Hunting - Cuming, E.D.
Squire Osbaldeston, his autobiography. London, 1926. First edition, 4to, 16 colour plates, original buff cloth, bookplate; Beckford, Peter Thoughts on hunting. London, [1911]. 4to, 25 tipped in colour plates, original red cloth gilt, some fading to backstrip; Ross, Martin & E. Somerville A Patrick's day hunt. Westminster, [c.1900]. Second impression, oblong folio, 8 colour plates, original decorative boards, some tearing to hinges, rubbed at edges, light foxing; Armour, G. Denholm Hunts with Jorrocks. London, 1908. Second edition, 8vo, 25 tipped in colour plates, original red cloth gilt, backstrip faded, torn at head of backstrip, ink inscription on half title; Houghland, Mason Gone away. Virginia, 1933. 8vo, presentation copy from the author to Mary Ausley, illustrated by Oliver Whitmore, original suede covered boards, some small stains to boards; Nimrod Hunting reminiscences. London, 1926. 8vo, colour plates, original green cloth gilt, faded; and 17 others on hunting (23)
Cochiti, Monochrome Water Jar, ca. 1900: Cochiti Monochrome Water Jar ca. 1900 clay, pigment height 8 1/2 x diameter 9 1/2 in. Jar with tall slightly flared neck and bulbous body. Black painted design on buff surface: dark clouds around neck, small bird perched on foliate element isolated on body. Provenance: Adobe Gallery, Santa Fe, New Mexico The Joseph Pytka Collection
John Ruskin (British 1819-1900) "Coastal Towns Below Cliffs" July 1852 graphite and sepia wash with blue and white gouache on heavily toned buff paper stamped "158" in black ink at upper right inscribed in pencil en verso in a bold mid-19th c. hand "John Ruskin" and "A 20399" in back ink 3 1/2 x 5 in. partially torn across upper left corner. Provenance: James R. Lamantia Jr. New Orleans and New York. Exhibited: James Lamantia Drawing and Architecture Art Department Sophie Newcomb College Tulane University New Orleans 15-26 March 1965 no. 27C. Note: This very charming tiny drawing shows the famous critic John Ruskin in a moment of acute and sympathetic environmental observation. Its view is a coastal scene recorded in the artist's sketchbook from the summer of 1852 of which James Lamantia in 1965 exhibited the sheets numbered 154 157 and 158: the torn upper left corner confirms this sheet's quick removal from that matrix. The abraded traces of adhesive at left and the associated holes for binding bear out such an everyday origin. The thin line of lighter paper at the very top is perhaps the relic of a mat which may once have overlapped the sheet; but since the same color change also extends irregularly beneath the abrasions on the left edge the greater likelihood is that Ruskin may have toned the sheet with a bistre wash as a naturalistic ground better calculated to show up the bi-chromatic gouache that he later applied to the skyline and water.
AMERICAN BUFF CLAY SPANIEL. Circa 1900. Black glaze, pink eyes, red mouth. Initialed "D.B." on bottom. 8.5"h.
Santo Domingo, Polychrome Water Jar, ca. 1900-1910: Santo Domingo Polychrome Water Jar ca. 1900-1910 clay, pigment height 10 1/2 x diameter 11 1/2 in. Medium flared opening, incurving neck, wide shoulders, narrow base. Design: matte black pattern on buff surface, red base. Sections of bold point elements on neck, sections of diagonal pattern on body. Provenance: The Joseph Pytka Collection
Franz Windhager (1879-1959) Standing nude red chalk on buff paper 1912 signed and dated lower left 38 x 12.5cm (15 x 4 7/8 in)Clara Klinghoffer (1900-1970) Semi Nude charcoal on buff paper 1925 signed and dated lower right 30 x 22.5cm (11 3/4 x 8 3/4 in) (2)Provenance of Klinghoffer: sold Redfern Gallery May 1926 (original gallery label mounted on backboard) sold Christies London 13th June 2002.
Churchill, Sir Winston
London to Ladysmith via Pretoria. London: Longmans, Green & Co., 1900. First edition, presentation copy, inscribed on half-title "To John Black Atkins Esq., from Winston S. Churchill. South Africa, July 1900", and inscribed "J.B. Atkins" in pencil on front endpaper, 8vo, 4 maps [3 folding], 2 + 32pp. advertisements at end, original buff pictorial cloth lettered on upper cover in red and black and on spine in gilt, joints and corners slightly frayed, slightly soiled, spine slightly darkened
Note: A fine early association copy. Churchill had left for South Africa as the correspondent of the Morning Post while John Black Atkins was there as the correspondent of the Manchester Guardian. Atkins had travelled out to S. Africa with the twenty-four year old Churchill by steamer and the two went together to Durban, sharing a tent at Estcourt, but Atkins declined Churchill's offer to accompany him on the armoured train from Estcourt to Colenso. It was the attack by the Boers on the armoured train, Churchill's role in freeing the locomotive from the wreckage and his subsequent capture, which gave him the dramatic story he needed to further advance his political career. For J.B. Atkins' account of the Boer war, The relief of Ladysmith and his autobiography, Incidents and Reflections see lot 129.
METTLACH STONEWARE LIDDED PUNCH BOWL & UNDERPLATE Mettlach/Villeroy & Boch (German, founded 1748), circa 1900, stoneware lidded punch bowl and underplate, the lid having a dolphin finial, above a terra cotta and buff ground body with dancing cream figures in relie and double mask handles, decorated with the names of Germans towns and drinking mottos, all appropriately marked with pattern number "2087". Provenance: From the Blakely Estate, Buford, Georgia. Approx. overall, h. 15", dia. 16.25'.
4 Northwest Persian Runner Northwest Persia, circa 1900 The central angular medallion on the buff field is within a rosette border. Approximately 11 feet 2 inches x 3 feet 3 inches. Thin areas, worn selvedge. â€
Pair of Royal Doulton Frank Butler Decorated Stoneware Vases, England, c. 1900, each with raised art nouveau style foliage to a stippled buff band with mottled green ground, artist monogram and impressed mark, ht. 10 1/2 in. Estimate $200-300 One vase with rim heavily repaired. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
TWO INDIAN JUGS. Southwest late 19th-early 20th century earthenware. Includes a buff-colored ovoid jug with ring handle 10 1/2''h.; together with a high-shouldered jug in red clay 5 1/4''h. Damage to spout and spalling to the redware jug. Charles Shanafelt (b. 1855) was the senior member of the brickmaking firm of Shanafelt and Keurt. He collected the Cochiti figures offered here about 1900 and about 1915 they were placed in the ''relic room'' of an Ohio county courthouse. They remained there until later in the twentieth century they were transferred to a local historical institution. That institution has deaccessioned this collection and is selling it to further its mission.
A RARE MILDRED HAMMOND (1900-1980) POTTERY FIGURE: Mildred Hammond. . An untitled Modernist Figure of a Horse. . 1933. . The glazed stoneware figure of a stylized horse kneeling and with turned head, green and brown glazes on a buff-colored clay, engraved initials on the front right corner of the base along with a date of '33, an ink inscription on the base includes a date of 1947. Mildred Hammond was a Kansas City artist primarily known for paintings and watercolors. This appears to be the first known example of sculpture offered at auction. . Measures 6 x 6 x 3. 5 inches. . We happily provide seamless in-house packing and shipping services on nearly everything we sell. Condition Very good condition. There are no chips, cracks, repairs, scratches or areas of heavy wear.
OHIO BUFF CLAY RECLINING LION. Circa 1900. Well detailed, ribbed base and gold over black paint. Some roughness around base. 6"h. 9.5"w. 4.5"d.
Sterling Dresser Set
Circa 1900. Fourteen pieces, including hand mirror, two hair brushes, two clothes brushes, two sterling lidded jars, shoe horn, nail buff, comb handle, button hook, nail file, scissors and knife. Monogrammed.
Santo Domingo, Dough Bowl, ca. 1900-1915: Santo Domingo Dough Bowl ca. 1900-1915 clay, pigment height 8 x diameter 18 in. Large scale dough bowl with wide mouth opening and conical shape body. Minimal black matte painted blossom design on buff exterior with red base, red interior. Fire clouds throughout. Provenance: The Joseph Pytka Collection
Cochiti, Dough Bowl, ca. 1900: Cochiti Dough Bowl ca. 1900 clay, pigment height 7 3/4 x diameter 14 in. Wide opening with slight flared rim, full body and medium base. Dark foliate design on softly polished buff exterior. Bold geometric triangle band and cloud design on interior rim. Fire clouds. Provenance: The Joseph Pytka Collection
HALE WOODRUFF (1900 - 1980) Cow Woman. Charcoal on buff wove paper, circa 1970-77. 762x508 mm; 30x20 inches. Signed in charcoal, lower left, and titled in charcoal, upper right. Provenance: acquired directly from the artist; Camille Billops, New York. Hale Woodruff continued to explore the figure in charcoal through the 1970s--these dynamic sculptural studies are in such collections as the Metropolitan Museum of Art, New York, the Paul R. Jones Collection, Atlanta, the University of Delaware and the Bank of America Collection, Charlotte, NC.- 7,000
Mary Potter 1900-1981- "Bird at the Window"; watercolour, pencil, brush and black ink and wash on buff paper, 17x13.5cm. Provenance: with The New Art Centre, London, according to label attached to the reverse of the frame
FANNIE NAMPEYO (HOPI 1900-1987) POLYCHROME POTTERY JAR Migration Pattern painted in black and red on buff, signed in paint on the underside.
A Newcomb College Art Pottery High Glaze Pitcher, c. 1900, decorated by Gertrude Roberts Smith with a curvilinear design reminiscent of brocade fabric in blue underglaze, base marked with Newcomb cipher, Joseph Meyer's potter's mark and "Q" for buff clay body, height 7 1/8 in., width 4 3/4 in. $5000/7000 Provenance: Ex-Collection, Jean Bragg. Illustrated: Jessie Poesch with Sally Main, Newcomb Pottery and Crafts, (Schiffer, 2003), fig. 3-96, p. 111. Note: Following her initial recruitment to Newcomb College in 1889, Mrs. Smith became faculty supervisor of the textile and embroidery workers, also serving as Professor of Watercolor Painting and Decoration of Textiles from 1907-1934. Starting in 1930, Mrs. Smith spent her summers in the hills of North Carolina, helping to revive weaving as a craft among the mountain inhabitants in an effort to help the poverty-stricken region. She returned following her retirement from Newcomb College, continuing her work for several years.
NAVAJO EYE DAZZLER RUG, CIRCA 1900 In sand, black, red on a buff field, black, black-red and buff border, 31" x 56". Fine condition.
ELYSE ASHE LORD (UK, 1900-1971) "Chinese", depicting three elders, etching with color aquatint on buff paper, pencil signed and titled in lower margin, numbered 66/75, in gilt faux bamboo frame, silk mat with red liner, glazed, OS: 27" x 31", impression: 16 3/4" x 21 1/2". Very good condition, not examined out of frame.
c. 1900 Native American Indian Theme Stereoview - On the White Man Trail. : Western America. c. 1900 Native American Indian Stereoview Photograph. c. 1900, Native American Indian Stereoview Photograph of a Group of Indians on horseback titled, "On the White Man's Trail - looking for foot prints, " by Underwood, Fine. . This stereoview photo measures approx. 7" x 3. 5" and is mounted on its original buff colored Publisher's mount. Titled below the right hand image "On the White Man's Trail. looking for foot prints. " The Stereoview is copyright 1900 by the publisher Strohmeyer & Wyman and Published by Underwood & Underwood. This early Underwood & Underwood view pictures (8) men, (6) of whom are on horseback and (2) who have dismounted and are inspecting the ground in their tracking. The focus is sharp and the left hand image strong but the right hand image is somewhat faded. The images are clean and crisp and the card mount has light edge wear and light soiling on the reverse.
John Ruskin (British 1819-1900) "A Cave Seen in Sunlight" and "A Cave Seen in Shade": a pair of drawings probably c. 1830s graphite watercolor and gouache on light buff wove papers (both sheets laid down) unsigned each 7 x 9 7/8 in. (both inscribed in a later hand en verso "17M"). Provenance: Joseph Arthur Palliser Severn (1842-1931) Brantwood Cumbria by 1900; Christie's London 24 October 1967 lot 13 (to Lamantia); James R. Lamantia Jr. New Orleans and New York. Cave in Sunlight Published: William R. Cullison III and James Lamantia An Eye for Architecture Tulane University Library (Southeastern Architectural Archive) New Orleans 1984 p. 25 no. 23. Note: One of the most important and influential critics of the entire 19th c. Ruskin was also a highly accomplished artist having been trained as a youth-especially in watercolor-by Copley Fielding (1787-1855) and James Duffield Harding (1798-1863; the latter had been a pupil of Samuel Prout [1783-1852] a near neighbor and lifelong idol of Ruskin's). The theme doubly presented here of grottos presented at different times of the day had been pioneered in various versions by Joseph Wright of Derby (1734-1797) showing Italian examples and following the precedent of such painters as Pietro Fabris (known active in Naples c. 1756-1779). These two dramatic and impressive sheets with their didactic aim of illustrating a similar but evidently landlocked natural feature in contrasting lights emphasize the fact that young Ruskin was an eager student of natural science especially of geology (and they were probably drawn in the English Lake District the northwestern home of the Fielding family). His watercolor studies of rock formations have always been judged particularly fine; and as Anne Lyles has remarked "Ruskin's drawings of mountains attempt something more than an intelligent grasp of geology.they seek to show the inner construction rhythms and tensions of form-to reveal in fact the underlying structural order of the natural world." After an enormously active lifetime of drawing and writing Ruskin withdrew in the late 1880s to his own Lake Country home at Brantwood on Coniston Water just a few miles from Windermere. There he was cared for by his cousin Joan Agnew Ruskin who in 1871 married the artist Arthur Severn; the Severns became the heirs of Brantwood and the owners of these drawings-which thus have an unbroken provenance directly from the artist himself. References: Anne Lyles and Andrew Wilton The Great Age of British Watercolours London and Washington 1993 pp. 85 138 308 320-321 pl. 164; Dinah Birch "Ruskin " Grove Dictionary of Art Jane Turner ed. 34 vols. London 1996 vol. 27 pp. 350-356; Marcia Pointon "Fielding " ibid. vol. 11 pp. 59-61; David Cordingly "Harding " ibid. vol. 14 p. 166; Scott Wilcox "Prout " ibid. vol. 25 pp. 661-662; Frederick Cummings and Allen Staley Romantic Art in Britain Philadelphia 1968 pp. 71-72 no. 30.
Circa 1900 several pieces marked ''Made in Austria'' of pink enamel comprising: a hand mirror (15.25'') a hairbrush (10.25'') a comb (7.5'') a large clothes brush (7.75'') a small clothes brush (6.25'') a shoe horn (8.5'') a nail buff (4.5'') a tray (9.75'' x 5.75'') a square etched glass bottle (5.75'') a circular etched glass powder box (2.5'' H x 4.75'' Dia.) a hinged dresser box (2'' H x 4.5'' W x 3.25'' D'' a button hook (7.5'') a nail file (7'') a knife (4.5'') and a buzzer (2'' x 2'') monogrammed ''MJB'' 15 pcs with original monogrammed fitted silk and velvet-lined leather case the case: 3.5'' H x 24.5'' W x 18'' D
AMERICAN FOLKSY BUFF CLAY TILE. Circa 1900. Silhouette of a top hatted gent sporting goatee. Black glaze and has entwined initials on back "W.A.H.", 3.75" square.
LARGE METTLACH RUMTOPF W/ UNDERPLATE - Mettlach Covered Punchbowl or Rumtopf with Underplate pattern 2087 with V&BM stamp to underside of bowl (Villeroy & Boch manufactory 1900-1912) in Wedgwood color palette of pale grey buff and powder blue having
HOPI POTTERY CYLINDRICAL VASE having two hand painted stylized parrots in rust & black on buff background. 8.25'' tall diameter 4'' diameter. c. early 1900's.
ERASTUS SALISBURY FIELD (MA/NY, 1805-1900) Pair of Portraits of a Well-to-Do Couple, oil on canvas, unsigned, circa 1835, probably Boston. He in black coat and stock, with pleated shirt front and buff waistcoat; she with hair up in braids, brown silk dress with muttonchop sleeves, lace collar, embroidered grey shawl, open book in her right hand. In later gold leaf deep cove molded frames, OS: 40" x 32- 3/4", SS: 34- 1/4" x 27". Cleaned and relined.
Santo Domingo, Dough Bowl, ca. 1890-1900: Santo Domingo Dough Bowl ca. 1890-1900 clay, pigment height 9 x diameter 18 1/2 in. Large scale dough bowl with wide opening and slightly sloping body to base. Matte black painted bold geometric star pattern on buff exterior with red base. Provenance: The Joseph Pytka Collection
John Ruskin (English 1819-1900) "A Weathered Dressed Stone in a Minimal Landscape" c. late 1830s/early 1840s graphite and white gouache on buff wove paper initialed "J.R." at right center 3 15/16 in x 6 3/4 in. (right edge irregular though with uniform traces of attachment: probably a page from a notebook); hinged to cream-colored mount 7 1/4 in. x 10 3/8 in. Provenance: James R. Lamantia Jr. New Orleans and New York. Exhibited: James Lamantia Drawing and Architecture Art Department Sophie Newcomb College Tulane University New Orleans 15-26 March 1965 no. 26. Note: This is manifestly an early drawing by Ruskin whose lifelong credo it was to examine meticulously every element of "Nature " by which he meant both the human and the natural environments. This sheet evidently from a small notebook of regular size may even have been a study for a finished drawing (fully signed with the initials in the same form as here and dated 1841) now in the Nelson-Atkins Museum of Art Kansas City. That big sheet some three times larger in each direction depicts a distant view of the Aventine Hill in Rome from the Ponte Rotto on the Tiber; and-in Ruskin's panorama-the remnant of a Papal monument on the near shore is composed of dressed ashlar blocks some dozen of which are exactly synchronous with the one studied here and are even shown in the same perspective. (After an ill-fated Papal restoration in 1575 the Ponte Rotto finally collapsed in 1598 a date which accords well with the weathering of the block sketched here.) Even if Ruskin did not encounter this block in Rome-though a hint of the herbage around the base of the ruined Papal feature in the Kansas City drawing may well be the reason for the grass or weeds around the stone in this sketch-the date inscribed on the larger sheet when the artist was twenty-two years old accords remarkably well with the early drawing presented here. References: Roger Ward and Mark Weil Master Drawings from The Nelson-Atkins Museum of Art St. Louis 1989 p. and pl. 56; Guida d'Italia Roma e dintorni Milan 1977 p. 464.
SANTO DOMINGO PUEBLO (New Mexico) CLAY BOWL having black geometric traditional design on buff field with brick red base. 9'' tall & 9'' diameter. c. early 1900's.
LARGE METTLACH RUMTOPF W/ UNDERPLATE - Mettlach Covered Punchbowl or Rumtopf with Underplate pattern 2087 with V&BM stamp to underside of bowl (Villeroy & Boch manufactory 1900-1912) in Wedgwood color palette of pale grey buff and powder blue having
HOPI POTTERY BOWL having rust and black geometric design against buff field. 6'' diameter 4'' tall. c. early 1900's.
FRED LUDEKENS (1900-1982) THE SALAD BOWL / SOUTHERN PACIFIC. 1930. 23x16 inches, 58 1/2x40 1/2 cm. Condition B+: pencil marks and scuffing in margins; creases in corners. Paper. In addition to changing the way Americans travelled, the railways also affected the way America ate. It was the Southern Pacific Railroad that originated the "salad bowl" in the late 1920s, a help yourself, all you could eat scenario, in their dining cars. The railroad promoted this feature ubiquitously in magazine advertisements, on matchbooks and even on extraneous cards (substitute jokers) in decks of Southern Pacific playing cards, but this is the only poster to boast of this historic culinary innovation. Train buffs will also appreciate the detail of the colorful hues of the table cloth, a feature on Southern Pacific trains such as the Sunset Limited. Ludekens was a prominent California illustrator who was the art director at Lord and Thomas, the firm which handled Southern Pacific's advertising. He designed a number of posters for the railroad.- 1,500
Santo Domingo, Polychrome Dough Bowl, ca. 1900: Santo Domingo Polychrome Dough Bowl ca. 1900 clay, pigment height 9 3/4 x diameter 18 in. Wide mouth, full body with noticeable tilt. Simple dark geometric star pattern painted on softly polished buff exterior, red base. Fire clouds. Provenance: The Joseph Pytka Collection
PAIR OF AMERICAN BUFF CLAY SPANIELS. Circa 1900, possibly Alexis Pottery, Alexis, Illinois. Male and female with dark brown glaze and gold trim. 10.5"h.
AMERICAN BUFF CLAY SPANIEL. Circa 1900, Midwestern States. Albany slip glaze, 8"h.
Survey instrument catalogues and related: K&E catalogs for 1900-1901, 1909, wear and some tears to cover , 1913, 1915, 1921 (two copies), 1927, 1936, 1944, 1946, 1954; K&E "Engineers Instruments" 1937; small 1920 pamphlet "Instructions For Use of the K&E Architectural Levels", poor condition ; "Standard Instruments of Precision", C.L. Berger & Sons, 1918; 1993 reprint of "Instruments of Precision", C.L. Berger & Sons, 1900; 1883 K&E catalogue, tears and losses to cover , with photocopy of catalogue; 1938 Buff & Buff surveying instruments catalogue; 1926 Dietzgen "Drafting and Surveying Supplies"; catalogue and handbook for instruments of precision, F.E. Brandeis & Sons, 12th edition, 1895, spine loose, cover with tears and losses . (about 20 pieces) The Collection of the Late Ronald Kiser, Mars Hill, North Carolina
EIGHT SMALL FLOWER BASKETS, NC 1940-50s, lead glazed earthenware various glazes, one signed "NCG 84", a transitional buff glazed basket, early 1900s, with sticker "Griffin Collection Lot 127".
Circle of John Ruskin HRWS 1819-1900- View of a valley with distant mountains; pencil and watercolour wash, inscribed "Bou*hete, 8th April", 17x35cm: Follower of John Constable RA 1776-1837- Wooded landscape; charcoal on buff laid paper, watermarked with a fleur de lys, (2) (unframed) Plus Vat on hammer price
CIRCA 1900 NAVAJO WEARING BLANKET Finely Woven, with a sand field, red, green and buff figures of central medallion bracketed by four geometric forms, birds in flight, striped ends, no fringe, 56" x 78". Edge loss.
KARADJA HERIZ, NORTHWEST PERSIA, CIRCA 1900.
Woven with a Senna Buff weave with a blue-green, salmon, brick red and blue-black lobed floral medallion anchored on a brick red field sparsely decorated with polychrome palmette floral vinery and flanked by blue-black spandrels, all within four narrow floral meander vine guard borders. 23 feet 7 inches x 14 feet 8 inches.
A Scottish late 19th/early 20th century carved walking stick
The handle robustly decorated with basket-weave pattern terminating in two thistles, the stem decorated with flowers emblematic of the British Nations and trailing rope, with carved scenes of children playing blind-man's buff, lovers being spied upon, and a cat being driven from underneath a table, the top engraved 'PH 1900', 91cm high (35 1/2in high)
Zia, Polychrome Water Jar, ca. 1900: Zia Polychrome Water Jar ca. 1900 clay, pigment height 12 x diameter 11 1/2 in. Medium opening with tall neck sloping to barrel body and wide base. Matte polychrome painted design on buff surface: red horizontal feather motifs with rounded ends and black tips; cream circles with brown dot pattern extend to feather motif. Fire clouds. Provenance: Adobe Gallery, Santa Fe, New Mexico The Joseph Pytka Collection
Doulton Lambeth Florence Barlow Decorated Stoneware Vase, England, c. 1900, slip decorated birds perched on branches to a buff ground above a stylized foliate border, artist monogram and impressed mark, ht. 18 1/4 in. Estimate $400-600 Rim and footrim restored. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
ROOKWOOD Fine and rare Carved Iris vase by John D. Wareham with fleshy white and buff tulips on an olive green and royal blue ground, 1900. (A specatular example). Drilled hole on bottom. Flame mark/614C/partial artist's signature/W. 12 1/2" x 6 1/2"
FANNIE NAMPEYO (HOPI 1900-1987), POLYCHROME POTTERY JAR AND SMALL BOWL Painted in red and black on buff, the jar features the Migration Pattern, the bowl appears to show bird wing and tail design, both signed on the underside in paint.
PAIR OF CORNER CUPBOARDS - Circa 1900 Diminutive Mahogany Cabinets in the Greek style, with reticulated black painted crest featuring wheat fronds and a gilt metal medallion of Artemis, two glass doors below have diamond mullions, four glass shelves within the buff painted interior, inlaid ebony diamond on bottom of door, flanked by gilt stencil palms, faux drawer below having brass lion head ring pull, black laurel leaf wreaths on cabinet doors below, set on short tapered legs, 67" x 23 1/2", takes an 18" wall. Fine condition.