- John Day ''For Jacques'' (Abstraction)
John Day ''For Jacques'' (Abstraction) 1952 Oil on Canvas Framed 41''x36'' - Small tear
- GROUP OF GEORGIAN SILVER FLATWAREA grouping
GROUP OF GEORGIAN SILVER FLATWAREA grouping of twenty-two pieces of miscellaneous Georgian sterling silver, consisting of six crested Georgian Irish tablespoons hallmarked Dublin 1795 by John Day, six monogrammed Georgian Irish tablespoons hallmarked Dublin 1815 by Richard Whitford, two monogrammed tablespoons hallmarked Edinburgh 1804 by Francis Howden, three Irish Georgian sugar tongs with pierced handles (one repaired), one monogrammed Georgian berry spoon hallmarked London 1814 by John Cowie, one crested fish knife hallmarked London 1815 by Richard Sawyer, one pair Georgian sterling sugar tongs with BADA medallion, one pair of Georgian Irish sugar tongs with bright-cut detail hallmarked Dublin 1830 by James le Bas, one monogrammed Georgian Irish dinner fork hallmarked Dublin 1815 by Josiah & George Piercy. Combined weight; 1,321 grams.
- JOHN WHESSEL/JOHN DAY "DURHAM OX"John
JOHN WHESSEL/JOHN DAY "DURHAM OX"John Whessel (British, c.1760-1823) after John Boultbee (British, 1753-1812). Stipple engraving printed in colours entitled "THE DURHAM OX" , published by John Day, March 20, 1802. Toned, some tears and creases evident at the lower margin. Sight is 23 1/2 x 19 3/4" high, within an antique maple frame with some loss and repair, 39 x 28 1/4" high overall. ESTIMATE $600-800
Condition:
Toned, some tears and creases evident athte lower margin.
- DURHAM OX SERIES PLATTERA 19th Century
DURHAM OX SERIES PLATTERA 19th Century English "Durham Ox" Series Platter. Large oval blue and white transferware platter with "Durham OX with John Day" at the well, contained within a floral and leaf pattern border. Unmarked. Crazing and scratches noted at the well. 19 3/4 x 15". ESTIMATE $2,000-3,000
Condition:
Crazing and scratches noted at the well.
- HENRY O'CONNOR "WWII BATTLE SCENE" WATERCOLORHenry
HENRY O'CONNOR "WWII BATTLE SCENE" WATERCOLORHenry "Henno" Michael O’Connor (American, 1891-1975). Ashcan school watercolor on artist's paper depicting a stirring WWII battle scene showing the horrors of war and the individual’s heroic reckoning with certain death and the ‘never-back-down’ mentality of American spirit, ca 1940s.
Lot Essay:
Henry Michael O’Connor was born in Brookline, Massachusetts on March 5, 1891. Early references allude to O’Connor’s skill as a boxer, a favorite sport and source of revenue for his education. He studied at the Massachusetts Normal Art School in Boston and the Boston Museum of Fine Arts School under teachers such as Joseph Pennell, Joseph de Camp, and Frank Benson. O’Connor also assisted Abbot Thayer in Dublin, New Hampshire for two years who then encouraged the young artist to go abroad. In Europe, he studied at the Académie Julian in Paris and practiced etching at the Kensington School in London.
Early in his career, O’Connor seems to have been influenced by the Ashcan School of Realists in New York, although he remained active in Boston. The working people and sites of Salem Street in Boston’s North End was a favorite early subject of which he made mostly drawings. His fluid and precise linear quality is evident in several of the early drawings dating from 1914 to1919, which depict working class scenes from Charlestown, Gloucester, and Rockport in addition to Boston. Urban monuments and architecture became more frequent subjects in subsequent works. Some Boston landmarks depicted by O’Connor include Faneuil Hall, State Street, the Massachusetts State House, Harvard, Paul Revere’s House and Trinity Church.
Two lithographs dated 1918 provide the first evidence of O’Connor’s activity in New York, although the main body of his New York work begins in the 1920’s. Shortly after the First World War ended, O’Connor opened a studio in the city and soon met Regina Summer, a New York City designer, whom he married in 1924. Due to frequent visits, he was still listed as a Cambridge resident into the 1930’s while he lived and worked in New York City. One of his New York etchings, “Looking from New Jersey to New York†was similarly portrayed by Joseph Pennell and Martin Lewis. O’Connor is also known to have spent time working in Paris in the early 1920’s. Four Parisian etchings appeared at the National Academy of Design in New York City in the 1927 Annual Exhibition.
Much of O’Connor’s graphic work reflects his frequent travels. Some of his known trips include Gloucester (MA), Rockport (MA), Philadelphia, Chicago, Memphis, Indianapolis, Paris, London, Nuremberg, Dresden, Rotterdam, Venice, Florence, Siena, and several Canadian cities.
As shown in countless prints and drawings, O’Connor was also an avid marine enthusiast. He shared this interest with friend and author Jim Connolly and provided illustrations for two of his volumes, “The Book of Gloucester Fishermen†(New York: The John Day Company, 1927) and “Navy Men†(New York: The John Day Company, 1939). He also designed the cover for the November 1938 issue of ASIA, published by the American Asiatic Foundation. His affiliation with the naval community as a petty officer earned him a portrait painting commission for six naval officers in NACAL. A portrait of Admiral Charles Wellborn Jr. may be located at the United States Naval College in Norfolk, Virginia.
Other O’Connor sitters include Franklin Delano Roosevelt, Governor Charles Hurley, Dr. William O’Hanlon (reportedly located at the Margaret Hague Hospital in Jersey City, New Jersey) the Honorable Joseph Tallent, and James Roosevelt. The Roosevelt picture was reported to be somewhere in Boston, Massachusetts, though it is not clear whether this refers to the James or Franklin D. Roosevelt portrait
Henry O’Connor died suddenly on February 25, 1975. Funeral services were held in Cambridge Massachusetts, and he may have been buried at the site of the Lakewood Cemetery Association.
Sight; height: 23 in x width: 17 1/2 in. Framed; height: 32 1/4 in x width: 26 1/4 in.
Condition:
Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
- LEROY ORTEGA, COYOTE, 1982Leroy Ortega,
LEROY ORTEGA, COYOTE, 1982Leroy Ortega, (20th Century) Coyote, 1982, carved wood, pigments inscribed underside: LEROY ORTEGA / 12/30/82 / S.F.N.M carved wood, pigments Dimensions: 35 3/4 x 15 3/4 x 15 1/2 in. (90.81 x 40.01 x 39.37 cm.) Provenance: The Collection of Joseph Hoffman and John Day* *All proceeds from this sale of this artwork will benefit the Santa Fe Opera.
- TONI ROLLER, CARVED AVANYU BLACKWARE
TONI ROLLER, CARVED AVANYU BLACKWARE VESSELToni Roller, (Santa Clara, b. 1935) Carved Avanyu Blackware Vessel, 1990, fired clay inscribed underside: Toni Roller / Santa Clara / Pueblo / 8-90 fired clay Dimensions: Height: 5 3/4 x Diameter: 10 1/2 (14.61 x 26.67 cm.) Provenance: The Collection of Joseph Hoffman and John Day.* *All proceeds from this sale of this artwork will benefit the Santa Fe Opera.
- QUMAK, INUIT POLAR BEAR, 1974Qumak,
QUMAK, INUIT POLAR BEAR, 1974Qumak, (20th Century) Inuit Polar Bear, 1974, stone inscribed underside: (illegible) inuit script (copyright) 74 stone Dimensions: 8 x 14 1/4 x 7 in. (20.32 x 36.20 x 17.78 cm.) Provenance: The Collection of Joseph Hoffman and John Day. All proceeds from this sale of this artwork will benefit the Santa Fe Opera.
- TIMOTHY MOORE, FLARED VESSEL C-16Timothy
TIMOTHY MOORE, FLARED VESSEL C-16Timothy Moore, (b. 1945) Flared Vessel C-16, glazed ceramic inscribed underside: TIMoThy / MOORE glazed ceramic Dimensions: 10 1/2 x 20 1/2 x 18 in. (26.67 x 52.07 x 45.72 cm.) Provenance: The Collection of Joseph Hoffman and John Day. All proceeds from this sale of this artwork will benefit the Santa Fe Opera.
- RANDALL TIPTON, THREE POPLARS #2Randall
RANDALL TIPTON, THREE POPLARS #2Randall Tipton, (20th Century) Three Poplars #2, oil on canvas initialed and dated lower right: RT / 90 inscribed verso: "Three Poplars #2" / tipton / 8 / 90 oil on canvas Dimensions: 15 1/2 x 21 5/8 in. (39.37 x 54.93 cm.), Frame: 22 1/4 x 16 1/4 x 1 3/8 in. (56.52 x 41.28 x 3.49 cm.) Provenance: The Collection of Joseph Hoffman and John Day. All proceeds from this sale of this artwork will benefit the Santa Fe Opera.
- UNTITLED (WESTERN LANDSCAPE)Untitled
UNTITLED (WESTERN LANDSCAPE)Untitled (Western Landscape), gouache on paper Dimensions: 6 x 12 in. (15.24 x 30.48 cm.), Frame: 17 3/4 x 20 5/8 in. (45.09 x 52.39 cm.) Provenance: The Collection of Joseph Hoffman and John Day. All proceeds from this sale of this artwork will benefit the Santa Fe Opera.
- PAUL SHAPIRO, THE GORGE, 1976Paul Shapiro,
PAUL SHAPIRO, THE GORGE, 1976Paul Shapiro, (b. 1939) The Gorge, 1976, watercolor, graphite on paper signed lower right: P. Shapiro inscribed verso: PAUL SHAPIRO / "ThE GORGE" / 5'x8 3/8" / 1976 watercolor, graphite on paper Dimensions: 5 x 8 1/4 in. (12.70 x 20.96 cm.), Frame: 11 1/2 x 14 7/8 x 1 in. (29.21 x 37.78 x 2.54 cm.) Provenance: The Collection of Joseph Hoffman and John Day. All proceeds from this sale of this artwork will benefit the Santa Fe Opera.