S. LINDWASSER, A/C ABSTRACT COMPOSITIONStanley Lindwasser (Am. 1947-2020), acrylic on canvas, unframed, signed and dated 2013 lower right, numbered "1000" verso. 36" high, 34" wide. Lindwasser was a prolific artist for over 35 years with an extensive exhibit history. A native of Brooklyn, NY, he worked with acrylic paint on canvas to invoke abstract images that he saw as reminiscent of landscapes, weather, water, and other forces of nature. Property of the Estate of Stanley Lindwasser.
Condition:
Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction.com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
A modern bronze garden statue modelled as a nude dancer 7ft 6ins Estimate ?700-1 000 5 inch split in raised leg between the top of knee and waist possibly a firing fault. Otherwise fair weathering. Descriptions provided in both printed and on-line catalogue formats do not include condition reports. 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. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?1 100
Oley Pennsylvania Painted Pine Trade Sign. Oley Pennsylvania 19th Century Painted Pine Trade Sign. "D.D. Griesemer No. 342 Cigar Manufacturer". 11-1/2"h. x 30-3/4"w. Fair to good, weathering and wear.
Montague Dawson (1895-1973)Fair Weather, Fine Voyage: 'The White Star'oil on canvas24 × 36 inchessigned lower left
AFTER MONTAGUE J. DAWSON (20TH CENTURY,), "FAIR WEATHER AND FAIR WIND"., LITHOGRAPH ON PAPER, 23.25" X 33" SIGHT. FRAMED 26" X 36".AFTER MONTAGUE J. DAWSON, 20th Century, "Fair Weather and Fair Wind". Signed in plate lower left. Dimensions: Lithograph on paper, 23.25" x 33" sight. Framed 26" x 36".
Tom McNeely (B. 1935) "Columbus Crossing Atlantic": Tom McNeely (Canadian, B. 1935) "Columbus Crossing the Atlantic" Signed lower right. Original Mixed Media painting on Paper. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . This painting is the original painting which was published on the Fleetwood Maximum Card for the U. S. 29c Columbus Voyage; Crossing Atlantic issued April 24, 1992. . . For his first voyage, Columbus received three ships from King Ferdinand and Queen Isabella. The Pinta and the Ni?ia, two caravels designed to sail fleetly into the wind, accompanied Columbus' flagship, the Mariagalante -- officially renamed the Santa Maria. Manned by a combined crew of 90 men, the ships set sail from the Spanish port of Palos on August 3, 1492. A good compass and crude quadrant were the admiral's only tools, for he measured latitude by the North Star and navigated by dead reckoning. Nine days later the ships reached the Canary Islands and docked to take on supplies and make repairs. On September 6, they put out to sea on a course set for due west. The sailors watched until Hierro, westernmost island of the Canaries and the last image of familiar ground, disappeared below the eastern horizon. For three weeks the ships sailed on, aided by fair trade winds and relatively smooth waters. The Journal of the First Voyage noted on September 16 that "The Admiral (Columbus) says here that today and ever thereafter they had very mild breezes, that the savor of the mornings was a great delight, that the only thing wanting was to hear nightingales. Says he, 'The weather was like April in Andalucia. "' Image Size: 17 x 20. 25 in. . Overall Size: 17. 25 x 21. 75 in. . Unframed. . (B13784) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
Three Indian Bhuta Bronze Ritual Masks: South Indian, 19th/20th century, white bronze Bhuta masks, heavily patinated, comprising: one face, with crown and overbite, red paint residue, elaborate crown between rearing cobras, moon and sun on forehead, moving pieces, [bronze fractures, missing pieces], 13 x 14-3/4 x 5 in. ; one face, elaborate crown between rearing cobras, moon and sun on forehead, chin engraving, 16 x 14-1/2 x 6 in. ; one face with fangs, round ears, crescent over nose, 10-1/2 x 11 x 4 in. Provenance: Property From an Important Tennessee Living EstateNote: These brass plaques serve traditionally as processional deities. Often placed in chariots decorated with silk and floral garments, they are taken out during religious processionals like Shivaratri, Dussehra, and other annual deity fairs. Mohras of Durga and Shiva are prevalent all over Himachal Pradesh and in Uttaranchal for use in both temples and home altars. Condition overall patination, scratches, weathering; loss of hanging ornaments; fractured brass missing
CARVED CAROUSEL HORSE BY CHARLES DARE. Charles W. Dare 'Track' Horse, last quarter 19th century, New York. With typical saddle & assymetrical mane & real horsehair tail. On custom mount. Dare's New York carousel company produced its first portable carousels in America sometime between 1867 and 1875. Around 1890 Dare renamed his operation the Charles W. Dare Company and moved it to Brooklyn, New York. County fair carousels flowered with the nurturing of Hershell and Parker, but Dare was the one who planted the seeds for the style. Although his factory was located near the companies famous for ornate decorations, Dare retained his simple designs. SIZE: 51" h approx. x 51" l x 11" w. CONDITION: Horse with substantial weathering and wear including multiple shrinkage cracks and splits, loss to upper area of mane, section of saddle near pommel. Old breaks to front legs at knees, now with iron braces and strapping. Eyes replaced. Surface retains remnants of old paint. 50326-1
*SPRINGFIELD ARMORY MODEL 1899 KRAG CARBINE. Cal. 30/40. SN 225691. This is a good example of a “end of the run” 1899 Krag Carbine. It retains a fair amount of finish, good wood, a decent bore and the correct sights. The bolt also has a headless cocking piece that is somewhat common on 1899 carbines. CONDITION: Receiver retains approx. 80% fading case colors with left cover retaining approx. 90%. Magazine cover retains approx. 90% of its color also. Bolt is polished with the extractor retaining approx. 95% of its fire blue. Bbl is in good condition, retaining approx 85-90% of its finish with some weather frosting on the outside as well as 3 or 4 small dings just above the front band. Bore is somewhat bright, but well used, however does show a fair amount of rifling (possibly leaded). Front and rear sights, as well as sight cover, all have the “C” markings in the proper places and are correct for this gun as well as retaining very good finish. Trigger guard assembly retains 95% of its bright orig blue with the buttstock retaining approx. 20% turning to plum with a rack number of “218” on the tang. Buttstock is in excellent condition with a very legible “1899” cartouche and the proof mark being just slightly less prominent. It has very sharp finger grooves and no significant marring at all, and is of the long wood type. Upper hand guard, which is the same as the rifle hand guard, is in excellent condition with no significant marring or cracks. Action works smoothly, soundly and is mechanically fine. Edwards Collection 4-58507 BK38 (900-1,800)
CARVED AND PAINTED ANTIQUE CIGAR STORE INDIAN. The standing painted and carved Indian has long black hair, colorful dress and large feathered plume type headdress. A generous amount of weathered original paint still remains and mounted on a replaced square stepped base. 19th Century. PROVENANCE: Found in Santa Fe, New Mexico in 1991. SIZE: Figure is 57” h. Base is 11-1/2” h. Total is 68-1/2” h. CONDITION: Old repairs, cracks and paint loss. The right hand is missing. Fair to good. 9-27456
S. Lindwasser, A/C Abstract Composition: Stanley Lindwasser (Am. 1947-2020), acrylic on canvas, unframed, signed and dated 2013 lower right, numbered "49 group 5" verso. 24" high, 18" wide. Lindwasser was a prolific artist for over 35 years with an extensive exhibit history. A native of Brooklyn, NY, he worked with acrylic paint on canvas to invoke abstract images that he saw as reminiscent of landscapes, weather, water, and other forces of nature. Property of the Estate of Stanley Lindwasser. Condition Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction. com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
ELIZABETH MUMFORDAmerican, ContemporaryIts Always Fair Weather When Good Friends Get Together". Signed lower left.Oil on masonite, 28" x 28". Framed."
S. Lindwasser, A/C Abstract Composition: Stanley Lindwasser (Am. 1947-2020), acrylic on canvas, unframed, signed and dated 2013 lower right, numbered "48 group 5" verso. 24" high, 18" wide. Lindwasser was a prolific artist for over 35 years with an extensiveexhibit history. A native of Brooklyn, NY, he worked with acrylic paint on canvas to invoke abstract images that he saw as reminiscent of landscapes, weather, water, and other forces of nature. Property of theEstate of Stanley Lindwasser. Condition Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction. com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
Four Letters from ANDREW WYETH (American, 1917-2009) to Alice Moore: Four Letters from ANDREW WYETH (American, 1917-2009) to Alice Moore. Friday, September 17, 1937; mailed Saturday, September 18, 1937. My Dearest Alice:. The rest of the family left last Tuesday so I am now very much alone. I have been thinking a great deal about you and realizing more and more what a splendid girl you are and what little hope I have of ever becoming your husband although I know we belong together, Alice, I know it as well as my right hand and by God, I'm going to do something about it. What I want to know from you is do you love me or is it hopeless? Please tell me the truth. I wish I could make you out. [Illegible sentence, crossed out] One minute you are very warm to me and the next, oh hell I give up - excuse me. . Well I heard form N. Y. today and Mr. Macbeth is planning to give me my show the middle of October which is really a very good time. That means I have to leave here before I expected to though which I am sorry about and I think its worth it, don't you? Also I have been asked to have a one man show in Utica New York at the Williams Proctor Institute, which isn't so bad either. We have been having some foggy weather here for the past week so I have been working in the studio most of the time and have enjoyed it very much. It's really very cozy with the fire going. I think I have some good pictures started too. I hope you are well and that you haven't forgotten about me. I love you I love you I adore and want you but what's the use. Andy. . . Saturday, October 2, 1937; mailed Saturday, October 2, 1937. Dearest Darling -. Please, please forgive me for not writing since I have been working so hard that I forgot all about time but not about you I never can you are on my mind day and night and how often I have wished you could be here with me. I always thought that I would never need anyone as I need you. Alice, I want you to be near me always. I need you more than you need me I know although as time goes by I think you will change - I hope so anyway. Well, I have been working in Egg Tempera for the last two weeks and by God I like it I have done several landscapes and am now working on a portrait of a fellow who to me expresses Maine of today. Mr. Sidney Chase the artist who lives in Martinsville can't seem to understand why I should want to paint the worst drunk in Martinsville, but as I told him, I am not interested in painting the picturesque Maine of yesterday but want to paint it as it is today and to me this fellow is typical of Maine of today. I really think I am getting a good one. The name of the fellow is Charles Ervine, ask Jim Balano about him. Thursday I went to the Union Fair and had a swell time, went up with several fellows from the port. Mr. Ervine went also and passed out. I will tell about it when I see you. I want to get this in the mail so I had better stop by saying that I love you so much that it worries me. Andy. [Accompanied by a black and white page of an exhibition catalouge depicting "Charles Ervine" by Andrew Wyeth]. . Thursday, October 14, 1937. My Dearest Alice, . Just received word from Macbeth Gallery that my show opens October 19th, so I am planning to arrive in Poughkeepsie Friday night. Hoping that you will be there - Much love, . Andy. P. S. Could you let Bill Balano know. . . October, 1937, a Monday after the Macbeth show; mailed Tuesday, October 26, 1937. My Dearest Alice, . Just a note to let you know that I am planning to call you from New York City Wednesday night about supper time. My show has gone well. I have sold everything and most of the reviews have been good. You have been on my mind night and day and how I do miss you. I had really a swell time with you in Poughkeepsie and I want to thank you my sweet I love I love you and I love you and by God just watch me. Excuse the terrible writing and also the shortness of this. I love you. Andy.
John Swatsley (B. 1937) "The Samson Locomotive": John Swatsley (American, B. 1937) "The Samson Locomotive" Signed lower right. Original oil painting on Illustration Board painting. . . Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. . This painting was originally published on the Fleetwood First Day Cover for the Canada 37c Samson stamp issued March 10. 1983. . . When the railways were first being built across the Canadian frontier, some people doubted the abilities of the great steam engines to climb the steep mountainsides, and to operate in the bitter Canadian winters. Most of these fears were unfounded. The steam locomotives brought all-weather travel with unprecedented speed and luxury. The trains hauled their bulky burdens to new markets, and increased Canadian commerce. One of the most memorable steam engines in Canadian history is the Samson -- the first locomotive in Canada. This great engine was built in 1836 by the Robert Stephanson Company in England. The Samson was acquired by the first railway in the Atlantic Provinces to haul coal between the Albion Mine and the docks at Pictou . a distance of about six miles. She was capable of pulling thirty-two cars of coal up a steep hill . and could haul up to four hundred tons of cargo on a level track! Samson was also the first coal burning engine in Canada, and the first to run over all iron rails. This historic locomotive hauled carloads of coal from the Albion Mine along the short six mile track for more than forty years. Exhibited at the Chicago World's Fair in 1893, and at the Fair of the Iron Horse in Baltimore in 1927 as a remarkable machine . the Samson is now preserved and on display at New Glasgow, in Nova Scotia, Canada. . . Image Size: 14 x 12 in. . Overall Size: 19. 75 x 17. 5 in. . Unframed. . (B08282) Condition . - By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions. . - All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted. . - All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances. . - Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. . - Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail. com . - We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly. . - Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live. . - Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
Lot of seven vintage souvenir and novelty rings including; two 1933 Chicago World's Fair, two sterling Boy and Cub Scouts, Cracker Jack prize Howdy Doody double image hologram, 'Jet Pilot', and 'Weather Bird'.
Carved Wooden Plaque, Crucifixion: Carved wooden plaque, crucifixion. Slightly weathered. 53" high, 14 3/4" wide. Condition Any condition information included in our lot descriptions is not the equivalent of a written condition statement, and the absence of condition information does not imply that the lot is free of defects. Our auction lot descriptions reflect our effort to provide accurate, objective and fair information on all lots for sale, and we encourage bidders to request written condition statements and large file images on any lots of interest by emailing condition@woodburyauction. com. We also strongly advise that you or someone on your behalf inspect the lot personally before bidding. All lots are sold "as is" and "where is" and neither we nor any consignor makes any warranties or representation of any kind or nature with respect to the property. There are no returns and no refunds based on condition.
S. Lindwasser, A/C Abstract Composition: Stanley Lindwasser (Am. 1947-2020), acrylic on canvas, unframed, signed and dated 2011 lower right, numbered "206" verso. 24" high, 48" wide. Lindwasser was a prolific artist for over 35 years with an extensive exhibithistory. A native of Brooklyn, NY, he worked with acrylic paint on canvas to invoke abstract images that he saw as reminiscent of landscapes, weather, water, and other forces of nature. Property of the Estate of Stanley Lindwasser. Condition Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction. com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
JOSEF M ARENTZ (American/German, 1903-1969) THREE SEASCAPES & ARTIST'S EPHEMRA. 1) Crashing Waves, Oil on board, Housed in a modern gold and wood tone frame, Signed lower left "Josef M Arentz", stamped on verso "Jack Richard Framing Studios". 2) Seascape with Gulls, Oil on canvas, Housed in a contemporary gold tone wood frame with linen liner, Unsigned. 3) "Fair Weather Ahead", Oil on board. Housed in a modern gold and gray tone frame with presentation plaque, Signed lower right "Josef M. Arentz," and titled on verso. 4) Lot includes: Artist's paintbrush framed with a gallery business card & picture of the artist (5" x 16"); Booklet "Paintings by Joseph M Arentz; Also a notebook with newspaper articles & biographical information along with photographs of some of his paintings. SIZE: 1) Sight 13-1/2" x 17-1/2". Overall 17-3/4" x 22". 2) 9" x 12". Overall 13-1/4" x 16-1/2" 3) 12" x 16". 14-1/2" x 18-1/2" PROVENANCE: Maralyn Young estate, Arundel/Falmouth Maine, being sold unreserved. CONDITION: 1) Very good. 2) Surface dirt and discolored varnish 3) Good 4) Very good 51412-24
Two Letter "R" Signs. Painted wood, 24"h.; Gilt alloy, 27"h. Fair to good with some weathering and losses.
Gordon Grant lithograph Gordon Grant (American 1875-1962)- ''It's Always Fair Weather''- lithograph, c. 1950, signed in pencil, very slightly light struck, otherwise good condition. 9 3/4 x 13 3/16''
19th Century Cast Iron Urn Baseused as a watering trough for horses.21 x 46 x 24 in.Fair weathered condition.
1970 Suzuki T500Frame no. T50011748
Formally known as the Cobra, the Titan 500 of 1970 was Suzuki’s first foray into large displacement two stroke motorcycles. Equipped with an extremely reliable drivetrain and a clever, automatic lubrication system, the T500 was a model of reliability. Unlike many other two strokes of the time, the Titan was capable of 40 or even 50 miles per gallon and still yielded a top speed of over 110 mph. The 47 bhp power plant delivered a wide power band to the rider, peaking at a 7,000 rpm redline. The T500 ultimately found favor with racers culminating with an Isle of Man TT class win in 1970 and 1972. Additionally, Suzuki used a derivative of the T500 engine as a basis for its TR500 Grand Prix racers.
A pioneer in the development of the two stroke, Suzuki introduced the Posi-Force lubrication system that eliminated premixed gasoline and oil. With a fairly long wheelbase, and engine mounted far forward, the T500 proved to a competent commuter as well as a comfortable and fast long distance machine. The distinctive sound of the efficient exhaust with its pleasant burble announced its arrival. By 1970 Suzuki’s greatly improved styling was evident in a tank design much more familiar to the American eye. The shrouded shock absorbers, although not as racy looking as those with exposed springs, provided additional weather protection for the suspension units and are reminiscent of many other motorcycles of the era. These styling queues were clearly Suzuki’s attempt at capturing the American market.
The example featured here has shows only 877 miles on the odometer. The original equipment tire pump is still with the bike. For the collector who desires a very rideable classic that will not be found on every street corner, the T500 represents an excellent addition to any Japanese or two stroke motorcycle collection. Spares are still readily available through owners clubs and dealers specializing in vintage Suzukis.
Without reserve
The Chinqua Penn Chinese Style Pagodafoundation steps and wall supports constructed of native North Carolina stone; red painted benches railings and openings constructed of American redwood; (2) exterior green tiled benches; roof consists of wood substructure with cylindrical and curved panel shaped ceramic roof tiles; interior of pagoda includes an inlaid mosaic tile floor panel with two stylized deer in center medallion; interior terracotta wall panel scrolling leaf and floral pattern with (2) dragon head garnitures; (4) Japanese interior wall garnitures including (2) dragon heads and (2) kylin heads; interior ceiling includes wood paint decorated panels and frieze with red blue and green ground dragon diamond bird animal and Buddha cartouche and conventional patterns in colors; basement changing rooms include (2) access doors and (5) windows. Exterior lighting includes (2) metal wall sconces. Built in 1930 the Chinese style pagoda had changing rooms with showers in the basement for the Penns' guests after they swam in the pool. The Penns purchased some roof tiles in China and had the remainder made in New York.Including Pagoda Tiles - table top assortment of New Pagoda Tiles (7). 8 in.Including Pagoda Tiles - table top assortment of Pagoda Tiles and Statues (16). 12 in. Poor condition.Including Roof Tiles - approximately (400) pieces of roof tiles. 6-12 in. Poor condition.The Pagoda must be removed after the metal protective roof is removed if sold to two separate buyers.Approx. DOA: 28 x 48 x 20 ft.The overall pagoda is in need of restoration. The stone work is in fair condition with some cracks and breaks to the joints. The wood railings and benches are missing sections. The wood roof structure is in fair condition with missing sections. The tiled roof is in fair condition with missing sections. Many removed roof tiles have been stored in the basement. The ceramic ridge statuettes are in poor condition and have been removed and are in storage. The (2) green tile benches are heavily weathered with missing tiles.
NUMETAL STORE DISPLAY FROM BEDFORD HARDWARENumetal Weather Strip store display from Bedford Hardware (1897 - 2015) of Virginia. Numetal, the Macklanburg-Duncan Company got its start in manufacturing and marketing in 1920 when Louis August Macklanburg (1888–1965) began building a new home. Frustrated with existing weather stripping products available for use in the house, the recently discharged World War I veteran developed a springy, tempered brass material for sealing his doors and windows. In association with his first partner and lone salesperson, H. M. Duncan, Macklanburg began to manufacture and to market the invention under the name Numetal, and in 1920 it became the primary product for the home products company that he started at 211 West First Street in Oklahoma City. Included with the store display are numerous installation instruction packets for Numetal Weather Strips and product handbills having Bedford Hardware Company Bedford Virginia printed to the back. Display measures approximately 56" high, 16-1/2" wide and 12" in depth. In Fair to Good condition with age appropriate wear.
THOMAS STAHL SIGNED SLIPWARE DISHca. 1942 dated; turned slipware dish signed and dated on base "Made/ In/ Stahl's Pottery/ by/ Thomas Stahl/ Weather is Fair and Cool/ May 30th 1942", (Stahl's Pottery, Powder Valley, Lower Milford Township, Lehigh Co., PA), canted coggled rim, five wavy cream slip lines between six lines of sparse cream slip dots on a glassy brown lead glaze, 9 3/4"d, 1 1/2"h; Condition: central section of glazing is rubbed
TANK TEST MODEL FOR A PROPOSED DESIGN OF THE 12-METER YACHT "WEATHERLY" AMERICA, DATED JULY 20, 1961 HEIGHT 11.5". LENGTH 60.25". WIDTH 10.5".TANK TEST MODEL FOR A PROPOSED DESIGN OF THE 12-METER YACHT "WEATHERLY", America, Dated July 20, 1961, Attributed to Lou Banks, Jr. Model built for Philip L. Rhodes as a proposed design for the America's Cup defender Weatherly. Built to the scale of 13.3":1', the standard for Davidson Laboratories. Model built up in wood, with the interior hollowed and the exterior shaped and faired to a race finish. Sand has been glued to the leading edge of the bow down to the bottom of the keel; the sand was used to create a disturbance to the laminar flow so that the flow below the waterline could be easily evaluated. The hull is marked No.: 2095 at the bow, the identification for the Davidson Lab at the Stephens Institute, where the model was tested. Interior of the hull marked "July 20 1961", the test date. Dimensions: Height 11.5". Length 60.25". Width 10.5". Provenance: Christie's East, New York, NY., Sale 8539, July 2001, purchased by The Kelton Foundation.The Kelton Collection of Marine Art & Artifacts.Tow Tank models are engineering tools used to evaluate the hydrodynamic flow around hulls, keels, rudders and propellers. They are built to a specified scale and then towed through a long shallow pool at varying speeds and angles. Changes in the model are analyzed, evaluated and finalized, and then incorporated into the final design. The most famous tanks in the U.S. are at the Webb Institute, David Taylor Tow Tank and at the Steven's Institute.This model, No. 2095, represents Weatherly as she was built with proposed changes in August 1958. It, and the next lot, which represents proposed changes to Weatherly as of February 5, 1960, were both made by the same modeler, Lou Banks, Jr., who made models for the Steven's Institute.This model differs from the final design, particularly in the shape of the bottom back edge of the keel, which is more rounded than later versions. The Davidson Lab at the Stephens Institute in Hoboken, New Jersey was the primary tow tank for designers testing new hull designs. Most of the models tested in the late 1950s and 1960s were made by only a few makers specified by the Institute to preserve a standard of quality and scale. The most prominent of these makers was Lou Banks, Jr.The 12-meter yacht Weatherly was designed by Philip Rhodes. She was built by Luders Marine Construction in 1958 for a syndicate of owners formed by Henry D. Mercer, Cornelius S. Walsh and Arnold D. Frese. Skippered from 1958 through 1961 by Arthur Knapp, Weatherly competed with Columbia , Easterner , and Vim for the right to defend the America's Cup, but she was eliminated in the 1958 selection trials by Columbia , who went on to successfully defend the Cup that year.Modified by Bill Luders at Luders Marine for the 1962 Cup, Weatherly was altered with a shortened stern, squared-off rudder and numerous small changes in order to save weight. The weight saved in the redesign was put into the keel to improve her ability to carry sail.The defender selection trials pitted Weatherly against Columbia , Easterner and the newly designed and built Nefertiti . On August 25, 1962, the N.Y.Y.C. selected Weatherly to defend the Cup against Australian challenger Gretel . Skippered by Emil "Bus" Mosbacher, Jr., in September 1962, Weatherly defended the Cup 4–1 against Gretel .Weatherly continued to be used as a trial horse in America's Cup competition through the 1970 season when she was, surprisingly given her age, invited to enter the defender's trials. Following that season, an engine was installed at the Derector shipyard in Mamaroneck, New York. She then motored up the Hudson and through the Erie Canal to the Great Lakes and on to the Palmer Johnson Shipyard in Wisconsin, where she was modified for offshore racing both on deck and below. Weatherly had an active racing career on the Great Lakes and the SORC under the ownership of Doug Jones.In the mid-1970s, Weatherly was sold. She is now normally berthed dockside at the Newport Harbor Hotel and Marina and is available for charter. She was listed on the National Register of Historic Places in 2012.
S. Lindwasser, A/C Abstract Composition: Stanley Lindwasser (Am. 1947-2020), acrylic on canvas, unframed, signed and dated 2011 lower right, numbered "46 group 11" verso. 30" high, 40" wide. Lindwasser was a prolific artist for over 35 years with an extensiveexhibit history. A native of Brooklyn, NY, he worked with acrylic paint on canvas to invoke abstract images that he saw as reminiscent of landscapes, weather, water, and other forces of nature. Property of theEstate of Stanley Lindwasser. Condition Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction. com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
Studebaker Authorized Sales & Service Sign. Description 1930s to 1940s. Two-Sided. Still in original frame. Chips on both sides. Fairly heavy weathering and some acid rain stains. Gas & Oil AdvertisingCondition (6.5 - 7.0, VERY GOOD). Size 4' Dia.
COCA-COLA POLICEMAN TIN CROSSING GUARD. Circa 1954 crossing guard sign with original cast iron base. This version features School Zone shield in reflective paint. SIZE: 63” h. CONDITION: Fair to good; guards face is dented with deep scratches; paint chips and areas of corrosion to top and bottom of sign; base shows weathering and moderate rust. 1-5681 PF
S. LINDWASSER, A/C ABSTRACT COMPOSITIONStanley Lindwasser (Am. 1947-2020), acrylic on canvas, unframed, signed and dated 2011 lower right, numbered "46 group 11" verso. 30" high, 40" wide. Lindwasser was a prolific artist for over 35 years with an extensiveexhibit history. A native of Brooklyn, NY, he worked with acrylic paint on canvas to invoke abstract images that he saw as reminiscent of landscapes, weather, water, and other forces of nature. Property of theEstate of Stanley Lindwasser.
Condition:
Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction.com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
Two Letter "R" Signs. : Two Letter "R" Signs. Painted wood, 24"h. ; Gilt alloy, 27"h. Fair to good with some weathering and losses. Condition Fair to good with some weathering and losses.
S. LINDWASSER, A/C ABSTRACT COMPOSITIONStanley Lindwasser (Am. 1947-2020), acrylic on canvas, unframed, signed and dated 2011 lower right, numbered "206" verso. 24" high, 48" wide. Lindwasser was a prolific artist for over 35 years with an extensive exhibithistory. A native of Brooklyn, NY, he worked with acrylic paint on canvas to invoke abstract images that he saw as reminiscent of landscapes, weather, water, and other forces of nature. Property of the Estate of Stanley Lindwasser.
Condition:
Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction.com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
Frost & Reed sailing print "Fair Weather Fair Wind off Scarborough" pencil signed by the artist Montague Dawson and with blind stamp. 22"x31.5"
JOSEPH HOLIDAY, INDIANAPOLIS (1927 - 1990), FEMALE NUDE ON THE SHORE, OIL ON CANVAS, 11 1/2"H X 39 1/2"W (SIGHT), 16 1/2"H X 44 1/2"W (FRAME)Joseph Holiday, Indianapolis, (1927 - 1990) female nude on the shore, oil on canvas Signed lower right. Biography from Ripley Auctions Biography from the Encyclopedia of Indianapolis: (Nov. 6, 1927-June 30, 1990). Joe Holiday was born in Chicago, Illinois, the seventh of eight children of Joseph and Gussie Hunt Holiday. Holiday's father died when he was two years old, after which the family moved to Indianapolis where Holiday resided until his death. Holiday may have heard stories about his father's creativity that would inspire his artistry much later in life. As a cabinet maker, Holiday's father fashioned ornate designs in wood and painted glass. As an adult, the younger Holdiay would go on to create frames for his own artwork, fashioning some of the more unusual pieces from ornate headboards and rough weathered wooden planks. In Indianapolis, Holiday created his first pencil drawing at age 5 and sold his first pencil sketch at age 6 to neighbors. Later, at CRISPUS ATTUCKS HIGH SCHOOL, Holiday's teachers encouraged his creativity and made it possible for him to attend the JOHN HERRON SCHOOL OF ART in Indianapolis. He also studied at the Art Institute of Chicago. Holiday lived and worked at his home studio on North Illinois Street in Indianapolis. He is known for his facial studies, particularly of African Americans and Africans. Most of his work is in oil where he uses a palette knife and brush, though some of his work shows his skill using pastels. Rather than using live models to guide his painting, Holiday preferred to study slides of photos his brother took from his travels to Africa to channel inspiration for his creations. Holiday said of his work, "I constantly observe people . . . and when I paint, I try to capture the moods and feelings I see." Portraiture did not appeal to Holiday. He viewed it as a reductive task rooted in achieving a likeness of the subject rather than an expression of the subject's mood. Holiday drew inspiration for his combination of realism and mood by studying the art of Andrew and Jamie Wyeth and Norman Rockwell. Though Holiday's subject matter remained constant throughout his career, his artwork continued to mature as he studied the techniques of Michaelangelo and DaVinci from his ample collection of art history books. Holiday participated in many one-man shows partly because Indianapolis had few opportunities and spaces where up-and-coming artists, let alone Black artists could display their work in the 1960s. The limited number of commercial and nonprofit galleries tended to work with established artists. Those galleries that existed were located on Indianapolis' Old Northside and the burgeoning art colony in Broad Ripple (See ART GALLERIES). However, he did find venues to showcase his work. For example, he exhibited and won prizes at the INDIANA STATE FAIR HOOSIER SALON. In the late 1960s, his work was displayed in the lobbies of Indianapolis theatres and businesses. U.S. state senator Rupert Vance Hartke (D-IN) hung a Holiday painting in his Washington, D.C., office as did an unidentified U.S. state representative from Indiana. Limited exposure of Holiday's work combined with the economic price-point of his paintings, most of his oil paintings listed at a starting price of $75 and the pastels at $25, may have made full-time dedication to art untenable. He taught art in the program services department at the Camp Atterbury Job Corps Center in 1970. Later he taught art at Holy Angels Schools. oil on canvas Dimensions: 11 1/2"H x 39 1/2"W (sight), 16 1/2"H x 44 1/2"W (frame)
TANK TEST MODEL FOR THE AMERICA'S CUP DEFENDER "WEATHERLY" AMERICA, CIRCA 1962 HEIGHT 10.5". LENGTH 62". WIDTH 11".TANK TEST MODEL FOR THE AMERICA'S CUP DEFENDER "WEATHERLY", America, Circa 1962, By Lou Banks, Jr. Built up in lifts from wood. Interior of the hull has been hollowed. Exterior of the hull has been shaped, faired and finished to a race finish. Sand glued in place on the leading edge of the bow down to the bottom of the keel; this sand was used to cause a disturbance to the laminar flow so that the flow below the waterline and around the keel could be more easily documented. Exterior of hull marked #2281, the identification number for the Davidson Lab at Stephens Institute, where the model was tested. Interior of hull marked "Weatherly - Feb. 5 1960 - L.B. Jr.". Dimensions: Height 10.5". Length 62". Width 11". Provenance: Bill Luders, Luder's Yachts.Benjamin D. Gilbert, Darien, Connecticut.Maine Maritime Academy, Castine, Maine.Robert Wallstrom, Blue Hill, Maine.Don Mallow, Blue Hill, Maine.Christie's East, Maritime Sale, New York, August 2000, purchased by Richard Kelton.The Kelton Collection of Marine Art & Artifacts.Tow Tank models are engineering tools used to evaluate the hydrodynamic flow around hulls, keels, rudders and propellers. They are built to a specified scale and then towed through a long shallow pool at varying speeds and angles. Changes in the model are analyzed, evaluated and finalized, and then incorporated into the final design. The most famous tanks in the U.S. are at the Webb Institute, David Taylor Tow Tank and at the Steven's Institute.This model, No. 2281, represents proposed changes to Weatherly as of February 5, 1960. It was made by Lou Banks, Jr., who made models for the Steven's Institute.The 12-meter yacht Weatherly was designed by Philip Rhodes. She was built by Luders Marine Construction in 1958 for a syndicate of owners formed by Henry D. Mercer, Cornelius S. Walsh and Arnold D. Frese. Skippered from 1958 through 1961 by Arthur Knapp, Weatherly competed with Columbia , Easterner , and Vim for the right to defend the America's Cup, but she was eliminated in the 1958 selection trials by Columbia , who went on to successfully defend the Cup that year.After her loss, Weatherly was evaluated using several tank test models to help with her reconfiguration in anticipation for the 1962 America's Cup defense. Modified by Bill Luders at Luders Marine, Weatherly was altered with a shortened stern, squared-off rudder and numerous small changes in order to save weight. The weight saved in the redesign was put into the keel to improve her ability to carry sail.The defender selection trials pitted Weatherly against Columbia , Easterner and the newly designed and built Nefertiti . On 25 August 1962, the N.Y.Y.C. selected Weatherly to defend the Cup against Australian challenger Gretel . Skippered by Emil "Bus" Mosbacher, Jr., in September 1962, Weatherly defended the Cup 4–1 against Gretel .Weatherly continued to be used as a trial horse in America's Cup competition through the 1970 season when she was, surprisingly given her age, invited to enter the defender's trials. Following that season, an engine was installed at the Derector shipyard in Mamaroneck, New York. She then motored up the Hudson and through the Erie Canal to the Great Lakes and on to the Palmer Johnson Shipyard in Wisconsin, where she was modified for offshore racing both on deck and below. Weatherly had an active racing career on the Great Lakes and the SORC under the ownership of Doug Jones.In the mid-1970s, Weatherly was sold. She is now normally berthed dockside at the Newport Harbor Hotel and Marina and is available for charter. She was listed on the National Register of Historic Places in 2012.
"AT NIGHT A SINGLE BUFFALO ROBE FOR BEDDING" (ILLINOIS.) Hubbard, Nathan Pomeroy. Outstanding letter from the Illinois frontier. Autograph Letter Signed to brother Chauncey Hubbard of NY. 4 pages, 12 x 8 inches, on one leaf; two substantial holes, edge wear, tears, staining, and mount remnant, with some loss of text. Pleasant Valley, IL, 13 August [1837?]
Nathan Pomeroy Hubbard (1813-1882) was a Vermont intellectual who embraced frontier life as a young man. He wrote from Pleasant Valley Township southeast of Galena, an area which remains sparsely populated even today. This articulate letter treats the beleaguered American Indian culture with unusual sympathy just four years after the Black Hawk War. "Times at present with me are pretty strongly tinctured with the romance of border life. The Indian war whoop has scarcely ceased its reverberations through our valleys. . . . Within the range of my eye enclosed with a little log hut is the body of one of the Potowatomies. . . . During the present summer we have seen eighty & one hundred braves & warriors proudly prancing their steeds through our prairies in all their paints & equipage of war fantastically variegated according to the taste of the untutored savage, but they were only the remnants of those bands who four years ago gave such a thrill of horror to the lonely settler whose habitation happened to lay in their devastating route."
Hubbard also described his rugged living conditions: "I am improving a peice of publick land under the common name of a squatter. For twenty months past I have been living in the frontier style most of the time, cook & eat in the open air & at night a single buffalo robe for bedding, sometimes in a hut covered with bark but oftener in fair weather without shelter." He misses "good country society," however, and insists that "the intellectual world must be the arena of my sports." In the years after writing this letter, Hubbard was a Mississippi River steamboat captain, and later settled down in Iowa.
Anthony Frudakis B. 1953 Pegasus Relief Sculpture: Large Scale, Anthony Frudakis (born 1953) Michigan, American, Guaranteed Authentic. Mixed media fiberglass relief art sculpture. Artwork depicts a magical winged Pegasus in high relief covered in a rich verdigris colored surface. Reminiscent to early mythological Greek or Roman times bronze work. A stunning oversized conversation piece with a rich antique appeal. Measures approximately 102" x 88" x 3". Artist Signed lower right. Good to Fair overall condition, having losses around the edges and surface, weathered patina. Hill Auction Gallery will not ship. We will refer a local third party shipper.
There were originally at least six flowing mineral springs in Safety Harbor, FL at the north end of Tampa Bay. Water from there was bottled and sold for years. A large Espiritu Santo resort and spa was built over them many years ago and is still in business. This weather-beaten heavy tin sign lived outdoors probably advertising the place. Judging by placement of drilled mounting holes, it could have been used as a license plate topper, and appears to be from the 1920s or 1930s. See the photos -- paint is missing in many areas along with some of the lettering. Fair condition but still a unique piece.
Lanpher Skinner & Co. Stagecoach Fur Coat: Featured in this lot is a Lanpher Skinner & Co. stagecoach beaver and coyote fur coat originating from the early 1900's. The coat displays a coyote fur exterior with beaver fur around the collar and cuffs. The coat was designed for cold weather travel on a stagecoach and displays an interior lining. The coat shows two front pockets and five sets of clasps across the front, with one missing on the right side. The interior of the coat displays a worn cloth tag, reading "The Lanpher ~~ Made by Lanpher Skinner & Co. St Paul" in faded golden lettering. The piece shows fair condition overall, with some wear and damage across the piece due to age and use. The coat measures 48 1/2" long from the collar to the bottom, with the arms measuring 28" from the shoulder to the cuff.
(lot of 9) Hummel bisque figurines, consisting of, 'Little sweeper,' #171, TMK3; 'Fair Well', #65/1/ TMK 3; 'Stormy Weather,' #71, T... (lot of 9) Hummel bisque figurines, consisting of, 'Little sweeper,' #171, TMK3; 'Fair Well', #65/1/ TMK 3; 'Stormy Weather,' #71, TMK3; 'Here Ye, Hear Ye,' #15/0, TMK 2; 'For Father,' #87, TMK 2; 'Chick Girl,' #57/0 TMK 3; 'Out of Danger,'#56/B, TMK 3; 'Bookworm' Boy, (#14/A, TMK 3; 'Bookworm' Girl, #14/B TMK3
20TH C. PAPUA NEW GUINEA PAINTED WOOD HORNBILL CARVING**Originally Listed At $250**
Papua New Guinea, Middle Sepik River region, mid-20th century CE. A delightful carving of a large-beaked bird - probably a hornbill - standing atop an integrated platform. The bird's feet perch forward, its eyes bulging and beak downcurved to almost touch its chest. Its long tailfeathers fall below its feet. A ridged crest representing feathers is carved up the bird's back. Vivid pigments of yellow, white, and pink hues bring this fair-feathered friend to life! Size: 8" W x 20.375" H (20.3 cm x 51.8 cm)
Provenance: private Newport Beach, California, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#141563
Condition:
Weathered surface with some small chips and nicks commensurate with age and a few cracks. Nice remaining pigment as shown.
JOSEPH HOLIDAY, INDIANAPOLIS (1927-1990), MOTHER AND CHILD, OIL ON CANVAS, 29 1/2" X 23", 35" X 29" (FRAME)Joseph Holiday, Indianapolis, (1927-1990) mother and child, oil on canvas signed lower left. Biography from the Encyclopedia of Indianapolis: (Nov. 6, 1927-June 30, 1990). Joe Holiday was born in Chicago, Illinois, the seventh of eight children of Joseph and Gussie Hunt Holiday. Holiday's father died when he was two years old, after which the family moved to Indianapolis where Holiday resided until his death. Holiday may have heard stories about his father's creativity that would inspire his artistry much later in life. As a cabinet maker, Holiday's father fashioned ornate designs in wood and painted glass. As an adult, the younger Holdiay would go on to create frames for his own artwork, fashioning some of the more unusual pieces from ornate headboards and rough weathered wooden planks. In Indianapolis, Holiday created his first pencil drawing at age 5 and sold his first pencil sketch at age 6 to neighbors. Later, at CRISPUS ATTUCKS HIGH SCHOOL, Holiday's teachers encouraged his creativity and made it possible for him to attend the JOHN HERRON SCHOOL OF ART in Indianapolis. He also studied at the Art Institute of Chicago. Holiday lived and worked at his home studio on North Illinois Street in Indianapolis. He is known for his facial studies, particularly of African Americans and Africans. Most of his work is in oil where he uses a palette knife and brush, though some of his work shows his skill using pastels. Rather than using live models to guide his painting, Holiday preferred to study slides of photos his brother took from his travels to Africa to channel inspiration for his creations. Holiday said of his work, "I constantly observe people . . . and when I paint, I try to capture the moods and feelings I see." Portraiture did not appeal to Holiday. He viewed it as a reductive task rooted in achieving a likeness of the subject rather than an expression of the subject's mood. Holiday drew inspiration for his combination of realism and mood by studying the art of Andrew and Jamie Wyeth and Norman Rockwell. Though Holiday's subject matter remained constant throughout his career, his artwork continued to mature as he studied the techniques of Michaelangelo and DaVinci from his ample collection of art history books. Holiday participated in many one-man shows partly because Indianapolis had few opportunities and spaces where up-and-coming artists, let alone Black artists could display their work in the 1960s. The limited number of commercial and nonprofit galleries tended to work with established artists. Those galleries that existed were located on Indianapolis' Old Northside and the burgeoning art colony in Broad Ripple (See ART GALLERIES). However, he did find venues to showcase his work. For example, he exhibited and won prizes at the INDIANA STATE FAIR HOOSIER SALON. In the late 1960s, his work was displayed in the lobbies of Indianapolis theatres and businesses. U.S. state senator Rupert Vance Hartke (D-IN) hung a Holiday painting in his Washington, D.C., office as did an unidentified U.S. state representative from Indiana. Limited exposure of Holiday's work combined with the economic price-point of his paintings, most of his oil paintings listed at a starting price of $75 and the pastels at $25, may have made full-time dedication to art untenable. He taught art in the program services department at the Camp Atterbury Job Corps Center in 1970. Later he taught art at Holy Angels Schools. oil on canvas Dimensions: 29 1/2" x 23", 35" x 29" (frame)
Indian Boar Bronze Ritual Mask: South Indian, applied cobra detail on tongue, elaborate crown with finials, pronounced eyebrow and tusks, four perforations below mouth, applied eye pieces, 18-1/2 x 15 x 15 in. Provenance: Property from an Important Tennessee Living EstateNote: These brass plaques serve traditionally as processional deities. Often placed in chariots decorated with silk and floral garments, they are taken out during religious processionals and other annual deity fairs. Condition patinated, scratches, evidence of weathering, tongue restoration
RICHARD THOMPSON (American b. 1945) A TRIPTYCH PAINTING, "Caprock Tornadoes, ": RICHARD THOMPSON (American b. 1945) A TRIPTYCH PAINTING, "Caprock Tornadoes, " oil on canvas, three canvases, one of rectangular form is painted as an anxious scene of figures sighting a terrifying weather event, between two undulating funnel form flanking canvases, the tornadoes painted with tumbling trucks, diner cafe, livestock, and a spilling bucket of milk, central panel: 18" x 36"; flanking funnels: 48" x 23 1/2"; triptych overall: 83" x 48". Provenance: Estate of David E. Brauer, Houston, Texas. Condition The central panel with less wear and in good to very good condition, has some surface wear, dust. The tornado canvases have craquelure throughout, surface wear, dust, layer of soil/grime, but overall in fair to good to condition, wear commensurate with age. Unsigned. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS. " NO REFUNDS will be issued based on condition.
ALBERT BIERSTADT
American (1830-1902)
In the Alban Hills
oil on paper on board, signed lower right, painted c. 1856-1857.
19 x 26 1/4
Provenance : Kennedy Galleries, New York; The Eberstat Collection.
Other Notes: After completing his studies in Dusseldorf in the spring of 1857, Albert Bierstadt traveled through Switzerland to Italy. While Bierstadt did not record his travels, he often traveled with Worthington Whittredge or Sanford Gifford who did. According to a Sanford Gifford letter from April 15, 1857, Gifford, Bierstadt, Whittredge, and William H. Beard traveled to the Alban Hills south of Rome to go to a fair at Grottaferrata on March 25, 1857. Bierstadt and Gifford return to the Alban Hills on May 7, after their planned trip to Naples is postponed due to bad weather.
Eleanor Jones Harvey discusses Bierstadt's time in the Alban Hills in her exhibition catalogue, The Painted Sketch: American Impressions from Nature, 1830-1880. Harvey selected the painting Olevano, 1857 for her discussion. Like In the Alban Hills, Olevano is a well-developed field sketch in oil on paper mounted on canvas measuring 19 x 26 inches. The area around Olevano, a steep hillside town of the Alban Hills about 45 miles east of Rome, was popular with German artists of the Dusseldorf Academy and a natural sketching destination for Bierstadt. In The Alban Hills, 1857, Bierstadt has taken great care to depict the figures of Italians visiting the Etruscan burial caves, in addition to the beautifully detailed rendering of the landscape and clouds.
Albert Bierstadt had returned to New Bedford, Massachusetts by early September and took up painting European subjects through 1858. By October 1857, he already had 4 exhibition-size paintings of Swiss and Italian scenes which he exhibited at John Hopkins' store.
S. Lindwasser, A/C Abstract Composition: Stanley Lindwasser (Am. 1947-2020), acrylic on canvas, unframed, signed and dated 2011 lower right, numbered "206" verso. 24" high, 48" wide. Lindwasser was a prolific artist for over 35 years with an extensive exhibit history. A native ofBrooklyn, NY, he worked with acrylic paint on canvas to invoke abstract images that he saw as reminiscent of landscapes, weather, water, and other forces of nature. Property of the Estate of Stanley Lindwasser. Condition Auction buying is wholesale and not the same as retail store or retail internet buying. There are no returns based on condition. Our auction items are mostly vintage, mostly from estates, and are not in perfect condition. The items are sold "as is", and we are acting as agents, not as principals. Accordingly, prospective buyers are entirely responsible for determining the physical condition of lots prior to and as a condition to bidding. Bidders are obligated to determine their level of interest in and value of the items based solely on their own review. To assist prospective bidders in this endeavor, we offer in person open-house preview days prior to the auction, and also provide written condition reports in response to emailed requests submitted to condition@woodburyauction. com at least two days prior to the auction. The printed catalog lot information is a best efforts presentation of our opinion, rendered on a time-sensitive schedule, and is provided for guidance only, without legal obligation, and does not constitute a "statement of fact". The absence of condition statements in a lot catalog entry does not mean that the item is in perfect condition or is without defects. Please understand that our duty is to present the items fairly for bidder consideration and that the bidder's duty is to make independent investigation of the condition of items before bidding.
Pair of Carriage Style Lanternsmetal electrified urn shaped finial each with arched clear glass panels torchiere base.48 x 8 x 12 in.Fair condition with one broken glass pane; weathered with rusting.
STUFFED ELEPHANT TOY From the 1924 G.O.P. Convention. Saddle blanket reads It's always fair weather when good fellows get together. G.O.P. 1924". Glass eyes. Plastic tusks broken. Faded. Ripped. Length 12"."
PAIR OF CHINESE EXPORT OIL PAINTINGS OF SEAPORT Chinese ,Qing Dynasty oil painting, depicting a commercial seaport landscape, with boats, temples, and mountainous scenery depicting a different angle of the seaport landscape under a cloudy weather, with mountainous and tree scenery with a temple at the background
H: 12.4"(31.5cm) D: 16.4"(41.7cm) with frame
Condition: in fair condition, typical surface wear due to age