Georgia Piedmont sideboard, yellow pine huntboard or sideboard with central double-paneled door and six dovetailed drawers on turned legs, unusual vertical backboards with cut nails, traces of original reddish-brown surface, 19th century, 41-3/4 x 61 x 22-1/4 in. Structurally good condition with normal cracks and separations, old dry surface with finish losses and wear, one probably original knob, others missing or replaced, other surface flaws and minor repairs. Griffin notes it was "from a barn in Milledgeville, Baldwin County, Georgia. Purchased from Harvey Dan Abrams, Atlanta, Georgia, May 1983".
§ ROBERT ADAMS (BRITISH 1917-1984)
MAQUETTE NO. 2 FOR TRIANGULATED STUDY NO. 1, 1960 steel wire painted grey on black base23.5cm high (including base), 13cm wide (9.25in high, 5.1in wide)Provenance: In Barns-Graham's notes about her collection she states she purchased a 'wire sculpture' by Robert Adams.Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 296.Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
HENRY KELLER WATERCOLOR & GOUACHE PAINTING, MAN IN BARN...Henry George Keller (American, 1869-1949) watercolor and gouache on paper painting depicting the interior of a barn with a man in a wide-brimmed hat hanging a saddle or yoke on a post with stalls for livestock in the foreground and an open red door leading to a sunlit fence in the midground. Signed with monogram lower right. Three paper labels with artist biographical information, monogram, and exhibition accolades affixed, en verso. Housed and double matted under glass in a giltwood frame. Sight: 10 3/8" H x 13 1/2" W. Framed: 18 7/8" H x 22 3/4" W.
The Estate of Carl Klein, Brentwood, Tennessee.
Condition:
Overall very good condition with minute craquelure to white paint. Not examined outside of frame.
CLYDE FORSYTHE, (1885-1962, PASADENA, CA), BARN IN A LANDSCAPE, 1917, OIL ON BOARD, SIGHT: 8" H X 11.75" WClyde Forsythe, (1885-1962, Pasadena, CA) Barn in a landscape, 1917 Oil on board Signed and dated lower right: Clyde Forsythe Sight: 8" H x 11.75" W Notes: This lot is in a double-sided frame. There is a second oil on board by the artist, unsigned, verso. It depicts a river with hills in the distance. Its dimensions and condition mirror those of the main painting, except with the addition of some minor surface dirt and grime. Oil on board Dimensions: Sight: 8" H x 11.75" W
Edwar Woddc Large Framed Farm PrintDepicting a barn in an open field with sun beginning to set. Double matted and framed in a graduated wood frame with edge painted black and behind glass. 26.5'' H x 64'' L. Circa 20th century.
POTTERY BARN OAK VENEER DOUBLE DRESSER, PAIR NIGHT STANDS AND QUEEN BED, FORMER H: 38-1/4; W: 65-1/4; D: 19-1/4 INPottery Barn Oak Veneer Double Dresser, Pair Night Stands and Queen Bed, Former H: 38-1/4; W: 65-1/4; D: 19-1/4 in
Jack Schneider (American, 20th c.), "Bridge and Barn", 1950, double-sided watercolor on paper, pencil-signed and dated lower right, "Sanski Studio, Haddonfield, NJ" label and inscription on backing paper, 31 1/4 in. x 26 1/2 in., framed Condition: Overall fair condition. Ext. Frame: 27 3/4 in. x 33 in. x 1 in
Unframed Oil on Panel Double-Sided Composition with Still Life and Cows in Barn,
inscribed "PARKES" l.r.
JACK SCHNEIDER (AMERICAN, 20TH C.)Jack Schneider (American, 20th c.), "Bridge and Barn", 1950, double-sided watercolor on paper, pencil-signed and dated lower right, "Sanski Studio, Haddonfield, NJ" label and inscription on backing paper, 31 1/4 in. x 26 1/2 in., framed Condition: Overall fair condition. Ext. Frame: 27 3/4 in. x 33 in. x 1 in
Japanese Sumidagawa mug decorated with monkeys miming see no evil hear no evil speak no evil signed in double gourd cartouche damage to legs of two of the monkeys 5'' h. [Provenance: Deaccessioned from the Barnes Museum in Southington Connecticut]
Lois Mailou Jones (African American, 1906-1992): Lois Mailou Jones (African American, 1906-1992) Barn and Still Life with Fruit and Lamp. Double sided Watercolor. Each side signed. Size: 9. 5'' x 7'', 24 x 18 cm (sight); 19'' x 17'', 48 x 43 cm (mat). Available payment options on Bidsquare
Incredible Proto Nazca Crown - Gold Finial, Feathers: Pre-Columbian, South Coast of Peru, late Paracas or early Nazca, ca. 200 BCE to 400 CE. A breathtaking find - a hammered 18 karat gold forehead ornament in the form of an owl atop a camelid fiber textile crown covered with bright green feathers with two vertical bands of orange feathers near the back. The owl has a double face, one on the head and the other on the stomach, with an invered triangular head and broad, spread wings on either side. The owl is frequently associated in South American iconography with the underworld, death, and shamanism. Ancient Peruvians seem to have had a particular affinity for the animal, depicting multiple species, including the barn owl, typical owl, burrowing owl, and spectacle owl. They accompany and may in fact be gods, warriors, sacrifices, and shamans, and the owl on the front of this crown may have signified that its wearer was one of these. Size: 6. 2" W x 7. 55" H (15. 7 cm x 19. 2 cm); 13. 35" H (33. 9 cm) on included custom stand. . This is a very early example of a feathered item; the oldest known date to around 350 to 200 BCE, found in elite burials in the Ocucaje Basin of the Ica Valley in southern coastal Peru. These burials contained ceramics, baskets, gold ornaments, musical instruments, and weapons, as well as many beautifull woven and patterned textiles. Organic materials are incredibly preserved in this region by the dry desert environment, allowing us to see incredible artifacts like this one today. Researchers believe the the Ocucaje and nearby Paracas burials (both are commonly referred to as Paracas) represent the rise of a new religion, one that required new ritual paraphernalia - notably, feathered objects. For example, an Ocucaje grave excavated by the famous German archaeologist Max Uhle in 1901 contained a "fan-like plume" made of macaw feathers and placed behind the head of the mummy. The feathers may have come from a local bird, a parakeet; other feathered items found in nearby graves came from parrots or macaws, who would have been traded from the Amazon into the highlands of Peru. As for the gold forehead ornament, avian-form ornaments are found in these same elite graves with the feathered items; later in time, they become ubiquitous on ceramics and textiles, probably representing supernatural beings. . . Provenance: private Hawaii, USA collection; ex-private Hans Juergen Westermann collection, Germany, collected from 1950s to 1960s. . 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. . We ship worldwide and handle all shipping in-house for your convenience. . #136586 Condition Feathers are in beautifully preserved condition, as shown. Some are missing from surface, notably on the back of the crown, but probably 70% are still present. No restoration or replacement feathers. Slight bending to gold form, especially at the edges.
Trade sign, "Windswept Farm, Country Store", oversized oval sign on wood, hand painted, double-sided design features stylized redcoat with hand upraised astride galloping horse, yellow lettering on black border, signed and dated "B. Harrington, 71'", with attached metal supports, damages throughout including paint loss, scratches, wear to edges, nail holes, etc., as-is, 56" h. x 79" w. x 4 1/4" w. (measurements include posts). [Provenance: Chuck's Steakhouse in Farmington, CT, a restaurant operating in an eighteenth-century barn located in the heart of historic Farmington Village, was decorated with a wide variety of antiques and decorative rustic objects. It served the community for over thirty years before closing in 2008. It was part of a nationwide restaurant chain with current locations in HI, MA, FL, SC, CA and CT.] [PLEASE BRING APPROPRIATE ASSISTANCE AND VEHICLE]
Tavern sign, "Elm Tree Tavern", oversized oval sign, reproduction, hand painted on wood, double-sided design features yellow lettering on burnt red background, husks of corn painted at center, signed "D. L. Roberts, Avon" at bottom, expected wear includes nail holes, scratches, loss of finish and paint, wear to edges, etc., as-is, 40" h. x 84" l. x 1" d. [Provenance: Chuck's Steakhouse in Farmington, CT, a restaurant operating in an eighteenth-century barn located in the heart of historic Farmington Village, was decorated with a wide variety of antiques and decorative rustic objects. It served the community for over thirty years before closing in 2008. It was part of a nationwide restaurant chain with current locations in HI, MA, FL, SC, CA and CT.] [PLEASE BRING APPROPRIATE ASSISTANCE AND VEHICLE]
Adams or Tranter Pattern Revolver, English, 19th century, double-action, checkered grips, engraved mounts, top engraved F. Barnes & Co. London.
JOS. EIDENBERGER, COLOR ETCHING OF BARNJos. Eidenberger (Austrian1899-1991). Thatched roof, barn, chickens. Pencil signed LR. Double matted, framed.
color image size 7.75"H x 10.5 framed 15.75 x 18.25
(KHAY1028)(JP)
Condition:
VG
CHARLES E. BARNES, (AMERICAN, 1915-2005), THREE EARLY WORKS, SURREALIST ABSTRACT AND STILL LIFE PAINTINGS, (LARGEST IS DOUBLE SIDED...Charles E. Barnes, (American, 1915-2005) Three early works, surrealist abstract and still life paintings, (largest is double sided with industrial landscape), watercolor / gouache on paper Signed. Barnes studied at the Herron School of Art, the Santa Monica School of Design, and the School of Modern Photography. He operated the Modern Art Center, later the Charles E. Barnes Art Center in Nashville, Indiana. Barnes exhibited at The Art Institute of Chicago in the 1940s. 15-1/2" x 22-1/2"W one /largest
Jos. Eidenberger, Color Etching of Barn: Jos. Eidenberger (Austrian1899-1991). Thatched roof, barn, chickens. Pencil signed LR. Double matted, framed. . color image size 7. 75"H x 10. 5 framed 15. 75 x 18. 25 . . . (KHAY1028)(JP) Condition VG Available payment options on Bidsquare
IMPORTANT ID'D BOWIE KNIFE. Marked for Edward Barnes and Sons, England, mid 19th century. Double-edge blade and stag grip, marked "U*S" on ricasso and leather sheath. Imperfections. 12 1/2"l. This knife was originally owned by William Walworth (1823-1864) of Cleveland, Ohio, and descended in his family. In November 1861, Walworth enlisted in Battery L of the 1st Ohio Light Artillery, and was promoted to 1st lieutenant in May 1863. He saw much during his three years service--Battery L participated at Front Royal, Antietam, and at Chancellorsville. Most famously, Walworth and his comrades were stationed on the right-hand slope and at the foot of Little Round Top at Gettysburg. There, the Battery used canister fire to prevent General Longstreet's corp from advancing to the left. It was recalled that their cannonfire was so rapid that the guns were too hot to touch. Following Gettysburg, the Battery L moved south into Virginia. Lt. Walworth took a leave of absence in early 1864. This was likely due to illness, as official Army records have him dying of disease at Camp Barry in Washington, DC. However, his papers, which are in the collection of the Western Reserve Historical Society, including a letter dated May 15, 1864, from Camp Barry's surgeon, P.D. Leys, that details his numerous visits with the ailing Walworth, but that, tragicially "About 6 A.M. Sunday May 8th I was hastily summoned to [Walworth's] Quarters and on entering his room I found him lying on his back in bed dead from a Pistol Ball...A Pistol lay just by his right hand..." Photocopies of some of Walworth's papers, including letters home and this letter from Leys are included with the lot.
MILTON CLARK AVERY (American, 1893-1965) WINTER IN WOODSTOCK, NEW YORK. Watercolor/gouache on paper scene shows a snow covered hillside with a farm having red barn and silo. Winding road through tall poplar trees. Signed lower left “Milton Avery 1926”. Housed in a fine replacement molded wood frame having double white matte and gilt wood liner. SIGHT SIZE: 16-3/4” x 14-1/2”. CONDITION: Very good. There is one 4” vertical crease in lower section of painting. 9-98031 (4,000-6,000)
2 MARION COOK PAINTINGS, BARN IN FIELD O/C PLUS IRISES ...1st item: Marion Bryant Cook (Tennessee, 1939-2018) oil on canvas painting depicting a dilapidated barn in an overgrown field. Signed and dated "Marion Cook 6-1969" lower right corner. Housed in a wooden frame with green highlights, linen mat, and green wood fillet. Sight: 15 5/8" H x 11 3/4" W. Framed: 21 3/4" H x 17 5/8" W. 2nd item: Marion Cook small oil on board painting of yellow irises against a taupe background. Signed and dated "Marion Cook 1976" lower right. Housed in a double frame, the image wrapped in a wooden frame floating on a panel of beige linen. Sight: 4 1/4" W x 3 1/4" H. Framed: 8 1/2" W x 7 3/4" H.
Condition:
Both in overall very good condition. Barn frame has 1" split to back of frame at top, unseen on display.
Two Charles Henry Turner paintings one one panel (Boston, Massachusetts, 1848-1908), recto of approaching storm, retouch scattered throughout, check or split in panel with retouch, verso of horse and barn by a river, retouch mostly scattered in sky, both oil on panels, signed "C.H. Turner 1886", 11-3/8 x 17-1/2 in. (sight); one double-sided carved and gilt wood Arts and Crafts style frame. Two periods restoration with UV protectant varnish; frame with abrasions. The Estate of the Late Dr. Jeffrey Lieberman
§ ROBERT ADAMS (BRITISH 1917-1984)
RECTANGULAR BRONZE FORM NO.2., 1953 from an edition of 6, bronze15.5cm high, 10.2cm wide (6.1in high, 4in wide)Provenance: In Barns-Graham's notes she refers to owning two sculptures by Robert Adams, one ‘gold’ purchased and one given.Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humpries, London, 1992, cat no. 157.Note: This sculpture inspired Wilhelmina Barns-Grahams painting Ultramarine II, 2000 (Lynne Green, 2011, p.276).Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
EDWARD WILLIS REDFIELD (American, 1869-1965) NEW ENGLAND CONNECTED FARMHOUSE. Colorful watercolor shows New England cape painted white with green shutters. Over a series of years a series of connected building have been added ending with a very large red barn. Two large sugar maples are in the front yard with a large grass area, colorful flowering bushes by the foundation. Signed lower left “E. W. Redfield”. Housed in a fine gilt replacement frame with double white matte. SIGHT SIZE: 11” x 15-1/2”. CONDITION: Some foxing, otherwise very good. 9-96748 (1,200-1,500)
EDWARD WILLIS REDFIELD (American, 1869-1965) NEW ENGLAND CONNECTED FARMHOUSE. Colorful watercolor shows New England cape painted white with green shutters. Over a series of years a series of connected buildings have been added ending with a very large red barn. Two large sugar maples are in the front yard with a large grass area, colorful flowering bushes by the foundation. Signed lower left “E. W. Redfield”. Housed in a fine gilt replacement frame with double white matte. SIGHT SIZE: 11” x 15-1/2”. CONDITION: Very good. 9-26919
WILLIAM SOMMER (AMERICAN, 1867 - 1949) 19 ¼" x 13 ?" "Path to the Barn, Zoar". Watercolor on paperboard, signed lower center, double matted under glass in a deep frame, overall 26 ¼" x 20 ¼".
LABELED ELDRED WHEELER QUEEN ANNE-STYLE LOWBOY With molded tray top with central inset slate panel. One long drawer over three short drawers, the central drawer with recessed tombstone arched carving. All with double cock bead molding. Brass pulls. Shaped apron with acorn drops. Cabriole legs ending in pad feet. Original painted surface in barn-red and black. Labeled in upper drawer. Height 31. Width 31½". Depth 19¾"."
(10) Candlesticks, c/o pair of 9-3/4" turned wood, pair of frosted & clear crystal double light, pair of 5-1/2" paneled clear glass, pair of 3-3/4" clear glass, frosted blue triple light wave (chips to rim), 8-3/4" clear glass, 3-1/4" black amethyst silver overlay glass, Pottery Barn 11-1/2" turned wood pillar
(LOT OF 2) COPPER AND CERAMIC DOUBLE BOILER PAN AND A LIGNUM VITAE LAWN BOWLING BALL (Lot of 2) Copper and ceramic double boiler pan and a lignum vitae lawn bowling ball inscribed 'Barnes'
Pair Kang-Hsi blue souffle glazed dishes bottom with double ring mark surrounding a square apocryphal Ming mark small spot of damage bottom of one 8 1/4'' diam.; along with 19th C. Chinese small flambe dish with raised leaf design pomegranate shaped 3 1/2''. [Provenance: Deaccessioned from the Barnes Museum in Southington Connecticut]
§ ROBERT ADAMS (BRITISH 1917-1984)
PLATE, CIRCA 1952 signed 'ADAMS' (to reverse), painted earthenware25cm diameter (9.8in diameter)Provenance: In Barns-Graham's notes about her collection she states she purchased a plate by Robert Adams.Literature:Grieve, Alastair, The Sculpture of Robert Adams, The Henry Moore Foundation & Lund Humphries, London, 1992, cat no. 138c, illus. pg.38 with a paper design.Note: This is possibly from a set of 10 different designs, although Grieve only identifies three.Wilhelmina Barns-Graham acquired more works from the sculptor and painter Robert Adams, than any other specific artist, and this does suggest a deep and close friendship and a respect for each other’s art. Both artists were included in the Gimpel Fils British Abstract Art exhibition in 1951, when Adams was exploring a constructivist and abstract vocabulary, and she was moving in that direction. It was during this period in the 1950s that Adams first became associated with the artists of St Ives, having visited the town for a few weeks each summer since at least 1952 when he had been invited by Wilhelmina Barns-Graham and David Lewis (her husband), along with his wife Pat to stay with them. They developed into a close-knit foursome, and made regular visits to each other’s homes in Hampstead in London, and St. Ives subsequently.Barns-Graham made a point of always having Adams’ work on display, and on moving into her new studio at Barnaloft on Porthmeor Beach in St Ives in 1963, the ceramic plate by him was the first thing hung in her new home. This plate is particularly noteworthy within Adams’ oeuvre in indicating his development to abstract art. Through the 1950s he taught at the Central School of Art and Design in London, coming into contact with Victor Pasmore and artists such as Kenneth Martin and Mary Martin who were pursuing abstract and constructivist ideas in Britain at this point, and it was at this time he loosely joined in the activities of this liked-minded group, remaining allied to them until around 1956. During this period Adams sent both paintings and sculptures to group exhibitions of their work and it is likely that this ceramic could have been among these works, specifically as Pasmore and Kenneth Martin were also known to have made designs for plates, some being exhibited at the Redfern Gallery in May 1952.The composition of the plate with the white ground broken and juxtaposed with black vertical bars and sharply edged lozenges reflect a more rigorously abstract art than he had considered before, and was reflected in a small group of further prints and collages he produced around 1952, that also resemble the art of Robert Motherwell which Adams had seen in New York and as Alastair Grieve noted must have been one of the earliest examples of the New York School in Britain.Adams played further with these ideas he had been developing in 2D in Rectangular Bronze Form No. 2 (1953) noted to be one of his earliest works in bronze and shown at his 1953 Gimpel Fils exhibition. A double-sided H-shaped bronze, made of an assortment of rectangular overlapping forms abutting one another with central planes cut away that allowed the viewer to penetrate the work and glimpse elements of the other side. However, each side is not a mirror-image of the other which defies easy interpretation as the edges and faces of the blocks slant and are not aligned to a parallel border. The two rectangular bronze forms developed in 1953 were the starting point for a colossal concrete sculpture exhibited in Holland Park in 1954, and the earliest in a series of eight architectural works, the majority of which were shown in the following one-man exhibition in 1956 at Gimpel Fils, London. Patrick Heron and David Lewis specifically praised his architectonic bronzes from this period with Heron pronouncing them as ‘certainly the most wholly non-figurative sculpture being made by a younger English sculptor today’ (Patrick Heron, Round the London Galleries, The Listener, vol.I.V, no.1407, 16 February 1956, p.256.) and Lewis observing that ‘Adams is alone in Britain in the important field of sculptural development, of sturdy sharp-edged and sharply differentiated geometrical masses which are rhythmically and energetically related in space and in light and shadow.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.61).Maquette No.2 For Triangulated Structure No.1, 1960 presents a development in his sculptural approach to a period where he shifted his focus to welded metal sculpture converging on a strong sense of movement created by the juxtaposition of horizontal planes and vertical rods. The maquette was the basis for a large steel sculpture designed for Battersea Park in 1960 and as Adams’ later commented with these sculptures ‘I am concerned with energy, a physical property inherent in metal. A major aim I would say, is movement, which I seem to get through asymmetry.’ (Quoted in Alastair Grieve, The Sculpture of Robert Adams, p.76).Sphere (1980) by comparison, belonging to Adams’ last flourishing as an artist, evokes a calmness and stillness contrasting to his work of the early 1960s and focus on movement. Small, rounded with a highly polished surface the ovoid form is suggestive of potential birth, life and completion and most closely echoes the work from the beginning of his career.This charming and personal collection of works by Robert Adams, works spreading throughout his whole career, reflects a deep-set connection and respect between both artists, one that would prove a source of inspiration for Barns-Graham with some of Adams forms mirroring ideas she explored within her own work such as Ultramarine II (2000) which uses Adams’ Rectangular Bronze Form as direct inspiration. There is no doubt that Barns-Graham understood the significance of Robert Adams and his work in the post-war British sculptural canon and would have been forthright at positioning him at the forefront of this school.
Jean Nevitt Flanigen (American/Georgia 1898-1994) four paintings; "Female Nudes" pair of oils on canvas each 18 in. x 16 in. framed; "Young Girl" and "Young Boy" two oils on masonite one double-sided 24 in. x 20 in. and 20 in. x 16 in. respectively unframed; all signed en verso (4 pcs.) Provenance: From the noted Southern Art collection of Steven Cabot Barnes Harvey (1949-1993).
Frank W. Benson (1862-1951)Wood Duck, 1937
signed and dated "F.W. Benson '37" lower right
watercolor, 26 by 20 1/4 in.
Frank W. Benson first became famous as a creator of plein air impressionist paintings. His later etchings and paintings of birds brought him similar renown. Benson’s impressionist works and striking compositions of wildfowl and upland birds earned him numerous awards. By the time he was sixty, he had become known as “America’s most medaled artist.”
A native of Salem, Massachusetts, Frank Benson grew up hunting and fishing with his brothers and cousins in the nearby marshes of Essex County. When he was given a small boat at age twelve, Benson began to explore the waters near his home, carefully studying the birds and their environment. He was fascinated by ornithology and spent long hours wandering the halls of Harvard’s Museum of Comparative Zoology, drawing specimens, and pouring through the library’s thick volumes of natural history. On one visit, young Frank made so many sketches that he ran out of paper. His family treasures his study of a duck, drawn on a piece Museum stationery, perhaps given to him by a professor who admired the boy’s enthusiasm.
It is not surprising that Benson’s first oil paintings were of a rail and a snipe brought back from a hunting trip and nailed to a barn door. Benson then portrayed them, in the words of a later critic, “with stark and youthful realism.” [1]
He had originally planned to be an ornithological illustrator in the manner of Audubon, but two years at the Académie Julian in Paris inspired him to broaden his focus. In mid-career Benson returned to his first love, birds. In addition to depicting them in oil, watercolor, wash, etching, and drypoint, he diligently worked to support organizations that fostered stewardship of the land and conservation of its resource. A founder of the Essex County Ornithological Society, Benson formed lasting friendships with fellow birders.
One of these was William Brewster, a noted ornithologist, who was the curator of mammals and birds at Harvard’s Museum of Comparative Zoology for almost thirty years. He was also the first president of the Audubon Society. The society was founded in 1895 by Harriet Hemingway, the wife of one of Benson’s closest friends, Augustus. Benson immediately donated several paintings to the new organization to benefit the group’s work. It is no surprise that Benson was chosen to illustrate Concord River, a collection of excerpts from the diaries and field notes that Brewster left to Harvard when he died in 1913. (A copy of the book accompanies this lot.[2]) Benson’s handsome watercolor, Wood Duck, is the frontispiece.
The ornithologist in Benson is evident in the care with which he deliberately shows the plumage of both the male and female ducks and poses each bird in a different attitude of flight. And yet, arranged against a pale winter sky, the birds appear natural; the composition is not contrived. As Roger Tory Peterson once noted, “Audubon painted bird portraits – stiff, exact, unnatural -- but Benson painted bird pictures.” [3]
Benson contributed eleven other illustrations to Brewster’s book, one of which, an image of a wedge of Canada geese, was used on the dust jacket of Concord River. Benson loaned this black and white wash “with characteristic generosity,”[4] to sculptor Daniel Chester French to aid him in the creation of his double-sided Brewster medal. The medal is given to outstanding contributors to the field of ornithology. Frank W. Benson was awarded one of the first two.
We are grateful to Frank W. Benson scholar Faith Andrews Bedford, who has written extensively on the artist. Her books include Frank W. Benson American Impressionist
(Rizzoli), The Sporting Art of Frank W. Benson (David R. Godine), and Impressionist Summers: Frank W. Benson’s North Haven (Rizzoli/Skira).
Endnotes:
[1] Samuel Chamberlain, “Frank W. Benson--The Etcher,” Print Collector’s Quarterly, 25, no. 2 (April 1938), p. 167.
[2] The first volume of Brewster’s field notes, October Farm, was published by Harvard in 1936.
[3] Faith Andrews Bedford, Frank W. Benson: American Impressionist (New York, Rizzoli, 1994), p. 136.
[4] William Brewster, Concord River (Cambridge, MA, Harvard University Press), p. vi.
PROVENANCE: Private Collection, Dover, Massachusetts
Private Collection, Wellesley, Massachusetts
LITERATURE: William Brewster, "Concord River," Cambridge, MA 1937,p. III, illustrated.
JAVANESE VOLCANIC STONE FIGURE OF THE FOUR-ARMED PARVATI Javanese volcanic stone figure of the four-armed Parvati, standing in samapada on a lotus base, the front arms in dhyanamudra, holding the pushpalinga, the right upper arm holding akshamala, the left holding camara, wearing dhoti, a double sah with floating ends, a band around the middle, a mala, breast ornament, jewelery and high conical headdress, 48.5"h. Provenance: Estate of Joanna Barnes and Jack Warner (Santa Barbara, California). Ms. Barnes was a Hollywood film actress featured in movies such as "Auntie Mame (1958)" and "The Parent Trap (1961)". Mr. Warner was a prominent architect.
PAIR OF POTTERY BARN CREAM CERAMIC LAMPS HEIGHT (TO THE FINIAL): 28 IN. (71.12 CM.)PAIR OF POTTERY BARN CREAM CERAMIC LAMPS, each with double gourd support on brass finish base (2) Dimensions: Height (to the finial): 28 in. (71.12 cm.)
WILLIAM JOHNSON L'ENGLE, JR. (MASSACHUSETTS/NEW YORK/FLORIDA, 1884-1957), THREE WORKS FOUND IN THE ATTIC OF AN OUTER CAPE HOME:, OILS ON BOARD, 16" X 20". UNFRAMED.WILLIAM JOHNSON L'ENGLE, JR., Massachusetts/New York/Florida, 1884-1957, Three works found in the attic of an Outer Cape home: 1) Double-sided work with an interior scene of a barber and two men playing checkers on one side and a crouched female nude on the other. A 3.5" x 6.5" piece is cut out of the lower right corner. According to a local art dealer familiar with the artist's work, some of L'Engle's canvases were cut to fit the architecture of his home (the triangle of a roof peak, for instance) so this cut out may have been to fit a specific spot in the house. 2) Outer Cape barn with the Bay in the background. 3) Portrait of two children with a dog, most likely the L'Engle's daughters, Madeleine and Camille. Found in an outer Cape attic. Dimensions: Oils on board, 16" x 20". Unframed.
Late 19th/early 20th C. Chinese flambe double-necked vase 8'' h. [Provenance: Deaccessioned from the Barnes Museum in Southington Connecticut]
UNSIGNED (American, 19th Century) TWO SIDED PAINTING. One side shows L-shaped Colonial home with round flower garden having large red barn with silo and weathervane. A horse is seen in fenced area with trees and green grass around. The other side having a coastal scene with lighthouse and buildings on green bluff with large rocks and beach. Housed in an appropriate double sided molded wood frame. SIGHT SIZE: 8” x 13”. CONDITION: Very good. 9-25535
English metal double-sided pub sign, 20th c., reading: "King & Barnes, The Gate, Fine Sussex Ales," with iron hanging bracket, sign: approx 43.5"h, 35"w, hanger back rail: approx 18"w
Three 20th C. hand-painted reproduction signs signed "Roberts": first, "Eastern Coach Office, the Magnificent London Coach" depicting a stylized carriage with green marblized columns in background, signed and dated LR "D. L. Roberts 68'", 1 1/2" loss to ebonized frame, 36 3/4" h. x 48 1/2" w.; along with pair double-sided signs featuring alternating key and trumpet designs, both 10 3/4" h. x 71 1/4" l. x 1" d., expected wear includes scratches, wear to finish and edges, and nail holes throughout, etc. [Provenance: Chuck's Steakhouse in Farmington, CT, a restaurant operating in an eighteenth-century barn located in the heart of historic Farmington Village, was decorated with a wide variety of antiques and decorative rustic objects. It served the community for over thirty years before closing in 2008. It was part of a nationwide restaurant chain with current locations in HI, MA, FL, SC, CA and CT.]
LESLIE COPE (AMERICAN, 1913 - 2002) 9 ?" x 7 ¾" "Back to the Barn, Coopermill Rd. Zanesville", 1935. Watercolor on paper, signed and dated lower right corner, titled and signed later by the artist verso, double matted under glass in decorative wood frame, overall 17 ½" x 14 ½".
LOIS MAILOU JONES (AFRICAN AMERICAN, 1906-1992)Lois Mailou Jones (African American, 1906-1992) Barn and Still Life with Fruit and Lamp. Double sided Watercolor. Each side signed. Size: 9.5'' x 7'', 24 x 18 cm (sight); 19'' x 17'', 48 x 43 cm (mat).
ANTON MAUVE (1838-1888)
DOUBLE DUTY
signed, watercolour and bodycolour, 24 x 34cm
From the 1880s, especially after moving to Laren, Mauve's paintings including his works on paper, whether of peasants in a doorway, sheep in a barn or, as here, his beloved cows are characterised by an immediacy and truthfulness to nature. He built a type of glasshouse so that he could effectively still work en plein air when at home. Cows, in particular, as a subject fascinated him and such studies as 'Double Duty' were what Vincent van Gogh (to whom Mauve was related) had in mind when he quoted him admiringly in 1883: "I like what Mauve said - that for all his work and experience, he says "I'm still not always sure where the bumps are in a cow." Through Goupil's branch in The Hague Mauve's pictures and those of the handful of other artists who became known as the "Hague School" sold well abroad, not least to Scottish collectors, such as the Glaswegian shipping magnate, Sir William Burrell.
TWO RED BARNS BY LESLIE COPE, (AMERICAN, 1913-2002). Watercolor on paper, signed and dated 1966 lower right. Two red barns with autumn tree behind. Double matted in a frame and under glass, 22"h. 28"w.
MULTI PIECE FLORIDA ART LOT: 1) ''Miami Beach 1941 #3'' by Bertram Hartman (American, 1882-1960), Watercolor, 15.5'' x 22.5'', signed lower left and dated 1941, titled lower right, titled and dated verso, unframed; 2) Florida Scene with Cabin on the River by Tressa Pond Benson (American, 1896-1987), Watercolor, 14'' x 19.75'', signed lower right, unframed; 3) Four Watercolor Florida Landscapes by Janet Bird Burns (American, 20th Century), one is double-sided, depicts river scenes, a wedding reception, and a country barn, all are signed, unframed, and measure approximately 15.5'' x 22.5''; 4) Wooden Footbridge, Sarasota by Wilfrid Berg, Watercolor, 11.75'' x 16'', signed lower right, unframed; 5) Ringling Courtyard by Wilfrid Berg, Sarasota, Watercolor, 16'' x 11.75'', signed lower right, unframed; 6) Palms and Spanish Moss by Wilfrid Berg, Sarasota, Florida, Watercolor, 11.75'' x 16'', signed lower right, unframed; 7) Fishermen on the Beach with Approaching Storm by Wilfrid Berg, Watercolor, 20'' x 25.5'', signed lower left, unframed; 8) ''The Old Fatio House, St. Augustine'' by E.W. Locke, Etching, 6'' x 7.75'' with margins, monogrammed lower right, titled lower left, unframed; 9) Woodblock Print of Old Aviles Street, St. Augustine, Florida by Celia Reid, 8.75'' x 11.75'' with margins, unframed.
Three pieces Chinese sang-de-boeuf , all porcelain: bottle vase with graduated glaze, old paper label "Liddell Collection", 6-1/4 in.; deep red pilgrim flask, scrolled handles, 9-1/2 in., with wood base 10-3/4 in., 5-1/2 in. crack, crackled surface ; double gourd vase, strawberry glaze with deep red streaks, white rim, 7-3/4 in., wood stand, rim chips, chips to base, some as made, crackled surface , 19th century. All with scratches. Bottle vase from Collection of C. Oswald Liddell (sold Parke-Bernet Galleries, New York, May 1929, June 1944); Collection of Carl M. Barnes (sold by Fine Arts Company of Philadelphia, Inc., September 18 and 29, 1978); pilgrim flask and double gourd vase from Collection of Carl M. Barnes; The Estate of the Late Thelma H. Osborne, Wilkesboro, North Carolina.
A Bois Durci portrait profile of Queen Victoria
11.5cm diameter, portrait miniature engraving of Alexander Gibson of Rotterdam, photograph of a volunteer Rifleman, photograph of an Officer, double portrait of Mr & Mr Barns Graham and a prize cow photograph
LARGE WICKER BASKET WITH MISCELLANEOUS BOOKS FROM ANDRé LEON TALLEY'S COLLECTIONThe basket 19 x 30 x 20 in.
Including: Gentle Giants by Bruce Weber, Bulfinch Press, 1994, with autograph by the author to André Leon Talley; The Golden Age of the Princess by H.D. Molesworth, G.P. Putnam's Sons, 1969; Webster's New World College Dictionary MacMillan USA, 1997; The Complete Works of Aristotle edited by Jonathan Barnes, Princeton University Press, 1994; Nicomachean Ethics by Aristotle, Barnes and Noble, 2004; To the Lighthouse by Virginia Woolf, Harcourt Brace and Co., copyright 1927; The Grandmothers: A Novel by Glenway Wescott, Atheneum, 1962; Beloved by Toni Morrison, Plume, 1988; Betrayed: A History of Presidential Failure to Protect Black Lives by Earl Ofari Hutchinson, Westview Press, 1966; Jackie by Nicole Salinger, Editions Assouline, 1998, with 'Galignani' bookmark; Vingt-Cinq Ans Delegance A Paris, Editions Pierre Tinsne, 1951; Olympia by Leni Riefenstahl, St. Martin's Press, 1994; Poetics and Rhetoric by Aristotle, Barnes and Noble Classics, 2005; Olmsted: Writing on Landscape, Culture, and Society edited by Charles E. Beveridge, Penguin Random House, 2015; Three Plays by Mae West: Sex, The Drug, The Pleasure Man edited by Lillian Schlissel, Routledge, 1997; Madame De Pompadour by Nancy Mitford, Hamish Hamilton, first published 1954; The Happy Summer Days by Fulco, Weidenfeld & Nicolson, 1998; George Cukor: A Double Life by Patrick McGilligan, St. Martin's Press, First Edition 1991; Exiles by Michael J. Arlen, Farrar, Straus, and Giroux, 1970; The Good Soldier: A Tale of Passion by Ford Madox Ford, Penguin Books; The Whims of Fortune: The Memoirs of Guy de Rothschild by Guy de Rothschild, Random House, 1985.
Condition
The wicker basket with minor wear and staining on the bottom. All books with wear consistent with age and use.
Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
A 1952 Rollfast Hopalong Cassidy 24'' inch boys bicycle Manufactured by the D.P. Harris Manufacturing Co. these ''Hoppy'' bicycles were produced from 1949 to 1953; very few boys' bikes have survived intact. This bicycle had the good fortune to be stored carefully and was found in November 2010 in a barn near Clearlake Lake County California where it was kept for the last 55+ years. Condition is remarkably original. The serial number - A15124 indicates 1952 production date and it was last licensed in the Alameda California in 1954. Alameda license #4037 is still on the bike. The bikes features include Double bar frame around the tank Western style chrome studded Delta Rocket Ray fender light Longhorn handlebars Black long ball end grips with B&W streamers Adjustable seat with horse hair grained vinyl saddle with chrome guard rail U.S. Royal white sidewall 3 ridged balloon tires with chain link tread 24 x 2.125 Each side of the tank had a built in jeweled white genuine leather holster nickel and copper ''Hoppy'' medallion and Hoppy's name in white rope script. The Hoppy script was painted at the factory (this is not a decal) Two special issue white gripped George Schmidt Hoppy cap pistols for the tank holsters. Western style chrome studded fenders and chain guard Frontier fringed carrier Longhorn bandoliers on front and rear fenders White rear fender mud flap with embossed design Stimsonite red jeweled rear fender reflector Chrome hub caps (the only American bike to be so equipped at the factory) Torrington Meteor 3 pedals Kick stand New Departure Model D coaster brake Sold together with ''Hoppy'' lunch box and period caps for guns.
First half 20th century, pine and plywood. Double story barn like structure with pealed roof and cupola. Worn old white and blue paint and shingle roof. Edge loss and damage. 43"h. 37.5"w. 27"d.