skills at age 69 in this dynamic and peaceful scene while honoring a man he had met at the Academy Exhibition in 1836. Aivazovsky would paint several pictures of Pushkin over his lifetime, but few that are as elaborate and detailed as this one. Pushkin, with his trademark long sideburns, rests on a large rock admiring a fair lady who dangles one foot into the sea. She is undoubtedly his beloved wife over whom he was killed in a duel just one year after meeting the young artist Aivazovsky.

But it is the sky and the sea that are featured here. Aivazovsky, in comparison, uses the figures almost as props, giving scale and mass to his panoramic view of the seashore and the mountains, all transformed by the setting sun which has made the scene seem idyllic, a depiction with which the poet Pushkin would have surely agreed. The pinkish tones brought forth by the sun separate the sea foam greens and blues from the foliage of the mountains in a very delicate manner, with Aivazovsky using degrees of paint to achieve the churning of the ocean to the shimmering surf. In a twist, the artist has captured a snapshot of the beautiful, ever-changing environment to which the great poet Pushkin is temporarily oblivious, his eye turned toward the woman he loved.

ERRATUM
The provenance for this painting that was printed in the catalogue is incorrect. The following information has been updated:

Provenance:
Sotheby's, London (Bokal sale, February 20, 1985, lot #226)

Heritage regrets any confusion this may have caused.

Attributed to John Joseph Enneking (American, 1841-1916)

Pastoral Scene
Late 19th century
Oil on canvas
Unsigned
28-1/4 x 35-1/2 inches (71.8 x 90.2 cm)

John Joseph Enneking was a noted American Tonalist/Impressionist painter who had been a child prodigy at age five. He was the first American artist to return to the United States after painting alongside Monet, Renoir, Manet and Pissarro. He actually studied at Monet's home and completed a portrait of Monet's wife and child. Upon his return to Boston, Enneking sparked an exodus of American artists to France through his stories of the Impressionists with whom he had become acquainted.

This pastoral scene reflects Enneking's love for the outdoors. He was an active conservationist and was elected park commissioner in Boston later in life. His palette included varying shades of brown and green of which he became a master. A peaceful vision of cattle and small boats in the distance, this is a fine work by Enneking who was so honored in life that a testimonial dinner was given in his honor at Boston's Copley Plaza where over 1,000 people attended.

In a gold carved frame with a small plaque bearing the name 'J. J. Enneking'.

Provenance:
Presenting Italy, Florence (1983)

Michael Schofield (American, born 1932)

A Pair of Landscape Prints
Undated
Print
Unsigned
27 x 38 inches (68.58 x 96.52 cm)

Two prints (without mat or frame) titled "An Autumn Place" and "Fence Row" .

Attributed to Andrea T. Gavell (American, 19th century)

Rocky Mountain Limited to Colorado
Circa 1880-1890
Reverse painted glass, mother-of-pearl, wood
Unmarked
25.25 inches high x 88.25 inches long (including frame)


Depicting the Chicago Rock Island & Pacific Railroad engine number 301 with tender, baggage car, dining car, the Swanhilda passenger car, the Circassia passenger car, and observation car, with Rocky Mountains in the background, with Rock Island Lines inscribed in gilt border; in original oak frame with Rocky Mountain Limited/To Colorado in gold at lower center rail.

This elaborate reverse painted glass sign was created to promote the Chicago Rock Island & Pacific Railroads Rocky Mountain Limited line to Colorado.

John Falcone Slater (British, 1857-1940)

Raging Sea
1911
Oil on panel
Signed to the lower right J.F.Slater, 1911
26 x 35-1/2 inches (66.0 x 90.2 cm)

John Falconer Slater was well-known for his marine and landscape art in his native England. He was originally a bookkeeper at his father's corn mill before traveling to South Africa and the diamond fields where he set up a shop. He returned to Tyneside, England to be a professional artist and produced a body of work that resulted in exhibitions at Liverpool, Manchester, in Scotland and even at the Royal Academy.

In his Raging Sea, Slater uses his heavy brush work to craft a stormy ocean, probably the North Sea, with its myriad colors and gloomy horizon. The picture is full of energy and motion and makes good use of paint in creating the effects, something Slater wrote about in the press and in his own publication in England. In a carved wooden frame with slight damage to the bottom left corner of the frame, the painting is in excellent condition, a fine example of this prolific British artist's work.

David James (British, 1872-1904)

The Tide Coming In Off the East Coast
1889
Oil on canvas
Signed, titled, and dated on the reverse
36 x 55-3/4 inches (91.4 x 141.5 cm)

David James was a prolific artist of painting the sea, particularly adept at creating lifelike crashing waves. Most of his views are from the shore to the sea as in Tide Coming In Off the East Coast. His favorite locations were at Cornwall, England and the islands around Sicily. He exhibited at the Royal Academy at London starting in 1886 with his work being exhibited there many times.

Mario and Ida Calzolari (Italian, 20th century)

Untitled Landscape
20th century
Oil on canvas
Signed lower left
23 x 31 inches (58.4 x 78.7 cm)

The Calzolari family has been a Florentine painter family for generations. Mario was the son of Enrico Calzolari, an artist and art teacher in Florence in the early 20th century. Enrico and Mario founded a Florentine art shop in 1910 which is still run by the third and fourth generations. Mario and his daughter Ida produced works of art in the style of the old Flemish and Renaissance Painters. Since Mario's death Ida carries on this tradition with her daughter Giovanna.

Provenance:
Presenting Italy, Florence (1988)

Hazard Durfee (American, born 1915)

Fishermen, Tangiers
Undated
Oil on canvas
Signed at lower left
35-3/4 x 47-3/4 inches (90.8 x 121.3 cm)

Hazard Durfee, a 1940 graduate of Yale University's Art School, has been exhibited at the Metropolitan Museum of Art, Newport Museum and has been included in the Whitney Museum's Biennial multiple times. His body of work consists of paintings featuring locations from Italian court yards and exotic Moroccan villages to the seaside life of his beloved Rhode Island (where he has lived since the late 1940s in the house where he was born). The painting being offered here features a group of fishermen along the coast in Tangiers and, as with most of his paintings, there is a great expanse of sky to draw the eye upwards from the activity in the foreground.

Provenance:
Arteam, Boston (1983)

Attributed to James Pollard (British, 1792-1867)

Going Fishing
Undated
Oil on canvas (pair)
Unsigned
13-1/4 x 17-1/2 inches (33.7 x 44.5 cm)

James Pollard was a 19th century British engraver/painter. The pair of paintings here offered are attributed to Pollard who was well known for his sporting subjects. The first painting is of three aristocratic men fishing where the dam feeds into the river, the foremost one having hooked a fish, a second man waiting with a hook, and the man on the left holding a pole watching the proceedings. The second painting is of gentry fishing along the banks of a river; one gentleman has just made a catch while the other is ready with a net. Meanwhile, a child with a dog stands close by watching. In the right background of this second is a beautifully detailed country manor with horses and their riders and in the central background is a man standing on a bridge watching the fisherman.

Provenance:
Sporting Gallery, Middleburg, VA (1967)

Continental School

Untitled, Duck Hunters with Dogs
20th century
Oil on canvas
Unsigned
25-1/2 x 39-1/2 inches


This scene of a successful duck hunt is from an unknown Continental artist. Nicely framed in a mahogany frame, the detail work on the retrievers, the rushes in which the two hunters stand and the water are impressive.

Gordon C. Barlow (British, 19th century)

Pair of English Landscapes
19th century
Oil on canvas
Both signed lower right
19 x 23 inches (48.3 x 58.4 cm)

Gordon C. Barlow completed many fine landscapes in 19th century England which are now sold in galleries worldwide. These two oils on canvas are fine examples of his work. Barlow was able to capture the peaceful English countryside, people milling about and farm animals. They are nicely framed and are in good condition with very minor spots of paint loss.

Provenance:
Eric Kyte, Dallas (1983)

Gordon C. Barlow (British, 19th Century)

English Country Scene
oil on canvas
42 x 30-1/2 inches (106.7 x 77.5 cm)
Signed: 'G. C. Barlow' lower right












Gordon C. Barlow's scenes of country life dominated his work, serene and calm pictures that conveyed a peaceful country life. In this untitled oil on canvas he uses heavy brush work to depict this autumn scene.

Arthur Wardle (British, 1864 -1949)

Shetland Ponies
Undated
Oil on board
Signed with initials on lower left
10-1/2 x 14-1/2 inches (26.7 x 36.8 cm)

Arthur Wardle was a 19th-20th century British artist primarily known for his paintings of dogs and horses. He quickly became well-known, having exhibited at the Royal Academy while still in his teens. Throughout his career Wardle expanded his horizons on painting the animal kingdom; from Africa to India he studied different forms and was able to capture them in an almost photographic quality on canvas.

In Shetland Ponies, Wardle uses rich yet subtle shading in the foreground combining colors to create the field and pool from which the three Shetland ponies are about to drink. The ochre and chocolate brown of the ponies and the field give way to the mountains and sky where the blue of the pool in the foreground is returned to the picture giving it a balance of color while doing so in a realistic, almost unnoticed fashion. It is as if the viewer is seeing the ponies in their native Scottish setting, surprised at one's visit to their field.

Nicely framed in a 3-inch wooden gilt frame.

Condition:
Has a 2.5" long scratch to the upper left quadrant of the painting.

Provenance:
Sporting Gallery, Middleburg, VA (1966)

Arthur Trevethin Nowell (Welsh, 1862-1940)

Untitled Rural Scene (2)
Oil on board
21 x 17-3/4 inches (53.3 x 45.1 cm)
Arthur Trevethin Nowell exhibited at the Royal Academy between 1882 and 1939 and widely in New York City. He attended the Manchester School of Art before entering the Royal Academy Schools and won the Gold Medal and the Turner Prize for his work. With that, he toured Europe and studied in Paris. Ultimately, he would complete portraits of King George V and Queen Mary, some of which are still in the royal collections. He also did landscape and rural scenes such as this untitled view of sheep and kept a studio in the Singer Skyscraper in New York.

Provenance:
Clements Gallery, Forney, Texas

Unknown Artist

Untitled, Saint with a Halo and Girl Holding a Spindle (two works)
Undated
Oil on canvas
Unsigned
33-1/2 x 25-1/2 inches

Unknown Artist

The Holy Family
Undated
Oil on canvas
Unsigned
47 1/2 x 68 inches (18.70 x 26.80 cm)

A Carved Oak Figure of Christ

Unknown maker, France
15th century
Wood with traces of paint
Unmarked
78 x 18 inches


This late 15th century wood sculpture of Jesus Christ came from a church in northern France where it had been displayed for many years. The hollowed out back indicates it at one time was affixed to a flat surface. The sculpture depicts the agony of the crucifixion. The worn surface has a dark patina and retains traces of paint.

Provenance:
Originating from a church in Northern France

A German Polychrome Figure of a Man

Unknown maker, South Germany
19th century
Wood with polychrome paint
Unmarked
60 inches high x 28 inches wide x 23 inches deep

The processional carved wood figure is painted and gilded, with a secret panel in the lower folds of the robe. The paint is restored.

The figure was located in the Trader's Restaurant at the World Trade Center until May 2001 and was on display during the 2005 Crystal Charity Ball, Dallas's largest charity fundraiser, held each year at the Anatole Hotel.

Provenance:
Hollander Gallery, Milwaukee 1983

A German Carved Wooden Sculpture

Unknown maker, Germany
17th century
Wood with paint
Unmarked
16 inches high x 8 inches wide x 5 inches deep

The painted wooden sculpture depicting Maria and Anna.

Provenance:
L. Bernheimer, Munich (1968)

Wilhelm Hans Burger-Willing (Germany, 1882-1966)

Peasant Man and Woman
Circa 1920-1940
Oil on canvas
Signed lower left W.H. Burger-Willing
78 x 52 inches (198.1 x 132.1 cm)

Wilhelm Hans Burger-Willing studied at the Academy at Dusseldorf and became well known for his figures of country living -- the people, animals and landscapes. In Peasant Man and Woman Burger-Willing captures the essence of this common country couple returning from the fields after a hard day's work. They gaze to their right as if to shy away from the artist's eye, the man looks out somewhat downward perhaps with a tired or dejected demeanor with his rake over his shoulder and carrying a jug. The woman is in typical peasant dress with her wooden shoes, and her head in a scarf against the wind.

Burger-Willing's work has been exhibited widely, especially after he completed this work around 1930. His subtle use of color and almost Impressionist manner have made him very poplar among collectors and museums.

The work is nicely framed in a gilt frame that enhances the painting which is over 6 feet in height, an impressive work of art from an accomplished German artist.

Provenance:
Milwaukee Gallery (1983)

Henri Victor Lesur (French, 1863-1900)

Untitled (Courtyard with Maidens)
19th century
Oil on panel, unframed
Signed lower right
Inscribed verso 887 (chalk)
16-1/4 x 12-3/4 inches (41.1 x 32.4 cm)

Henri Victor Lesur was born in Roubaix, France in 1863 and was educated at the Ecole des Beaux Arts before he debuted at the Salon in 1887 where he won a medal for his submission. He was a medalist at the 1889 and 1900 Exposition Universelle for his portraiture work. While Lesur entered his portrait art into the Salon and Exhibition, he also created works such as this untitled oil on board of two young ladies in a courtyard. Lesur enjoyed depicting the more playful side of French society and he did so with a vivid use of color. He would exhibit at the Salon for the last time in 1895 before his death in 1900.

Condition:
Painting has a discolored border due to direct contact with a frame.

Provenance:
Harry Knippel, Dallas

MARC CHAGALL (Belarussian/French, 1887-1985)

Fleurs et couple, circa 1948-52
Gouache, pastel, pen, brush and India ink on paper laid
down on canvas
25-1/4 x 19-1/2 inches (64 x 49.5 cm)
Signed at lower right: Marc Chagall


Lot includes letter of Authenticity by Chagall Committee
Provenance:
Justin K. Thannhauser (1892-1976), New York;
Jacob M. Goldschmidt (1882-1955), New York (sold in December 1954 to the following);
Elisabeth Hirsch, until circa 1999;
Christie's, New York, 13 May 1999, lot 336


Early in his prolific career as a painter, draftsman, printmaker, illustrator, ceramicist, sculptor, and stained glass designer, the Belarussian-born artist Marc Chagall developed a distinctive repertoire of imagery and themes with deeply personal significance. Dreamlike and folkloric in appearance, Chagall's artistic iconography includes embracing couples floating through space, above farms and cityscapes with domed structures reminiscent of his native Vitebsk (Belarus). The sumptuous bouquets found throughout his oeuvre are never still lifes but rather exuberant explosions of sweetly colored blossoms that no actual vase could ever contain. Chagall's usual cast of characters includes horses, goats, chickens and fish, which, like his human figures, generally defy gravity; they hover alongside angels who appear out of nowhere and comfortably interact with clowns, jugglers, rabbis, musicians, and self-absorbed lovers. In effect his work is a conflation of memory, magic, fantasy and fable, much of it relating to his Jewish and Belarussian heritage which he left behind but never forgot when he immigrated to France after the First World War. It remained the centerpiece of his art for a lifetime.

Over the course of his career, Chagall's expressive imagery altered very little although the artist experimented widely with current pictorial styles, new techniques, and rich array of mixed media, as evident in the present work of circa 1948-52. The themes most integral to his artistic vision were intricately linked to his happy childhood. He grew up in a warm Hassidic family where his Judaism was an important facet of his daily life, and where an early interest in geometry and drawing led him to discover his path as an artist. As a young artist in the 1910s, following academic art training in St. Petersburg, Chagall lived and exhibited his work in Paris, where his Cubist-inspired paintings won him considerable notoriety. Chagall attained international recognition when the influential dealer Herwarth Walden included his work in his Erste deutsche Herbsalon in Berlin in 1913, and subsequently showed his work alongside the noted Czech expressionist Alfred Kubin at his Der Sturm gallery in March 1914. Cognizant of Chagall's profound originality, Walden then awarded him two solo exhibitions. After his successes in France and Germany, Chagall returned to Russia and Belarus in 1914 for a period of eight years which coincided with the Bolshevik Revolution and the First World War. During this time he married Bella Rosenfield, saw the birth of his first child Ida, and began producing a long series of paintings of lovers, including his best-known work of this subject (Birthday of 1915, Collection of the Museum of Modern Art, New York) in which the couple has been raised into the air through the sheer force of their love. The motif of the levitating couple as his symbol for the purity of romantic love was so powerful that it became one of the most enduring subjects of his art. In the present work, painted nearly forty years after Birthday, Chagall shows two lovers levitating beside an enormous flower arrangement: the nude figure of a beautiful woman is tenderly embraced by a clothed man who gazes at her with rapt adoration. She engages the viewer with an expression of radiance, luxuriating in his love, and, in effect, welcoming the viewer into her experience.

In 1923, after witnessing the enormous toll Germany's aggression had taken on his native Vitebsk, Marc Chagall went into exile in Paris. There, he was quickly claimed as a member of the École de Paris because his special blend of imaginative imagery was infused with an awareness of Cubism, Fauvism, Expressionism and other modern European trends. He was befriended by the great promoter of Picasso and Matisse, Ambrose Vollard, who supported him financially and gave him genuine artistic encouragement from 1923 until his death in 1939. During the 1920s, Chagall was invited to join the Surrealists but chose not to, wary of their deliberate involvement with the unconscious mind which was something his art did not explore. Indeed, Marc Chagall came of age as a painter during the explosion of various modernist aesthetics and philosophies, and was keenly aware of the ways in which they meshed and conflicted with his own motivations. As Jean-Michel Foray perceptively noted, "Chagall was an artist of allegory-that extended metaphor-despite the fact that the mission of modern art, from Manet onward, was to suppress allegory. What abstract artists disliked in allegory was, of course, excess-added meaning, an arbitrary significance that distorts the essence of the work. And Chagall abounds in meaning" (Jean-Michel Foray, "Chagall and Modernism," in Marc Chagall, San Francisco Museum of Art, 2003, p. 18). One may also add that he abounds in excess. As this well-wrought, richly worked gouache and pastel amply illustrates, Chagall's artistic impulses could be seductively effusive. For most of his work, the artist did not rigidly preplan his compositions but rather allowed them to tumble onto his paper and canvases piecemeal as the thoughts and images-quite often drawn from memory-suggested themselves to him.

Despite Chagall's tendency to work with a rather restricted set of imagery, it is possible, nonetheless, to date his efforts on the basis of style, compositional arrangements of motifs, and choice of media and ways of manipulating it. The present work is quite richly layered in a manner that characterizes the art he produced during the years immediately following his return to France from his World War II exile in the United States (1941-1948). The war years had been particularly difficult ones for Chagall owing both to the persecution of his people and to the fact that his beloved wife Bella had died suddenly in 1944 from a viral infection.

When, in 1948, Chagall decided to return to France, he did not return to the capital city but settled not far away in a rented house with a magnificent old abandoned garden at Orgeval near Saint-Germain-en-Laye. There, his companion Virginia McNeil gave birth to their child, David. Around the same time Chagall met the inspired Greek-born publisher, Tériade (Stratis Eleftheriades, 1889-1983). Tériade is a significant figure in the careers of Picasso, Matisse, Chagall and other major mid-twentieth-century modern painters, for he gave them the opportunity not simply to illustrate books, but to create an artistic work through the medium of the book. During the same period, Chagall became involved with printmaking, which became an important new avenue of artistic expression for him.

Chagall began visiting Tériade in 1949 at his magnificent villa with sublime gardens at Saint-Jean-Cap-Ferrat where the latter lived for half the year. Chagall fell in love with the Cote d'Azur, the warm Mediterranean climate, and the inspirational gardens, just as both Picasso and Matisse had before him (Picasso lived in nearby Vallarius, while Matisse lived until 1948 in Vence and thereafter in Cimiez near Nice). In the Spring of 1949, while staying with Tériade, Chagall embarked on a body of large gouaches, larger than anything he had previously painted. With their rich, brushy, manipulated surfaces, the gouaches of 1949 are closely related in style and subject to the present work. In 1950 the artist and Virginia rented a house in Saint-Jean and soon moved to nearby Saint-Paul-de-Vence where they bought a villa. Chagall lived and worked there for the rest of his life. In 1952, a year after his relationship with Virginia broke up, Chagall married the Russian-born Valentina Brodsky (Vada) who became the subject of a number of romantic paintings with the lover/floral bouquet theme characterizing the present work. Published works by Chagall sharing close stylistic and iconographic affinites with Fleurs et couple include the following: Femme au bouquet of 1951, a painted ceramic plaque which depicts a bouquet of the same shape in the same container beside a bust-length female nude at lower left (see Jean Leymarie, Hommage a Marc Chagall, Grand Palais, Paris, 1969, cat. no. 358, p. 277 as collection of Mme. Ida Meyer-Chagall, Paris); a more extensive composition in oil on canvas including a larger still life, landscape, a horse, and the embracing couple flying through the air entitled Couple aux deux bouquets (see Leymaire, cat. no. 111, p. 141 as collection of Mme. Tekla Bond); and two ink drawings, Femme au bouquet of 1952 and Bouquet à la Fenêtre of 1952 (see Marc Chagall. Oeuvres sur Papier, Centre Georges Pompidou, Paris, cat. nos. 167 and 168, pp. 194-5 (from the collection of the artist).

Provenance:

The provenance of Fleurs et couple is an especially distinguished one. The earliest documented owner of the painting was Justin K. Thannhauser, son of the celebrated art dealer Heinrich Thannhauser who founded the Galerie Moderne in Munich in 1909. From an early age, Justin Thannhauser worked with his father, building an impressive program of exhibitions of Impressionism and Post-Impressionism and the art of the contemporary French and German avant-gardes, particularly Vasily Kandinsky, Paul Klee, and Franz Marc. The Thannhausers presented the first exhibition of Der Blaue Reiter group, including Kandinsky, in 1911. Their 1913 Picasso exhibition included 76 paintings and 38 works on paper from the Blue Period through Cubism. The close relationship between Thannhauser and Picasso lasted until the artist's death in 1973. Following World War I, Justin Thannhauser assumed the dominant role in Galerie Moderne's operations, and added a branch gallery in Lucerne, Switzerland (1919-37) and one in Berlin in 1927. Justin Thannhauser was forced to leave Germany in 1937, and reestablished his gallery in Paris. In 1939, he fled the Nazis, and settled in New York where from his home and private gallery he continued to promote and collect modern art.

In 1963 Thannhauser gave a large portion of his collection to the Guggenheim Foundation. To house the gift, a space on the second floor of the monitor building was created, where the collection was placed on permanent view. In 1978, two years following Thannhauser's death, the collection was legally transferred to the foundation. A bequest of ten additional works was received after the death of his second wife, Hilde, in 1991, and the monitor building was renamed in honor of their legacy. It is likely that Thannhauser acquired work Fleurs et couple directly from the artist, whom he knew personally.

The second recorded owner of Fleurs et couple was Jacob M. Goldschmidt, a prosperous German banker from Berlin who was one of the forces behind the first German-language version of the Encyclopedia Judaica. Like Justin Thannhauser, from whom he very likely purchased this work by Chagall directly, Goldschmidt was Jewish and left Germany in 1936 to settle in New York. Unlike Thannhauser, however, Goldschmidt's collecting passions were not confined, at least initially, to Impressionism, Post-Impressionism, and 20th-century Modernism, although he donated the funds which enabled the National Gallery in Berlin to purchase Van Gogh's Garden of Daubigny in 1927. While living in Europe, Goldschmidt amassed an outstanding collection of 18th-century porcelain, and also collected Old Master paintings including works by Rubens, Jordaens, Murillo, Abraham van Beijeren and others which have since become part of important museum collections worldwide. In the United States, Goldschmidt concentrated his collecting upon major European modernists, and became a patron of contemporary artists such as Chagall and Jean Dufy. Following his death his collections were sold at auction. The crème-de-la-crème-seven paintings by Cezanne, Manet, Renoir, and Van Gogh-broke all previous art world auction records at the time when they were hammered down for $2,186,800 in less than 21 minutes at Sotheby's, London on October 15, 1958. The Goldschmidt sale became legendary not simply because it was a record-smashing auction, but because it was the first time that an auction house reproduced artwork in color in a sales catalogue. The highlight of the Goldschmidt sale was Cezanne's Gar?on au Gilet Rouge, now in The National Gallery of Art, Washington, D.C.

Elisabeth Hirsch, a mid-century American collector of French Modernist painting, purchased Fleurs et couple from Jacob Goldschmidt, and acquired another of Chagall gouaches from the 1950s, Vence en fleur, in 1958 following his death. Work from her collection, including paintings by Signac, Utrillo, Picasso, Rohlfs and Henri Edmund Cross, were sold at auction, together with the present painting in 1999.

Egidio Constantini from a model by Pablo Picasso

NINFE E FAUNI
Violet glass
18-1/8 inches (46.0 cm)



This fabulous roughed violet blue glass figure is a result of the collaboration between the Venetian glass artist Egidio Constantini from a design submitted by Pablo Picasso. In an attempt to revive the island of Murano's glass trade, once again to make it the epicenter of the industry, Constantini enlisted the help of noted artists such as Picasso, Max Ernst and Jean Cocteau. The effort was successful and resulted in an exhibition at the Museum of Modern Art. This is a work from the series entitled Ninfe E Fauni or 'Faun and Nymphs' and is centered on a wooden base.

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#18 of a series of 29)
1969
Lithograph
Signed and dated in lower right corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

PABLO PICASSO (Spanish, 1881-1973)

Imaginary Portraits (#23 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#14 of a series of 29)
1969
Lithograph
Signed and dated in the lower right corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#3 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#27 of a series of 29)
1969
Lithograph
Signed and dated in the upper right corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#11 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#9 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#1 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#6 of a series of 29)
1969
Lithographs
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#20 of a series of 29)
1969
Lithograph
Signed and dated in the lower left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#5 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#8 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#4 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#15 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#29 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#22 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#7 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#25 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portrait (#24 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#2 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#10 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#13 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#16 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#26 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#28 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#21 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#19 of a series of 29)
1969
Lithograph
Signed and dated in the upper left corner
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

Pablo Picasso (Spanish, 1881-1973)

Imaginary Portraits (#17 of a series of 29)
1969
Lithograph
Signed and dated in the upper left and right corners
21-5/8 x 19-3/4 inches (54.9 x 50.0 cm)

A Glazed Ceramic Tile Panel: Riders

Cor Dam (Netherlands, b. 1935)
1962
Glazed ceramic with polychrome enamels
Unsigned
32 inches high x 46.25 inches wide


The pictorial panel composed of 70 glazed ceramic tiles depicting a group of horses and riders.

Provenance:
De Porceleyne Fles, Delft (1965)

BJORN WIINBLAD (Danish, 1918-2006)

The Gossips
20th century
Four Bronze sculptures
Signed
67 x 39 inches (170.2 x 99.1 cm) (each)


In one of the most talked about installations,in Bjorn Wiinblad's The Gossips he has created another whimsical masterpiece. The four smooth bronze sculptures of young ladies obviously in the middle of idle chatter, or just whirling their heads away from it, exudes a swirling motion, a certain arrogance with the figures' noses turned up and away from each other.

Almost identical with only a slight shift in the head positioning, the pieces were most recently installed in the Crow Design Center on Turtle Creek in Dallas, Texas. The symmetrically curving bodies give way only to the slight appearance of part of a foot and lead to a mass of curly, coneshaped hair which accentuates the flow of each piece, and its attitude.

Provenance:
Acquired from the artist in 1991.

Bjorn Wiinblad (Danish, 1918 - 2006)

Three Bronze Peacock Fountains
20th century
Bronze sculpture
42-1/2 x 27 inches (108.0 x 68.6 cm)
35 X 16 inches (88.9 X 40.64 cm)
27-1/2 X 14-1/2 inches (69.9 X 36.83 cm)

Taking his artistic talent from one medium to another proved almost effortless for Bjorn Wiinblad. In these three bronze sculptures of peacocks fashioned as fountains, he has created an impressive set of eye-catching pieces with intricate metalwork. Wiinblad modeled the three pieces in graduating sizes from 27.5 inches tall to 42.5 inches, with corresponding diameters from 20 inches to 35 inches. Each peacock has fanned-tail openings through which water might pour and a spout at the top working as the top of the fountain.

Each peacock has been plumbed to accept a water supply and is fully functional as a fountain. With a flat finish and nice patina from usage, these peacock fountains were completed on a special commission and are in excellent condition.

Provenance:
Acquired from the artist in 1966.

Bjorn Wiinblad (Danish, 1918-2006)

Three Bronze Peacock Fountains
20th century
Three bronze sculptures
42-1/2 x 27 inches (108.0 x 68.6 cm)
35 x 16 inches (88.9 x 40.64 cm)
27 1/2 x 14 1/2 inches (69.9 x 36.83 cm)

Bjorn Wiinblad (Danish, 1918 - 2006)

Three Bronze Peacock Fountains
20th century
Three bronze sculptures
Unsigned
42-1/2 x 27 inches (108.0 x 68.6 cm)
35 X 16 inches (88.9 X 40.64 cm)
27-1/2 X 14-1/2 inches (69.9 X 36.83 cm)

Bjorn Wiinblad (Danish, 1918 - 2006)

Replica Cast Iron Peacock Fountain
20th century
Cast-iron sculpture
Unsigned
29 x 14-1/2 x 21 inches (73.7 x 36.8 x 53.3 cm)


At the conclusion of his work on the bronze peacock fountain series Bjorn Wiinblad crafted this smaller sculpture in cast-iron. At 29 inches it is not fitted as a fountain but it has all the metalwork beauty of the full-sized fountains. Darker in patina than the others, it is a very decorative piece of sculpture with all the signature work of this famed artist.

Bjorn Wiinblad (Danish, 1918-2006)

Two Danish Suns
20th century
Ceramic and glass on an iron substrate
Unsigned
80 x 36 x 4 inches (203.2 x 91.4 x 10.2 cm)
Provenance:
Acquired from the artist in 1965.

Bjorn Wiinbald (Danish 1918-2090)

Arabian Nights (two panels), 1973
Flax, semi-worsted New Zealand wool
120 x 96 inches (304.8 x 243.8 cm)
Bjorn Wiinblad created masterpieces in many different media. One of his greatest commissions was for the tapestries for the Great Hall of the Dallas Apparel Mart installed in 1973. At the time dubbed a 'Great Dane' by the Dallas Times Herald, it was a natural step for Wiinblad who had previously completed commission work for Stanley Marcus and his Neiman Marcus department store at Dallas. Marcus, by then personal friends with Wiinblad for many years and present for the unveiling of these monumental tapestries on October 18, 1973 on the occasion of a black-tie event, called Wiinblad "the Hans Christian Andersen of his time, beloved in his own city as few are, he brings joy to every one he meets and to those he doesn't through the medium of his creation."

Marcus was just then seeing these intricately woven tapestries that Wiinblad had been inspired to create five years before as he illustrated the Danish version of the Arabian Nights. At 144" x 96", the tapestries were woven by Fortunato Silverio weavers of Portugal from Wiinblad's design. The right needle craftsmen were essential to the tapestries' success and transfer of Wiinblad's art into another medium. Maria Elice Silverio, at the time head of the legendary weaving firm was present for the unveiling as well. The marrying of Wiinblad's art and the superior workmanship resulted in these magnificent tapestries. Bright, colorful and so complex that the pieces took seven different weavers to complete them, and, unlike older Flemish or French works of tapestry, these works are finished on the front and back making them completely reversible.

Wiinblad chose the images of King Schazhaman and Doniazade from the Arabian Nights as the subjects of the tapestries. The two were the common backdrop as the legendary stores of Ali Baba, Aladdin and Sinbad were woven like this tapestry through the ages. Wiinblad's graph paper from which the weavers worked was a 60% scale of the tapestries' final size of 12 each' x 8'. Using flax in the warp (vertical) yarn and semi-worsted New Zealand wool for the weft (horizontal), the master craftsmen transferred each square of Wiinblad's graph into the final tapestries. Over 80 colors were used in each of the tapestries with over 10,000 man-hours needed to bring the works to completion.

With gold and silver threads added, the colors illuminate the three tapestries (two here) that tell the story of the young and beautiful Doniazade and her marriage to King Schazhaman. In the first tapestry Doniazade's hair is combed by her sister, Scheherezade, the narrator of the 1,001 stories in the Nights, who has strewn her locks with pearls. Doniazade's red gown sparkles with gold and royal blue as her sister's silver dress is shimmering. In the second tapestry Doniazade is now dressed in a gown of blue satin by a royal woman.

In each of the three tapestries Wiinblad's attention to detail is amazing. The richness of the dress of the women is brought to life in greater-than-life proportions never before attempted. Bjorn Wiinblad's brilliant use of color, combined with the skill of the master weavers in Portugal, has created a monumental work in the tapestry version of Arabian Nights. The works as a grouping are one of a kind, magnificent storytelling in the combination of the master works of fine artist and artisans.

The original program from the unveiling at the Dallas Apparel Mart is included with the tapestries.

Provenance:
Acquired from the artist in 1973.

Bjorn Wiinblad (Danish, 1918-2006)

Arabian Nights
1972
Flax, semi-worsted New Zealand wool
Signed lower right Bjorn Wiinblad, 1972
364 x 288 inches (924.6 x 731.5 cm)

The third and final panel Bjorn Wiinblad created for his storytelling from the Arabian Nights depicts the bride Doniazade and her sister Scheherezade along with four attendants. This is the most magnificent tapestry of the series. Measuring 32' x 24', Wiinblad has included six figures on the beautiful lemon yellow background. Doniazade remains the focal point of the piece as she is seated and still attended to by her sister. But there are four attendants now in their olive green gowns. The fine detail work of the pearls, the birds at the feet of Doniazade and the small cat at bottom right are remarkable. The entire work is surrounded by intricate floral work capturing the serenity of the scene. Doniazade is now married, her sister content that she too will enjoy a long and happy life continuing to tell her stories in the Arabian Nights.

After the completion of these tapestries Bjorn Wiinblad continued his work for over thirty years until his death just last year. His body of work has become known worldwide for his depth and scope of mediums within which he worked.

Provenance:
Acquired from the artist in 1973.

Bjorn Wiinblad (Denmark, 1918-2006)

Flute and Harp Player
Tapestry
197 inches high x 197 inches wide
Bjorn Wiinblad moved to monumental tapestry commissions such as the Flute and Harp Player with great success. Both these works are 197" square and are intricate weavings incorporating foliate and floral designs surrounding the central seated figures. The red background behind the white figures stands in contrast to the checked yellow border of each tapestry that is picked up in the details of the birds within each piece. An aqua tone is carried throughout an inner square border with touches of green and brown. The skin tones and shading of the figures is subtle and the calm expression achieved on the face of the harpist while the action of playing the flute with the twisting body gives the second piece a sense of motion.

Wiinblad captures the serenity of the moment even on this scale. The flute and harp players serenade the birds as they flock to enjoy their music with the difficult task of transferring his palette to the medium of tapestry being remarkably achieved while maintaining the color, tranquility and artistry Wiinblad mastered in other mediums.

Provenance:
Acquired from the artist in 1977 to hang in the Stemmoms Auditorium, Hilton Anatole Hotel, Dallas.

Bjorn Wiinblad (Danish, 1918-2006)

Harbor Scene (five panel screen)
1980
Oil on panels
Signed lower right Bjorn Wiinblad, 1980
96 x 196 inches (243.8 x 497.8 cm)

Bjorn Wiinblad took his fabulous art techniques to a different level as he expanded his works in size onto panel and tapestry. This five-panel masterpiece incorporates his flair for capturing oriental themes with great detail. His composition is superb as he works the moonlit night and the activities of the harbor scene around the central figures of a spectacularly dressed young man who is being seduced by a mermaid. Both are clearly mesmerized with each other and oblivious to others. The servants holding the candelabra to the left, the peasants huddled near the shore to their right or the elegant lady being carried by her man-servants near the sea. Wiinblad makes use of fine detail techniques in the surrounding canopy of floral decoration dotting each corner of the work. The wine-colored theme is carried throughout, bringing the five panels seamlessly together. The moon, sunset, wispy clouds and shimmering sea and details of the ships give evidence of Wiinblad's excellent brush work and stand in contrast to the sketchy figures that appear at the edges of the panels. Symmetrical, bold and vivid, the Harbor Scene evokes a feeling of both action and tranquility on a grand scale.

Provenance:
Acquired from the artist in 1980.

Bjorn Wiinblad (Danish, 1918-2006)

Kongen
Circa 1970
Watercolor on paper
Signed middle right
Inscribed
24 x 17 inches (61.0 x 43.2 cm)

Provenance:
Acquired from the artist in 1973.

Bjorn Wiinblad (1918-2006) Danish

JUNO
20th century
Print
26-1/2 x 20 inches (67.3 x 50.8 cm)

Bjorn Wiinblad included elements of Oriental art into many of his works, often applying the elements to classical figures as in Juno. In Roman mythology, she was the principal goddess of the Pantheon, wife of Jupiter and the central female figure worshiped by the people. Thus, she was heralded as the goddess of all things female including childbirth. Here Wiinblad has given her a crown and depicts her with a flower, making rich use of gold and burnt orange in this appealing profile.

Provenance:
Acquired from the artist in 1973.

Bjorn Wiinblad (Danish 1918-2006)

Two Untitled Watercolors, 20th century
53 x 37 inches (134.6 x 94.0 cm)
Signed: 'Bjorn Wiinblad' lower right

Bjorn Wiinblad enjoyed depicting the female form in many ways, even in erotic situations as seen here in these two watercolors. While one is playful, the other more sensuous, in these two works Wiinblad continued his use of vibrant color and detail in producing his body of work.

Bjorn Wiinblad (Danish,1918-2006)

10 WIINBLAD PRINTS
Framed and unframed prints



Many of Bjorn Wiinblad's works of art have been made into prints making them available to a wider audience of collectors of his works. Here 10 prints are presented, some duplicated, all of which are wonderful representations of his sometimes whimsical, otherwise serene paintings. Many have his famous oriental flair with some incorporating elements of dance.

Provenance:
Acquired from the artist in 1973.

Bjorn Wiinblad (Danish, 1918-2006)

Untitled, 20th century
Watercolor on paper
52-1/2 x 39 inches (133.4 x 99.1 cm)


Bjorn Wiinblad's work in his Ondine series included this watercolor on paper with its rich blue and maroon tones. A more traditional scene with the castle and partial ruin, it is emblematic of Wiinblad set design series for which he produced these works as working models.

Provenance:
Acquired from the artist in 1965.

Bjorn Wiinblad (Danish,1918-2006)

Set Design
1946
Oil on canvas

Bjorn Wiinblad was known for his contributions to stage set design throughout Europe. Whether for the ballet or the opera, Wiinblad brought his whimsical details and artist's eye to such projects as in this Set Design, becoming works of art highly collected as much in the theater community as in the art world. Elements of his architectural techniques, pottery design and caricature work can all be found here.

Provenance:
Acquired from the artist in 1969.

Bjorn Wiinblad (Danish,1918-2006)

Midsummer Night's Dream
Undated
Watercolor on paper
Signed bottom right Bjorn Wiinblad
38-1/4 x 76-1/2 inches (97.2 x 194.3 cm)

Bjorn Wiinblad worked in a variety of mediums, many times taking on a whimsical tone in the exhibition of his talent. In A Midsummer Night's Dream, he has chosen the overall theme of the dream in Shakespeare's story of the Athenian characters that make up his classic play. In a tale of love, desire and overall fantasy, Wiinblad has set his story in the woods Shakespeare chose to weave his play.

And what better medium for Wiinblad to choose than watercolor? With his almost mystic palette Bjorn Wiinblad dreamily depicts the lovers, fairies and would-be lovers among the woods with the classic buildings of Athens in the background some seven leagues away. With his always-vibrant use of color, Wiinblad chose a 38-inch expanse with the scene a vignette surrounded by blank space to increase the effect of the dream, a Midsummer Night's Dream. This is one of many Wiinblad works that invoke a literary or classical theme he brings to life.

Bjorn Wiinblad (Danish,1918-2006)

ORIGINAL WATERCOLOR, 1980s
Watercolor on canvas
Signed lower right corner

Bjorn Wiinblad incorporated his whimsical talents with his regard for tranquility in completing this series of twelve original watercolors commissioned in 1980. Wiinblad moves from landscapes to mythology to whimsy as he uses the entire color palette as he takes the viewer on a journey from a fairytale castle to mythological nymph. Each one vivid and different, Wiinblad's use of watercolor to create dreamy effects and subtle detail make these pieces wonderful examples of versatility and talent.

Provenance:
Acquired from the artist in 1980.

Bjorn Wiinblad (Danish,1918-2006)

Tove
Mid 20th century
Glazed ceramic planters
Signed on the side Bjorn Wiinblad
47-1/2 inches (120.7 cm)

Bjorn Wiinblad created intricately formed ceramics, many with an oriental flair, always colorful and unique. These twins, although not identical, are a product of the Danish artist's beautiful whimsy in ceramic. The elaborate gold and pink detail extends completely around the pieces, up the foliate-like hair and culminates in a large planter bowl.

Provenance:
Acquired from the artist in 1978.

Bjorn Wiinblad (Danish, 1918-2006)

Maggie May
ERRATUM: 1978
Ceramic
Signed and dated to the side
62 x 20 inches (157.5 x 50.8 cm)

Entitled Maggie May, glazed in blue and white, the whimsical form of a female in an elaborate dress with a planter on her head; in three sections.

Bjorn Wiinblad (Danish,1918-2006)

Eva
Mid 20th century
Ceramic
Signed to the side Bjorn Wiinblad
42 inches (106.7 cm)/18 inches (45.7 cm)

A pair of Danish ceramic figural planters by Bjorn Wiinblad. Entitled Eva, this pair of Danish ceramic figural planters by Bjorn Wiinblad is glazed in red, one larger planter (42 inches high) and one smaller (18 inches high).

Provenance:
Acquired from the artist in 1978.

Bjorn Wiinblad (Danish,1918-2006)

Danish ceramic flower pot
1977
Ceramic
Signed and dated to the side
21 x 20 inches (53.3 x 50.8 cm)

This Danish ceramic flower pot with fluted neck by Bjorn Wiinblad is glazed in green and white depicting stylized females.

Bjorn Wiinblad (Danish,1918-2006)

Maggie May: A Danish Ceramic Figural Planter
Mid 20th century
Ceramic
Signed to the side Bjorn Wiinblad
69 inches (175.3 cm)

With his trademark whimsical ceramics, Bjorn Wiinblad entertained us through the art form for decades. This time glazed in pink and red, the lady, Maggie May, stands with arms akimbo shown as handles for the planter, her hair a diadem of leaves. In three sections, this piece is elaborately decorated in floral and geometric patterns which so many times define Wiinblad's work.

Provenance:
Acquired fom the artist in 1978.

Bjorn Wiinblad (Danish,1918-2006)

Undine
Mid 20th century
Ceramic
Unsigned
96 x 26 x 26 inches (243.8 x 66.0 x 66.0 cm)

This Danish ceramic figural fountain entitled Undine by Bjorn Wiinblad is a female figure with three bowls of decreasing size stacked on her head. It is unmarked. With his oriental interest transformed into fine art, Bjorn Wiinblad created masterpieces through interpretation of mythical figures. In Undine, the female water sprite who could steal men's souls through marriage, Wiinblad uses the figure on top of which he places three bowls creating a fountain. With her outstretched arms, the towering Undine beckons the unwitting male to her embrace.

Provenance:
Acquired from the artist in 1965.

Bjørn Wiinblad (Danish,1918-2006)

A Group of Three Danish Figural Flower Vases
Mid 20th century
Ceramic
Unmarked
17.5 x 11 inches (44.5 x 27.9 cm)/22.7 x 14 inches (57.7 x 35.6 cm)/23.5 x 14.2 inches (59.7 x 36.1 cm)

Bjorn Wiinblad would sometimes create a more subtle and subdued ceramic with an almost bronze-like finish. These three candle holders in the familiar shape of the smiling female head are in varying sizes, each with four candle holders. With a greenish hue throughout, the heads still exhibit Wiinblad's humorous slight smile and effects.

Provenance:
Acquired from the artist in 1978.

Bjorn Wiinblad (Danish,1918-2006)

Ball Man Candle Holders (pair)
"Cow horn" painted ceramic
Unmarked
27-1/2 inches (69.9 cm) (the tallest)
Height of other four: 17", 13", 10" and 8"

A master of many media, Bjorn Wiinblad was superb in a rarely used technique of painting, that of using the cow horn technique. In this traditional method of applying paint, the tip of a cow's horn is filled with paint, the tip clipped off and a feather inserted. It was the technique that Wiinblad first used in working with ceramics. "I never forget the moment I took the cow's horn in my hand and started to decorate. When I left the workshop I knew that I had experienced something special," he once said. It was the experience that propelled him into a career that spanned almost seven decades making him a driving force in modern art.

These five candle holders fashioned in the shape of an oriental man's head are part of the whimsy that Wiinblad interjected into much of his work. From 8" graduated to 27.5" in height, these finely detailed candle holders constitute a single ceramic piece with a rimmed edge, effecting the appearance of a hat on each of the subjects. The brush strokes achieved through the cow horn and feather technique create a unique, very colorful effect, making these amusing pieces a rarity from the hand of a world-renowned artist in a method of painting rarely seen, much less mastered.

Provenance:
Acquired from the artist in 1969.

Bjorn Wiinblad (Danish,1918-2006)

Porcelain Figural Lidded Jar
Mid 20th century
Glazed porcelain
Unmarked
29 x 23 inches (73.7 x 58.4 cm)


This Danish porcelain figural lidded jar by Bjorn Wiinblad is glazed primarily in blues and purples and is unmarked.

Bjorn Wiinblad (Danish,1918-2006)

A Pair of Blue and White Ceramic Lamps
Mid 20th century
Painted ceramic
Unmarked
54 inches (137.2 cm) tall


Bjorn Wiinblad used his art to adorn utilitarian works such as candle holders, urns and jardinières. Here he used his talent with the brush to adorn these two 54-inch lamps. An oriental woman delicately holds a fan in an outdoor scene, all depicted in Wiinblad's masterful use of the cobalt blue. The globular bases of the lamps are topped by a fluted, darker blue neck which is fitted with modern electrical sockets for bulbs. The color contrasts are subtle against the pure white bases of the lamps. Wiinblad makes maximum use of shading to achieve depth and detail of his subject. The lamps have a shiny enamel finish and are in excellent condition.

Bjorn Wiinblad (Danish,1918-2006)

A Pair of Large Textured Ceramic Lamps
Mid 20th century
Painted ceramic
Unmarked
58 inches (147.3 cm) tall

Bjorn Wiinblad sometimes meticulously used the techniques of thick paint with geometric designs in crafting some of his larger pieces. In these two 58-inch ceramic lamps, Wiinblad lays in heavy paint and works circles, polygons and diagonal lines throughout the large bases of the lamps. He takes a more subtle brush to the turned necks of the lamps and finishes the pieces with a heavy enamel. While shiny and bright, the underlying texture is rough and dark when viewed up close. Fitted with modern dual electrical sockets, each lamp is situated on a square brass base.

Bjorn Wiinblad (Danish,1918-2006)

Large Cow Horn Textured Ceramic Lamp
Mid 20th century
Painted ceramic
Unmarked
33 inches (83.8 cm)

The cow horn technique Bjorn Wiinblad learned as a young man is put to best use here in this rare two-piece lamp with shades of blue and green. The teardrop shape base with its fluted and turned neck are from top to bottom darker and lighter with the base a pale white as it accepts the colors in a drip-like pattern. In what is a calculated, but seemingly random fashion, Wiinblad has used the clipped cow-horn filled with paint and affixed with a feather as a brush tip to deftly fashion the intricate look of a large candle holder that has dripped its multicolored wax to the base. This is one of Wiinblad's most beautiful uses of the technique.

Provenance:
Acquired from the artist in 1973.

Bjorn Wiinblad (Danish,1918-2006)

Carriages Beneath Tress
Late 20th century
Ceramic tile on panel
Unmarked
35 x 39 inches (88.9 x 99.1 cm)


Bjorn Wiinblad's whimsical side often expressed itself in his work. This oriental scene of two couples out for a carriage ride is one of his most charming works. While both men, smartly dressed in their top hats, seem occupied reigning in their respective prancing horses, the women who occupy the carriages have bright smiles, one while shielding herself from the sun with her tiny umbrella. Wiinblad again uses the cobalt blue with brilliant brush strokes in the massive trees which balance the picture. Wiinblad painted the smaller tiles that line the bottom of the scene in flowers, giving the scene an element of depth and symmetry.

Provenance:
Acquired from the artist in 1977.

Bjorn Wiinblad (Danish,1918-2006)

Two Girls
Late 20th century
Ceramic tiles on panel
Signed in lower right corner
61 x 61 inches (154.9 x 154.9 cm)

Bjorn Wiinblad used many devices to achieve the calmness he sought to convey in his work. In this 61-inch square ceramic tile panel he poses the two women seated among an array of flowers, picking blossoms while surrounded by an elaborate floral border. A variation on his monochromatic oriental theme, in this piece he uses blue tones to a rich effect, portraying the innocence and beauty of the young women amid the elaborate floral bouquet that engulfs them. The use of smaller sized tiles within the darker blue border adds to the sense of depth and dimension to the piece.

Provenance:
Acquired from the artist in 1985.

Bjorn Wiinblad (Danish,1918-2006)

Three Girls
Late 20th century
Ceramic tiles on panel
Signed bottom center Bjorn Wiinblad
66 x 54 inches (167.6 x 137.2 cm)

While Bjorn Wiinblad drew and painted as a child, ceramics were his first medium in which he excelled professionally. This 68 inch x 54 inch red and white panel is made up of 99 painted tiles drawn together by Wiinblad to create one of his oriental-themed master works. While Wiinblad chose a monochromatic effect for this piece, the choice of the red hue and shading gives the panel depth and expressions of calm, something Wiinblad strove for in many of his works. The young women holding small birds while a young man calmly looks on match the serenity that is the background of the work. The chrysanthemum-styled painted tiles that surround the vignette accentuate the central scene and create a portal through which the viewer can enjoy the beauty of the encounter.

Bjorn Wiinblad (Danish,1918-2006)

A Danish Ceramic Tile Wall Plaque
Mid 20th century
Ceramic tile panel
Signed lower right Bjorn Wiinblad/DAL MART
50 x 25-1/2 inches (127 x 64.8 cm)

While sometimes using a base color such as black as in this untitled ceramic panel, Bjorn Wiinblad usually would reserve this sort of ceramic substrate for a tall piece such as 50-inch panel. While the black is used for Wiinblad to calculate and illuminate his color scheme, it allows him to accentuate the vibrant colors he has chosen for this piece. This panel is just another example of his mastery of color and form.

Provenance:
Georg Jensen, New York (1964)

Bjorn Wiinblad (Danish,1918-2006)

A Danish Ceramic Wall Tile
Mid 20th century
Ceramic tile panel
Unmarked
27-1/2 x 22 inches (69.9 x 55.9 cm)

Very much in use throughout Europe, ceramic wall panels grace interior and exterior architectural spaces adding color and texture to otherwise ordinary spaces. Bjorn Wiinblad's work in ceramics is legendary, particularly in these panels that he left for the museums and private collections throughout not only Europe but the world.

With no two alike, in this piece Wiinblad uses a new form for every tile, each unique in size and color, although not randomly placed but constructed with the artist's eye for beauty and composition.

Bjorn Wiinblad (Danish,1918-2006)

A Danish Ceramic Panel
Mid 20th century
Ceramic tile panel
Unmarked
28 x 11 inches (71.1 x 27.9 cm)

Ceramic tile panels by Bjorn Wiinblad adorn some of the finest homes in Europe and the United States, many times made as a result of a special commission for a special space. This piece incorporates Wiinblad's vibrant usage of color and precise geometric design for which he became so well known. Affixed with a wire hanger on the reverse, the panel is a beautiful artistic and architectural work.

Provenance:
Acquired from the artist in 1967.

Frederick Sands Brunner (American, 1886-1954)

Reverie
20th century
Oil on canvas
Signed lower right F. Sands Brunner
20 x 15 inches (50.8 x 38.1 cm)

Frederick Sands Brunner graduated from the Pennsylvania Museum and School of Industrial Art in 1909 with a diploma in illustration. He is best known for his genre renderings of the female face and figure in oil and watercolor. This work was produced as an illustration for an article Girl's Life; Country Gentleman, Curtis Pub. Co.

Provenance:
Newman Galleries, Philadelphia, PA (on paper label on verso)

Literature:
On paper label on verso

Frederick Sands Brunner (American, 1886-1954)

Summer Afternoon
20th century
Oil on canvas
Signed lower left F. Sands Brunner
21 x 17 inches (53.3 x 43.2 cm)

Provenance:
Newman Galleries, Philadelphia, PA

Frederick Sands Brunner (American, 1886-1954)

Autumn Patterns
20th Century
Oil on canvas
Signed lower left
17-1/2 x 14-1/2 inches (44.5 x 36.8 cm)

Provenance:
Newman Galleries, Philadelphia, PA

Étienne Ret (French/American, 1900-1996)

Benedicite (Saying Grace)
Circa mid 1960s
Oil on canvas
Signed verso (upper left)
36 x 21 inches (91.4 x 53.3 cm)

Often known for his portrait and genre paintings, Etienne Ret was born in France and studied in Paris in the ateliers of Maurice Denis and Georges Desvallieres, and at Ecole des Beaux Arts and Ecole des Arts Décoratifs. Ret exhibited in London and Paris before settling in Hollywood CA in 1934. He remained active in the United States through the late 1950s and died in Europe in 1996.

Provenance:
Park's Art Gallery, San Jose, CA (1968)

Étienne Ret (French/American, 1900-1996)

At the Piano
Undated
Oil on board
Signed upper right
42 x 31 inches (106.7 x 78.7 cm)

Etienne Ret's work focused on the female form, usually depicting women in candid, everyday settings. This young woman in At the Piano is one of his more detailed works, with her beautiful face gazing down at the piano keyboard. The rich brown hues dominate the well-structured composition.

Provenance:
The Artist's Mart, Washington (1967)

Rafael Coronel (Mexican, born 1932)

El Viejo en el Pasillo (The Old Man in the Walkway)
1968
Oil on canvas
Signed lower right Rafael Coronel, 1968
19 x 23 inches (48.3 x 58.4 cm)

With his artistic style resembling that of Goya and Orozco, Rafael Coronel has carved out his own niche in the expressionist realist art world with his dramatic pictures of anguished lives, stoic figures and common people such as El Viejo en el Pasillo. The old man in the walkway, stooped, eyes set forward and trudging through the corridor exemplifies Coronel's ability to capture strife through a snapshot of deliberate motion, painful as it might be. A master of the chiaroscuro effect, Coronel casually creates depth in the picture, from the far right side of the painting that opens into a much deeper hallway where he uses a chocolate brown, moving to the inner corridor, a lighter brown and finally the old man who is the singular visage of frailty and humility, darker still. In contrast, Coronel brings him alive with the almost bronzed facial hue and texture with the meaty hands, seemingly arthritic and drooping.

But there is more. Coronel's subtle use of shadowing the figure and blurring of the back of the robe the old man wears, along with again darkening the image behind the figure gives the viewer the sense of anticipation of El Viejo's next step. Coronel completed this picture in 1968 not long after the monumental murals he executed for the Museo Nacional de Antropolgia at Mexico City. A graduate of the Escuela Nacional de Pintura y Escultura in Mexico City, his work is much sought after for its innate beauty and depiction of the human form. His brother Pedro Coronel, who died in 1985, was an accomplished artist as well.

Provenance:
Galeria de Arte Mexicano, Mexico

Raphael Coronel (Mexican, born 1932)

Suenos Antiquos VI
1966
Oil on canvas
Signed and dated on reverse
49-1/2 x 49 inches (125.7 x 124.5 cm)

Rafael Coronel's Suenos Antiquos VI is another startling example of his mastery of the chiaroscuro effect. His intense use of shading in this work allows him to bring the piece alive with the use of minimal color. Coronel has proven his ability to capture strife and commotion within a dreamlike scenario in this old dream scene completed in 1966. A graduate of the Escuela Nacional de Pintura y Escultura in Mexico City, he carried this theme of robed men and dark desperation through a series of paintings with great fanfare. Coronel has been recognized as a leader in the Latin American contemporary art community and his work is much sought after for his detail of the human form amidst quiet strife.

Raphael Coronel (Mexican, born 1932)

Samuel y Senora
Mid 20th century
Oil on canvas
Inscribed on the reverse Samuel y Senora
49-1/2 x 49 inches (125.7 x 124.5 cm)

Samuel y Senora is another outstanding example of Rafael Coronel's work using light and dark tones, in this instance shades essentially of two colors to achieve a moving piece from which he would make several renditions. One is on display at the Gallery of Modern Art in Mexico City.

These two figures speak volumes through Coronel's artistic presentation. The dominant figure, Samuel, has a haunting look with his hollow eyes and the reverent positioning of his hands, clearly the caretaker of the old lady that creeps beside him clutching her robe with her knurled hands. From the beige background Coronel brings the figures alive with his brushwork mastery of shading.

Pamela Kelly Sills (American, 20th century)

L.V.Cutting Garden; Calloway Hibiscus; and Reflection, 1987
Framed Acrylic on canvas triptych 47-1/2 x 56 inches (120.7 x 142.2 cm)
47-1/2 x 31 1/2 inches (120.7 x 80 cm)
47-1/2 x 56 inches (120.7 x 142.2 cm)
Signed respectively: upper left, upper right center, and upper right quadrant

American triptych comprising three expressive views of the same garden landscape, each in similar spring-tone palette and loose brush work. This truptych was purchased at the Art South Gallery in Montgomery, Alabama in 1983.

Provenance:
All three paintings were displayed at the Hilton Anatole, Dallas, collectively and individually, from 1983 until 2004.

Jerry Newman (American, 20th century)

Garden Encounter - Chester
20th century
Oil on canvas
Signed lower right
50 x 90 inches (127 x 228.6 cm)

Jerry Newman, a native Texan who earned his Master of Fine Arts Degree at the University of Southern California after graduating from the University of Texas and receiving a Teaching Excellence Award from the University of Lamar. Working primarily with watercolors and oil, his oil paintings invariably invite the viewer deep inside the work. In the instance of Garden Encounter - Chester, one is drawn into the garden space the artist has happened upon and so vividly captured.

Newman makes great use of shading in the garden setting where green predominates, taking the palette in the foreground from light to the dark background, creating a sense of depth sprinkled with the sparkling colors of the flowers throughout.

Featured in Southwest Art Magazine, Newman's works have received first-place honors at the Beaumont Art Museum and the Liberty Texas Annual Exhibition as well as at the Cloudcroft, New Mexico exhibition. Collections of his work have been installed at the Citizen National Bank at Dallas and the Pennzoil Oil Company at Houston.

Provenance:
Adelle M. Gallery, Dallas (1986)

Terry Samples (American, 20th century)

Shadows at Sunset
1982
Acrylic on canvas
Signed and dated lower right
33 x 71 inches (83.8 x 180.3 cm)

Provenance:
Adelle M. Gallery, Dallas (1986)

David Cobb Kupferman (American, 20th century)

Abstract Landscape
1983
Oil on canvas
Signed and dated verso
40 x 71 inches (101.6 x 180.3 cm)

Artist David Cobb Kupferman was born in Boston to artists Ruth Cobb and Lawrence Kupferman. He studied with and apprenticed to his father, Head of the Department of Painting at Massachusetts College of Art and with sculptor Mirko Basaldella at Harvard. He attended the University of Wisconsin and Maharishi European Research University, Switzerland.

Provenance:
Purchased directly from the artist (1983)

Luigi Kasimir (Austrian-American, 1881-1962)

Kasimir Etchings
Circa 1920-1930
Five Etchings with aquatint
Signed bottom center
Each 17-1/2 x 23 inches (44.5 x 58.4 cm)

Hong Kong Harbor # 2921
London Middle Tower #2923
View From Central Park #2920
London Tower Bridge #2916
Opera House

Provenance:
Loren Fiedman Gallery, Chicago (1981)

Christ Michiels (Belgian, born 1939)

Untitled, Kneeling Figure
20th century
Ink and wash on artistboard
Signed upper right C. Michiels
47-1/4 x 35-1/2 inches (120.0 x 90.2 cm)

Maurizio Goracci ("Mago") (Italian, born 1941)

Circolo Chiuso
20th century
Oil on canvas
Signed bottom center Mago
9-1/2 inches (24.1 cm) diameter

Maurizio Goracci is an Italian artist most well known for his fine works on plates which are highly collectible. This 9-inch diameter oil on canvas Circolo Chiuso is a very colorful and strong example of his work.

Provenance:
Purchased directly from the artist (1986)

Philip Naviasky (British, 1894-1983)

Untitled (group of Mexican villagers)
20th century
Oil on panel
Unsigned
23-1/4 x 52-1/2 inches (58.9 x 133.4 cm)

Philip Naviasky used subtle colors against a muted background to complete this rare large work of villagers housed in a beveled gold wood frame. As he sought his subjects during his world travels, he found images of common people engaged in everyday life. He exhibited at The Royal Academy in London, completed commissions for noted British subjects, and is widely collected around the world. He is also found in galleries and museums.

Exhibited: Verandah Club, Hilton Anatole Hotel in Dallas.

Philip Naviasky (British, 1894-1983)

Untitled (a group of Mexican villagers)
20th century
Oil on panel
Unsigned
23-1/2 x 46-1/4 inches (59.7 x 117.3 cm)

A well-known British artist who worked with pastels, oils and watercolors producing portraiture work, still life and scenes such as the one depicted here in Villagers, Philip Naviasky enjoyed a prolific career as an accomplished artist. Paintings such as this have only become available since Naviasky's death and were sold by his wife Millie. A note from Millie attesting to the authenticity of the painting is on the reverse of this colorful picture. In a nicely carved gold wooden frame, the painting is a rare large work of Naviasky's that once was exhibited in the Verandah Club at the Hilton Anatole Hotel in Dallas.

Philip Naviasky was born in Leeds, England, the son of Polish immigrants. Accepted to The Royal Academy at the age of eighteen, he went on to study at The Royal College of Art after receiving a Royal Exhibition award from the Board of Education. He traveled the world completing works of art and became well exhibited, including at The Royal Academy.

Unknown Artist

Sailors in White Caps in Boat
Oil on canvas
33 x 42-1/2 inches (83.8 x 108.0 cm)

Luis Jaso (Mexican, 20th century)

Farmer Plowing With Oxen (Arando)
1968
Oil on canvas
Signed and dated lower left
Label verso Galeria de Antonio Sauza (Mexico)
7-3/4 x 15-3/4 inches (19.7 x 40.0 cm)

Provenance:
Galeria de Antonio Sauza, Mexico (1968)

Graciela Rodo Boulanger (Bolivian, born 1935)

Two girls in a swinging carriage
1977
Color etching and aquatint, 100% rag archival paper
Signed lower right G. Rodo Boulanger, numbered lower left 19/150
24-1/2 x 16-1/2 inches (62.2 x 41.9 cm)

Graciela Rodo Boulanger studied with framed engraver Johny Friedlaender in Paris from 1961-1968. Her works have strong contrasts with neutral backgrounds and brightly colored figures in the foreground which represent her life in Bolivia, where the mountains are drab in comparison to the brightly clothed people. The works evoke an emotional response from the viewers' who respond to relationships in humanity. The artist is represented in the following collections: The Museum of Modern Art of Latin America, Washington DC; Biblioteque National, Paris; The Museum of Modern Art, La Paz, Bolivia; and The Modern Art Center, Zurich.

Provenance:
Loren Friedman Gallery, Chicago (1981)

Lowell Blair Nesbitt (American, 1933-1993)

Untitled, Bearded Irises (three prints)
1981
Prints
Signed lower right; numbered lower left (each)
37 x 25-1/4 inches (94.0 x 64.0 cm), Numbered 6/200
31-1/2 x 25-3/4 (80 x 65.4 cm), Numbered 152/200
35 x 31-1/2 (88.9 x 80 cm), Numbered 8/40

Donald B. Cooper (American, born 1944)

A Pool Near New Zealand
1980
Acrylic on canvas
Unsigned
48 x 60 inches (121.9 x 152.4 cm)

Provenance:
ArtSouth, Montgomery, Alabama (1983)

Donald B. Cooper (American, born 1944)

Solomon's Pool
1980
Acrylic on canvas
Signed and dated at lower right: D. Cooper '80
55-3/4 x 64 inches (141.6 x 162.6 cm)

Painting of swans and dogs at pool of water.

Provenance:
Art South, Montgomery, Alabama (1983)

Ivan Generalic (Croatian, 1914-1992)

The Deer
1978
Oil on glass
Signed and dated lower left I. Gen.1978
18-3/4 x 22 inches (47.6 x 55.9 cm)

Ivan Generalic was the central figure in the Hlebine School, named for the area in north Croatia that spawned an important genre of folk art led by Generalic. A native of Hlebine, Generalic developed his artistic talent at an early age and was tutored by Krsto Hegedusic, the premier artist and art professor of the region who taught Generalic the art of mastering the use of color in depicting the scenes of everyday life in the region. This led to Generalic's first exhibition at Zagreb in 1931 and then on to Paris where he lived for a short time before returning to his homeland.

But in what may be Generalic's legacy, he popularized the age-old tradition and beauty of painting on glass as seen here in The Deer. While after World War II Generalic was known for his social criticism in the subjects of his work within the group known as Zemlja or 'Earth Group', here he demonstrates the youthful folk art, full of color and simplicity for which he became famous. He masters the issues of perspective in the deer in the foreground, clearly the focus of this work, the horse at the center space and the buildings in the background all the while using vibrant color and contrast that can only be achieved in painting on glass, creating a mirror-like image in an unforgiving medium. The Deer is framed in a gilt, one-inch beveled frame covered in glass and is in excellent condition.

Provenance:
Galerie Alpha, Brussels, Belgium (1979)

Ivan Generalic (Croatian, 1914-1992)

Landscape with Two Figures
1979
Oil on glass
Signed lower left: I. Gen. 1979
17 x 17-1/2 inches (43.2 x 44.5 cm)

Ivan Generalic often entered into a poetic dialogue with nature and the scenes he painted from life in and around the Hlebine, Croatia area. Indeed, the Hlebine School, so-named due to the proliferation of his followers from that town and region, focused on the transformation of real life into art in their folk art that survives today.

In Landscape with Two Figures, Generalic chooses to place people in the scene, in this case the elderly woman and her cane with the standing man under a clump of trees at center left. Generalic often included people he knew in his pictures to create a further sense of accuracy in conveying his beloved homeland in all its beauty and calm. Although his career spanned over seventy years and included works concerning social commentary, particularly after the Second World War, he is most well known for his excellent folk art on glass as seen here.

In this landscape Generalic remembers his roots as a 'peasant artist', as he and his followers in the Hlebine School were called as they went into the art world creating a genre all their own - on the unforgiving surface of glass. The color and texture achieved in Landscape are startling, with the pinkish thatched rooftops and the verdant foliage of the trees that balance the painting throughout. The vibrant contrasting colors of the old man and woman, even though in peasant dress, leads one's eye to the vanishing horizon which appears shimmering in the distance, an effect achieved so well on glass.

Ivan Generalic continued his work until his death in 1992 leaving a legacy of continuing an art form of folk art on glass for which he will always be remembered. Landscape with Two Figures is emblematic of that legacy in its beauty of the folk art technique he mastered. Beautifully framed in a 1-inch gold frame, glass covered, with a 4-inch matte, the picture is in excellent condition.

Provenance:
Galerie Alpha, Brussels, Belgium (1979)

Ivan Generalic (Croatian, 1914-1992)

Winter Landscape
1979
Oil on glass
Signed lower right: I. Gen. 1979
21-1/2 x 19-1/4 inches (54.6 x 48.9 cm)

Ivan Generalic's folk art work was at its peak when he completed Winter Landscape, a variation on his winter rural scenes. The renowned leader of the Hlebine Group, a tightly-knit band of artisans from the small town for which the movement was named, painted almost exclusively on glass, keeping alive a form of unforgiving and magical art that had been alive in his native Croatia for many years.

In the 1979 Winter Landscape, Generalic produces one of his masterpieces that exhibits the talent of the peasant painters who transformed their real life experiences and surroundings into fine art. The folk art style of the Hlebine region of Croatia became well known at its virtuoso level in Generalic's work. This winter scene depicts the curtain of snow, appearing larger as it reaches the foreground of the picture and shrouding, but essentially enhancing the tranquility of the country setting - still, yet in motion and alive. Generalic exhibits his mastery of color, again on a glass surface allowing for a magical, almost shimmering effect. The darker rust colors of the farmhouses and barns are lightened at the horizon but drift into the greenish black of the coming night, while shaded in the foreground at the bluff from which one views the tranquil scene he has created from life. Framed in a silver, beveled frame with glass and a 4 inch matte, the picture is in excellent condition.

Generalic's work was embraced by older as well as younger artists of the region. An exodus of artists from the village of Hlebine created a name for the folk art of the region and took hold in the art community. Generalic's and his followers' ideas of bringing real life into an art form was a sensation with exhibitions being held worldwide. He is revered for his long career both before and after the Second World War, a prize-winning leader in the art community until his death in 1992.

Provenance:
Acquired in 1979 in Brussels, Belgium.

Christo Todorov (Yugoslavian, born 1935)

Untitled (Young Woman with a White Scarf)
20th century
Oil on canvas
Unsigned
39-1/2 x 28 inches (100.3 x 71.1 cm)

Provenance:
Paige Gallery, Dallas (1982)

Christo Todorov (Yugoslavian, born 1935)

Maturity
20th century
Oil on canvas
Initialed lower right
35 x 31-1/4 inches (88.9 x 79.4 cm)

Provenance:
Paige Gallery, Dallas (1985)

Christo Todorov (Yugoslavian, born 1935)

Portrait
20th century
Oil on canvas
Unsigned
21 x 17 inches (53.3 x 43.2 cm)


Portrait is another glimpse of Christo Todorov's work in depicting the female form. His pioneering work in the era before the fall of the Soviet Bloc states in Middle Europe led the way in an artistic fight for freedom of expression. In this work he envisages a full face, yet slender nose with whirls of hair on top while the dress is a mixture of conventional scallops and lines. Portrait is certainly one of Todorov's most interesting and appealing works.

Provenance:
Paige Gallery, Dallas (1985)

Christo Todorov (Yugoslavian, born 1935)

Friends
20th century
Oil on canvas
Initialed lower right
31-1/2 x 31 inches (80.0 x 78.7 cm)

Provenance:
Paige Gallery, Dallas (1985)

Christo Todorov (Yugoslavian, born 1935)

Girl in a Headdress
20th century
Oil on canvas
Unsigned
18 x 21 inches (45.7 x 53.3 cm)

In a spectacular fashion, Todorov transforms the female subject into a regal spectacle of headdress with more subdued color than before. The less passionate eyes are cast slightly downward denoting her royal bearing. The use of circles and whirls in the headdress draws the viewer's eyes away from the face but always returning back to that face Todorov does so well.

Provenance:
Paige Gallery, Dallas (1985)

Christo Todorov (Yugoslavian, born 1935)

Masques
20th century
Oil on canvas
Unsigned
25 x 21-1/2 inches (63.5 x 54.6 cm)


Christo Todorov many times assembled the female face in an abstract form while surrounded by male subjects. In Masques, Todorov depicts the female face and dress in a Romanesque style. The prominent noses of the male and female subjects, the abstract forms and dimensions make this one of Todorov's most complex works.

Provenance:
Paige Gallery, Dallas (1985)

Christo Todorov (Yugoslavian, born 1935)

Girl in Dark Headdress
20th century
Oil on canvas
Unsigned
27-1/4 x 21-1/2 inches

Christo Tododrov's work included more subdued paintings such as this untitled picture of a woman. The beautiful mixture of black and red gives the woman a Spanish look, especially with the flower in her hair and the multi-colored dress.

Provenance:
Paige Gallery, Dallas (1985)

Christo Todorov (Yugoslavian, born 1935)

Untitled (Two Girls)
20th century
Oil on canvas
Unsigned
27-3/4 x 21-1/2 inches (70.5 x 54.6 cm)

Christo Todorov has been a force in the Bulgarian art community for many years with his colorful abstract art form taking off, especially after the fall of the Soviet Bloc nations and the attendant freedom of expression. In this series of beautiful female subjects he has brought a stoic, sometimes abstract bent to the female face and form. Todorov uses thick paint and full brushstrokes in vivid colors to bring his subjects alive. This untitled work depicts two women, perhaps sisters, in elaborate dress, each with cross-cultural features - not Middle-European or Eastern specifically. Their almond-shaped eyes stare directly at the viewer and draw them inside the picture amid the bright color.

Provenance:
Paige Gallery, Dallas (1985)

Christo Todorov (Yugoslavian, born 1935)

Untitled (Two Women with a Man)
1976
Oil on canvas
Initialed and dated lower right
39 x 39 inches (99.1 x 99.1 cm)

Provenance:
Paige Gallery, Dallas (1985)

Christo Todorov (Yugoslavian, born 1935)

Untitled (Woman in a Headdress)
20th century
Oil on canvas
Initialed lower right
39 x 39 inches (99.1 x 99.1 cm)

Provenance:
Paige Gallery, Dallas (1982)

Christo Todorov (Yugoslavian, born 1935)

Untitled (Three Women)
20th century
Oil on canvas
Initialed lower left
39 x 39 inches (99.1 x 99.1 cm)

Condition:
Repairs in 1991

Provenance:
Paige Gallery, Dallas (1985)

Volodoya Kenarev (Bulgarian, born 1951)

Escape
1985
Oil on canvas
Unsigned
11 x 9-3/4 inches (27.9 x 24.8 cm)

Volodoya Kenarev was born in the Bulgarian city of Rousse in 1951. After graduation from the National Art Academy at Sofia at the age of 27, Kenarev's career as an artist skyrocketed with deep and poignant works such as Escape. While the paintings made their way to the National Gallery of Bulgaria, private collectors seek out Kenarev's work, particularly earlier paintings such as this that were completed before the collapse of the Societ Bloc states.

Kenarev was part of what was dubbed the 'New Objectivity Movement', a struggle to create freedom of expression in art, a break through the suppression of freedom in artistic expression that came with Soviet domination. In that sense, this picture and others like it preceded the fall of the Soviet empire that came later in the decade paving the way for other artists of the region to follow.

In the stark and shadowy Escape, Kenarev brings the essence of the desperation that many Bulgarians felt during the repressive era of Soviet-controlled rule. The simple, darkened room, a plainly dressed woman, beautiful yet turned away from her only window which reveals evidence of her toil. She is in her small, but effective way escaping from reality in which she must, for the time being, exist.

Provenance:
Paige Gallery, Dallas (1986)

Miland Nad (Yugoslavian, born 1945)

Autumn Landscape
1980
Reverse oil on glass
Signed and dated lower right: Nad. 1980
14-1/2 x 20 inches (36.8 x 50.8 cm)

Miland Nad is of the important group of followers of Ivan Generalic, the pioneer of the Hlebine School of folk art in painting on glass in Croatia. Generalic kept the art form alive and artists such as Nad have made sure it has flourished as seen here in Autumn Landscape. The form delivers a shimmering effect, clear and precise as it must be due to the unforgiving nature of reverse painting on glass. Miland Nad has developed his own unique style while still holding true to the Croatian traditions of Generalic by depicting scenes from everyday life.

Miland Nad (Yugoslavian, born 1945)

Winter Wedding
1980
Reverse oil on glass
Signed and dated lower right: Nad M 1980
14-1/2 x 20 inches (36.8 x 50.8 cm)

Provenance:
Acquired in Brussels, Belgium (1979)