A few examples of appraisal values for
WOSTENHOLM

• Sutherland after
  Sutherland after Wolstenholme/Shooting/plates I-IV/coloured engravings, 25cm x 33cm/Provenance: Spetchley Park, Worcestershire
• Manner of Theodore Wor
  Manner of Theodore Wor
• STOW WENGENROTH (NY/MA,
  STOW WENGENROTH (NY/MA, 1906-1978) "Four Chickadees", lithograph on paper, 1956, Stuckey 233, pencil signed and marked as an edition of 55, housed in black cove frame with gold braiding, matted under plexiglass, OS: 25 1/2" x 20 1/2", impression: 15 3/4" x 10". Invitation verso from the Farnsworth Museum of Rockland, ME, for an exhibition of Wengenroth's work, along with a label from Kennedy Galleries, NYC.
• W
  W
• STOW WENGENROTH (NY/MA,
  STOW WENGENROTH (NY/MA, 1906-1978) "Lobsterman's House", 1935, stone lithograph, pencil signed, in pale mahogany stick frame, matted and glazed, OS: 15" x 18", SS: 9 1/2" x 12 1/2".
• STOW WENGENROTH (1906-1978, NEW
  STOW WENGENROTH (1906-1978, NEW YORK,Massachusetts) black and white lithograph depicting a seaside fishing village with fisherman and boats. Pencil signed lower right. Sight size 10 1/4" x 14 1/2", overall with frame 17 1/2" x 21".
• TOM WESSELMANN FOR ROSENTHAL
  TOM WESSELMANN FOR ROSENTHAL "STILLEBEN" CERAMIC Tom Wesselmann (American, 1931-2004) for Rosenthal "Stilleben" ceramic porcelain plaque depicting a still life scene with fruit and a framed picture of a blonde woman, signed lower right, mounted on a gray panel, plaque label to verso, edition 196/299. Image: 13" H x 14.5" W; whole: 18.75" H x 20.25" W.
• Björn Weckström b.1935. Portti.
  Björn Weckström b.1935. Portti. 1979, bronze, granite. 20 h × 15¾ w × 10 d in. result: $4,750. estimate: $2,000–3,000.
• STOW WENGENROTH (NY/MA,
  STOW WENGENROTH (NY/MA, 1906-1978) "Flat Rock Cove (Lanesville, Cape Ann, MA)", 1971, lithograph on paper, pencil signed lower right and inscribed "Ed/90" lower left, Stuckey 339, with gallery title and artist identification card affixed to back, in a silver painted wooden frame and French ruled cream color mat, glazed, OS: 24" x 19 3/4", Image: 15 1/4" x 11 1/4". Irregular toning upper right edge; pale foxing left edge.
• STOW WENGENROTH (AMERICAN/NEW YORK,
  STOW WENGENROTH (AMERICAN/NEW YORK, 1906-1978)Stow Wengenroth (American/New York, 1906-1978), "Bird of Freedom", 1942, lithograph, pencil-signed lower right, 15 3/4 in. x 11 3/4 in., framed
• STOW WENGENROTH (NY/MA,
  STOW WENGENROTH (NY/MA, 1906-1978) Marshall's Point Light (Port Clyde, ME), 1954, lithograph, Stuckey 219, from an edition of 60, pencil signed lower right and annotated "Ed/60" lower left, a fine impression, in an ebonized wooden frame and cream colored mat, glazed, OS: 22 3/8" x 26 7/8", Image: 10 3/4" x 15 3/4". Not examined outside of frame.
• STOW WENGENROTH (NY/MA,
  STOW WENGENROTH (NY/MA, 1906-1978) ''Maine Lobstermen'' (Port Clyde) (Stuckey 144) lithograph, 1944, edition of 202 plus 10, The Print Club of Cleveland publication no. 22. pencil signed. In driftwood cove frame, with black liner, burlap mat, under glass, OS: 18" x 22", impression: 8" x 12", edge toned.
• PRINT, STOW WENGENROTH Stow
  PRINT, STOW WENGENROTH Stow Wengenroth (American, 1906-1978), "Wharf at Wellfleet," lithograph, pencil signed lower right, image: 7.75"h x 13.25"w, overall (with mat): 14"h x 19.25"w
• STOW WENGENROTH (NEW
  STOW WENGENROTH (NEW YORK/MASSACHUSETTS, 1906-1978), MAINE WOODS, 1963., LITHOGRAPH, 11.75” X 16”. MATTED 18” X 22”.STOW WENGENROTH, New York/Massachusetts, 1906-1978, Maine Woods, 1963. Edition of 45. Signed and inscribed "Ed/45" in pencil lower margin. Stuckey 282. Dimensions: Lithograph, 11.75" x 16". Matted 18" x 22".
• PETRUS CORNELIS WEYTS(Flemish,
  PETRUS CORNELIS WEYTS(Flemish, 1799-1855)ÿ Ontario of Newcastle Maine. John Holmes, Comd. Leaving Antwerp. 1840,ÿ signed lower right in eglomise mat "P. Weyts", reverse painted glass, sight 22 x 29-5/8 in.; wood veneer frame, 28-1/4 x 35-3/4 in. Provenance: Private Bluffton, South Carolina Collection Condition: moisture stains in sky; frame with some loose veneer and lossesÿ
• MICHAEL WENNING (GERMANY,
  MICHAEL WENNING (GERMANY, 1645-1718) (2) Architectural Prints: "Schloss Heidenberg" & "Hoch Brast: Toringilche Herrschaft und Schloss Lambt dem Marcth Au", handcolored engravings on wove paper. In modern museum mounts by Ursula Hobson of Philadelphia, consisting of water gilt molded frames, french lined mats, UV plexiglass. OS: 18 1/2" x 36 1/2", SS: 9 1/4" x 27 1/4", good condition,
• STOW WENGENROTH (AMERICAN, 1906 -
  STOW WENGENROTH (AMERICAN, 1906 - 1978), ANNISQUAM LIGH...Stow Wengenroth (American, 1906 - 1978), Annisquam Light, 1941, lithograph on paper, signed and numbered 60/75 in pencil in the lower margin recto, 7 3/4" x 11 1/4". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• After Erik Dahlberg (Swedish,
  After Erik Dahlberg (Swedish, 1625-1703) Six views of cities: Arcvs Trivmphalis, Arx Skogklos, Drottningholm, Carlberg, Jacobs Dahl, Drottningholm, circa 1690-1696, Amsterdam, hand-colored on two laid pages, 10-1/2 x 22-3/4 in. (plate), 12-1/8 x 23-1/8 in. (page); matching painted and gilt wood frames,
• TOM WESSELMANN (AMERICAN.
  TOM WESSELMANN (AMERICAN. 1931-2004)Monica with Mondrian. Signed Wesselmann and numbered 34/100 in pencil lower image. 1989. With printer's blindstamp. Screeprint in Colors on museum board. Sheet measures 50 7/8 by 37 in. Unframed.
• STOW WENGENROTH (AMERICAN,
  STOW WENGENROTH (AMERICAN, 1906-1978) 9 ¾" x 11 ¾" image; 12" x 16" paper "Bridge, Eastport, no. 2", 1932. Black and white lithograph, signed in pencil in the lower right margin, catalog raisonne Stuckey, 26, matted and unframed, overall with mat 16 ¾" x 20".
• Artur Bengtsson ''Hamnmotiv
  Artur Bengtsson ''Hamnmotiv Stockholm'' Etching Matted 20''x16''
• Augustus Welby Northmore Pugin
  Augustus Welby Northmore Pugin (British 1812-1852) "The Belfry Godenberg" perhaps 1840s traces of graphite under sepia watercolor on cream-colored wove paper titled at bottom center but unsigned 7 7/8 in. x 5 3/4 in. in a modern mount. Provenance: James R. Lamantia Jr. New Orleans and New York. Note: This is a somewhat puzzling drawing since the town name (in the same sepia ink as the image and thus presumably inscribed by the artist) seems possibly to be a misspelling for "Göteborg" the city on the southwest coast of Sweden that is often anglicized as "Gothenburg". As the second-largest city in Sweden however with a modern population of some half-million it seems an unlikely place for Pugin to have sketched the very rustic bell platform in cross-braced timberwork that we see in this fine drawing. On the other hand that town's Neo-Gothic church dates only from 1856-59; and since Pugin died in Kent in 1852 it is perhaps conceivable that he might have found Gothenburg's ecclesiastical foundation (still evidently lacking an up-to-date building during his lifetime) to be relying on what seems clearly a temporary structure for its bell whose works look more physically suited to a high tower. The setting is less problematic: Gothenburg's city walls were dismantled in the first decade of the 19th c. and the areas beyond the former moat were landscaped as a park-thus perhaps accounting for the surprising amount of greenery in this drawing. Pugin is recorded as having made more than annual visits to the Continent from the early 1830s; and although Sweden is not specifically mentioned in the summaries of his itineraries Scottish and English merchants had thronged to Gothenburg's harbor for over a century and a half drawn by the Canton trade of its East India Company. From the mid-1840s Gothenburg's monumental buildings were dominated by the historicist movement which itself may have tempted Pugin-the archetypal historicist architect-to make the journey to see the town and perhaps to submit a project for its buildings. References: Gunilla Linde "Göteborg [Gothenburg] " Grove Dictionary of Art Jane Turner ed. London 1996 34 vols. vol. 13 pp. 30-31; Alexandra Wedgwood "A. W. N. Pugin " ibid. vol. 25 pp. 711-716.
• HENRY GLINTENKAMP (AMERICAN,
  HENRY GLINTENKAMP (AMERICAN, 1887-1946) GAMLA UPPSALA-DRINKING MJOD, PLATE FROM A WANDERER IN WOODCUTS, 1932, FRAME: 12 ¼ X 10 1/4 INHenry Glintenkamp (American, 1887-1946) Gamla Uppsala-Drinking Mjod, Plate from A Wanderer in Woodcuts, 1932, Frame: 12 1/4 x 10 1/4 in
• Wenzel Hollar (1607-1677) after
  Wenzel Hollar (1607-1677) after Francis Cleyn (circa 1582-1658) - Engraving - Jupiter in a landscape with two birds 12ins x 7.5ins two others from the same series engraved by Plombart depicting a mythological scene and a battle 11.5ins x 7.5ins each and 17th/18th Century engraving - Ships being wrecked at sea whilst gods look on 10.25ins x 7.5ins all in modern frames and glazed
• STOW WENGENROTH(American,
  STOW WENGENROTH(American, 1906-1978) Bridge Eastport, No. 2, edition of 50, 1932, signed lower right "Stow Wengenroth", lithograph, image 9-3/4 x 12-7/8 in.; original black painted frame, 14-1/2 x 19-1/2 in. Condition: toning, not apparently laid down, not examined out of frame; frame with abrasions
• WENGENROTH Stow (American
  WENGENROTH Stow (American 1906-1978): ''Window at Wicasset'' Lithograph 10'' x 16'' pencil signed lower right numbered edition of 65 Kennedy Galleries label affixed verso framed 15 1/2'' x 21''.
• STOW WENGENROTH LITHOGRAPHStow
  STOW WENGENROTH LITHOGRAPHStow Wengenroth (American, New York, 1906-1978) lithograph. Signed in pencil lower right. From an edition of 45, lower left in pencil. 11 3/4" x 16 3/4" (with frame: 18" x 22"). Foxing to paper. From the Estate of Albert Groll.
• ALFRED WAHLBERG (SWEDISH 1834-1906)
  ALFRED WAHLBERG (SWEDISH 1834-1906) AN AUGUST NIGHT AT WINGA, NEAR GOTHENBURG Signed and indistinctly dated, 'Collection Sedelmeyer Paris' seal to stretcher verso, oil on canvas126cm x 197cm (49.5in x 77.5in)Provenance: Careston Castle, Brechin, Angus
• STOW WENGENROTH LITHOGRAPHStow
  STOW WENGENROTH LITHOGRAPHStow Wengenroth (American, New York, 1906-1978) lithograph. Signed in pencil lower right. From an edition of 45, lower left in pencil. 16 3/4" x 12" (with frame:18" x 22 1/2"). From the Estate of Albert Groll. Foxing to paper. Loose in frame. Frame: 23 1/4" x 18 1/2".
• O. WINSTON LINK (1914-2001):
  O. WINSTON LINK (1914-2001): "WASHING J. CLASS 605" Gelatin silver print 24 x 20 in. (sight).
• MORGAN WEISTLING (1964- ), GLOW
  MORGAN WEISTLING (1964- ), GLOW Fine Art
• C. WERNER: VIEW OF JERUSALEM -
  C. WERNER: VIEW OF JERUSALEM - CHROMOLITHOGRAPHC. Werner, View of Jerusalem, chromolithograph. [Art: 13 x 18 inches; Frame: 25 1/2 x 32 inches].
• WESS DAHLBERG (B. 1961): MONOCHROME
  WESS DAHLBERG (B. 1961): MONOCHROME GOLDacrylic on wood construction; unsigned; 39 1/4 x 16 inches; 2 inches deep Provenance: Provenance: The Estate of Juliet McIver Condition:
• GöRAN WäRFF, KOSTA BODA GLASS
  GöRAN WäRFF, KOSTA BODA GLASS SCULPTUREGöran Wärff (Swedish, b. 1933) for Kosta Boda Glass "Euclides" Sculpture, signed, etched "7241054 Kosta Boda Boran Worft Unique", h. 8 1/4 in., w. 7 in., d. 4 1/4 in., accompanied by a copy of Certificate of Uniqueness signed by the artist
• STOW WENGENROTH LITHOGRAPHStow
  STOW WENGENROTH LITHOGRAPHStow Wengenroth (American, New York, 1906-1978) lithograph. Signed in pencil lower right. From an edition of 55, lower left in pencil. 12 1/2" x 17 3/4" (with frame: 18" x 22 1/2"). Foxing to paper. From the Estate of Albert Groll.
• Stow Wengenroth (American
  Stow Wengenroth (American 1906-1978) The Long Shadow lithograph signed Stow Wengenroth (lower right) 8 1/2 x 12 inches.