Art + Antiques November Auction

A finely carved 19th century Black Forest walnut and red oak bust of a handsome young man in a plumed cap and military coat. Affixed to a wall-hanging oak medallion. Said to have been obtained from an English pub.    Medallion measures 16 1/4" in diameter, and the bust protrudes 12 1/2" when hung on a wall.

An antique cast iron 5-cent trade stimulator spin dice game with glass dome, fully operational with spring mechanism and two old dice. Circa 1900, by W.H. Co. Lincoln, Nebraska.    Measures 11" x 9 1/4" x 6 1/4".

A Continental patinated bronze on marble base, likely first quarter 20th c., of a man sowing wheat or corn. Possibly attributable to Ernst Beck (Austrian, 1879-1941). "BK" foundry mark stamped to the base. The back surface of the base has been worn down and is indiscernible.    Measures 19" x 8 3/4" x 6 3/4". Weighs 25 pounds.

Werner Drewes  (German-American, 1899-1985)  Country Homes, 1935  Watercolor on paper  11 1/4" x 16 3/4" (sight)    An expressive watercolor by the Bauhaus educator and American Abstract Artists co-founder Werner Drewes. Signed "Drewes" and dated, with the artist's symbol in the bottom left. In a frame that measures 18" x 23 1/2".     Provenance: Bonhams San Francisco, Period Art & Design (2012).    Note: This lot is offered with a confidential reserve price, in an amount not to exceed the low estimate.

Henry Cornelius Balink  (New Mexico, 1882-1963)  Paccaneh, Taos N.M.  Etching on paper  6" x 4", Edition of 50    A pencil-signed portrait of Chief Paccaneh of the Taos Tribe, New Mexico. Numbered in pencil 14/50. Titled and signed in the plate and again in pencil to the bottom margin. Henry Balink was an artist particularly notable for his rich portraiture of Native Americans of the Southwest. Archivally matted behind conservation glass, in a wooden frame measuring 14 1/2" x 11 3/4".

Robert Merrell Gage  (American, 1891-1981)  John Brown  Cast Bronze  32" x 18" x 16 1/2"  Edition of 9    A scarce monumental bronze bust of militant Kansas abolitionist John Brown, with a fearless gaze and twisting beard, executed at a scale reflective of Brown's larger-than-life place in history. Signed "Merrell Gage" in the casting to the back base, and numbered 5 in an edition of 9. Weighs 103 pounds.    Born in Topeka, KS, Robert Merrell Gage worked as an assistant in the studio of Gutzon Borglum, came to prominence as a Kansas sculptor, and went on to teach in the art department at the University of Southern California for 33 years. Labeled "the American sculptor," Merrell Gage sculpted portraits of public figures of the 19th century including Abraham Lincoln and Walt Whitman. His Kansas roots and historical interest led him to John Brown as a subject, as it did contemporary John Steuart Curry, depicting the defiantly controversial figurehead of Bleeding Kansas. Robert Merrell Gage's public artwork can be found at the Kansas State Capitol and Indiana Statehouse, as well as several locations in Kansas City and southern California.

Birger Sandzen  (Swedish-American, 1871-1954)  Colorado Pines, 1916  Lithograph on paper  Edition of 50  14 3/4" x 11"    The first print created by Birger Sandzen, a pencil-signed and titled lithographic view in Boulder, Colorado. Pencil-signed and titled, on watermarked Etruria laid paper, in a frame that measures 23 5/8" x 19 1/4".    "I have done two experiments in lithography and I am glad to say they are a perfect success. Carl Smalley, a good friend from McPherson, has been after me a long time to do some work of this kind. When I did not get started quickly enough, he bought an outfit of lithographic crayons and sent it to me. I drew two landscapes--Colorado Pines and Dry Creek, sent them... to a lithographic printing house in Philadelphia... and made proofs, which I received yesterday." (Birger Sandzen, 1916 letter to Evelynn Johnson, as detailed in Lindquist)    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 1  Emory Lindquist, Birger Sandzen: An Illustrated Biography, Birger Sandzen Memorial Foundation, 1993

Birger Sandzen  (Swedish-American, 1871-1954)  Dry Creek, 1916  Lithograph on paper  Edition of 50  11 7/8" x 17 7/8"    The second print created by Birger Sandzen, a view of Wild Horse Creek in Graham County, Kansas. Pencil-signed and titled, in a wooden frame that measures 20 1/8" x 26 1/8".    "I have done two experiments in lithography and I am glad to say they are a perfect success. Carl Smalley, a good friend from McPherson, has been after me a long time to do some work of this kind. When I did not get started quickly enough, he bought an outfit of lithographic crayons and sent it to me. I drew two landscapes--Colorado Pines and Dry Creek, sent them... to a lithographic printing house in Philadelphia... and made proofs, which I received yesterday." (Birger Sandzen, 1916 letter to Evelynn Johnson, as detailed in Lindquist)    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 2  Emory Lindquist, Birger Sandzen: An Illustrated Biography, Birger Sandzen Memorial Foundation, 1993    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Utah Poplars, 1930  Lithograph on paper  Edition of 100  20" x 16"    A pencil-signed and titled lithographic composition of tall poplar trees. In a wooden frame that measures 29 1/8" x 24 3/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 130    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Sentinel Rock, 1917  Lithograph on paper  Edition of 100  16" x 22"    A pencil-signed and titled view of Sentinel Rock from Garden of the Gods in Colorado. In a wooden frame that measures 25" x 31 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 23    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Untitled (Colorado River, Moab, Utah), early 1930s  Watercolor on paper  8 3/4" x 9 7/8"    A stunning view of the unique Colorado River landscape near Moab, Utah, with a single windswept pine growing through the rocks by the river's edge. Painted by Birger Sandzen in his mature years, circa 1930-1935, given the subject, color pallette, and attentive brushwork. Signed to the lower right. In a simple hand-fashioned teak frame that measures 16" x 16 1/2".    Note: This lot is offered with a confidential reserve price, in an amount not to exceed the low estimate.

A pair of sterling silver Dauphin candle holders by Buccellati, 20th century, in the form of Florentine dolphins. Each is stamped "BUCCELLATI ITALY STERLING" and incised "1891" to the underside.    Each measures 10 1/8" high. The pair weighs 38.86 ozt in total.

A Luigi Genazzi (Milano, Italy) for Carole Stupell continental silver (.800) footed bowl, circa 1950s, in the form of scallop shell and Florentine dolphins. Bearing a Carole Stupell Design sticker and Genazzi stamps to the underside.    Measures 8 1/8" x 10 1/4". Weighs approximately 3 pounds.

Four silver-plated master salt cellars and two condiment servers, all in the form of cockle shells and Florentine dolphins, comprising a finely cast six-piece matching set. Unmarked, circa 1900, likely French or Italian.    Each salt cellar measures 4 1/2" x 4" x 2 1/2". Each condiment server measures 5 1/4" x 7 3/4" x 2 1/2".

A Steuben crystal mushroom sculpture mounted with an 18K yellow gold butterfly. Incised "Steuben" to the underside. Offered with red leather presentation box.    Sculpture measures 3 1/2" x 3 3/4" x 3 1/2", box measures 4 1/2" x 6" x 6".

A 19th century tantalus set by the Schucht Brothers of Besancon, France, consisting of an ebonized locking boulle casket with four Moser-style gilt green glass decanters and 14 of an original 16 panel-cut cordial glasses. The box's interior is decorated with intricate molding, with a central turned finial topping a removable tray with two cordial shelves raised on brass castings. Functioning lock with key.    From the estate of Charles H. Price II, the renowned U.S. Ambassador to Belgium and the United Kingdom during the Ronald Reagan administration, working directly with Margaret Thatcher. He hosted a variety of dignitaries in his Walnuts penthouse in Kansas City, MO, including Prince Philip, and Ronald and Nancy Reagan.

Jean (Giovanni) Balloni  (Italy, 19th c.)  Cupidon ("Cupid")  Bronze    A finely cast brown-patinated bronze sculpture of Cupid, standing with arms and legs crossed beside his quiver of arrows. Signed in the mold "G. Balloni". Late 19th c.    Measures 17" x 6 1/4". Weighs 13 pounds.

A German miniature bronze, first quarter 20th c., of a nude male standing contrapposto, with a garment draped over his shoulder. Patinated bronze on marble plinth. Stamped with foundry mark "Oskar Gladenbeck G.m.b.H. Leht Bronce garart" to the back of the base.    Measures 6" x 2" x 2".

Ernest Tino Trova  (American, 1927-2009)  Profile Canto (Falling Man), 1974  Cor-Ten steel and bronze  Edition of 125    St. Louis-based artist Ernest Tino Trova was known for his series of sculptures that feature the Falling Man, an armless and indistinct figure that served as a basis for the artist to explore the nature of man. Marked "Pace Editions Inc. 1974" and signed to the underside of the black Plexiglass base. Numbered 56/125.    Measures 12" x 15 1/2" x 3 1/2". Weighs 10 1/2 pounds.    Note: This lot is offered with a confidential reserve price, in an amount not to exceed the low estimate.

Thomas Hart Benton  (American, 1889-1975)  Ten Pound Hammer, 1967  Lithograph on Rives paper  13 3/4" x 10"  Edition of 300    "Old story of my youth - before the steam hammer beat out John Henry." -Thomas Hart Benton    From an edition of 300. Pencil-signed "Benton" in the lower right margin, and titled in pencil in the lower left margin. Sheet watermarked Rives, not laid down, all edges deckled, beautiful condition. Sheet measures 17 3/4" x 13", in a contemporary silver leaf frame that measures 23" x 18 1/2".    Among the most notable and beloved of Thomas Hart Benton's lithographs, Ten Pound Hammer is inspired by American folk hero John Henry, and features a favorite Benton motif: the steam-powered train. American musical traditions were also an important inspiration for many of Benton's works, from Frankie and Johnnie (1935-1936) in his WPA-funded Missouri state capitol mural to his final work, The Sources of Country Music (1975). The story of John Henry was told in song by several musicians of Benton's day including Lead Belly, Mississippi John Hurt, Big Bill Broonzy, and Woody Guthrie.    Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, Austin, Texas, 1990, 79.

Thomas Hart Benton  (American, 1889-1975)  Forward Pass, 1972  Lithograph on Rives BFK paper  13" x 19 7/8"  Edition of 250    "One October afternoon [a friend] took me to see the Kansas City Chiefs play. I had never seen a "pro" football game and I was fascinated with the spectacle and with the game itself... I got permission to attend the Chiefs practice sessions where I could get a close-up view of football actions. I made sketches there and from them a sculpture in bronze. The litho was made from the sculpture." - Thomas Hart Benton    From an edition of 250, circulated by Associated American Artists. Pencil-signed "Benton" in the lower right margin. Sheet watermarked BFK, not laid down, all edges deckled, very clean. Full sheet (18" x 24"), in a contemporary silver leaf frame that measures 22 1/4" x 28 1/2".    Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, Austin, Texas, 1990, 85.

Thomas Hart Benton  (American, 1889-1975)  Mr. President, 1971  Lithograph on paper  14" x 12" (sight)  Edition of 150    "Shortly after I finished painting the mural in the Truman Library at Independence, MO, I tried, at the request of some of the President's admirers, to make a portrait of him. I failed. The reason--there were too many people around him, secretaries, politicians, and would-be cronies who wanted me to make him look like god--or maybe Clark Gable--anyway some kind of beauty... Later on, when he was eighty six years old, I went to visit him... I said "You know, Mr. President, we can try that business again." He said "Why not?" I made some drawings of him and later a portrait which, this time, did not fail." - Thomas Hart Benton    From an edition of 150, circulated by Associated American Artists. Pencil-signed "Benton" at the bottom left of the image. Sheet not laid down, three edges deckled. Presented in a contemporary silver leaf frame. Sheet measures 19" x 16", in a contemporary silver leaf frame that measures 22 1/2" x 20".    Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, Austin, Texas, 1990, 83.

Thomas Hart Benton  (American, 1889-1975)  Untitled (Landscape)  Pen and ink with watercolor wash on paper  7 1/2" x 20" (sight measurement)    An original ink drawing of quiet farmland surrounded by a wood, with watercolor washes of yellow, red, and blue. Signed in pen to the bottom right. Offered in a cherry wood frame that measures 14 1/4" x 27".    Thomas Hart Benton was renowned for his visions of rural America. This pastoral landscape is notable for its panoramic aspect ratio, lending the otherwise subdued work a cinematic sense of scale. To the foreground are layered contours depicting tilled ground, observable in so many of Benton's works with farm subjects.    From a private collection, Springfield, MO.    Note: This lot is offered with a confidential reserve price, in an amount not to exceed the low estimate.

Grant Wood  (American, 1891-1942)  Main Street Mansion, 1937  Offset lithograph    Pencil-signed in the lower left margin. A color illustration for the 1937 Limited Editions Club printing of the Sinclair Lewis novel Main Street, originally released in a numbered edition of 1500. Wood created nine illustrations, Main Street Mansion being the frontispiece.    Image measures 6 3/4" x 5 1/2", frame measures 15 1/2" x 12 1/2".

25: Bradley & Hubbard 1908 Slag Glass Lamp

An antique Bradley & Hubbard three-light cast metal lamp with an eight-panel curved slag glass shade. Operated with three pull strings. Both the lamp and shade are marked with "Bradley & Hubbard Mfg. Co.", and the shade is stamped with a manufacture date of October 20, 1908.    Measures 23" x 17 1/2".

A cast metal and white glass desk lamp, circa 1910-1920. Nicely cast French Empire stylings. Switch marked with an "F". Stamped "250W 250V Pat'd July 6, 1909".    Measures 12" x 11 1/4" x 6 1/4".

A 20th c. gilt brass 'Scissors' twin-pendulum clock created by award-winning horologist John Wilding (b. 1924) of Sussex, England. The two pendulums swing in a criss-crossing manner, creating the scissors effect. Enamel ring dial with hand-painted Roman numerals. The design was inspired by a French clock created circa 1820, currently housed in the Henry Ford Museum. Fitted with an ovoid glass dome.    Measures 25 1/2" x 14" x 9 1/2", including dome.

Birger Sandzen  (Swedish-American, 1871-1954)  The Red Canyon, 1927  Lithograph on paper  Edition of 50  17" x 22 1/4"    A pencil-signed and titled view of the Colorado River, executed near Moab, Utah. Alternately titled Red Rock Canyon and In the Canyon. Watermarked Arches sheet, in a wooden frame that measures 25 5/8" x 30 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 117    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Sentinel Pines, 1919  Nailhead woodcut on paper  One edition  12 3/16" x 17 7/8"    A pencil-signed and titled nailcut woodblock print depicting dramatic pine trees against a cloudy sky. In a simple black frame that measures 13" x 15".    "His technique on the wood is curiously interesting, for he appears to use some sort of roulette to flick out the wood in curved series of dots until the picture takes shape with an atmospheric impression. The River Nocturne has been personally felt as it is expressed with a new strangeness. This is typical of Mr. Sandzen's expression but there are fresh motifs in Sentinel Pines." (Malcolm Salaman in The New Woodcut, 1930, as detailed in Lindquist)    "In the wood engravings one especially feels the art of the designer. As composer uses little themes in a variety of ways, the designer uses simple lines and masses, repeating, inverting, balancing them, achieving results that are fresh, new and beautiful... His Sentinel Pines, outposts of tree growth, stand alone on a high rolling plateau, gnarly trunks and branches strongly expressed, foliage masses and open spaces, forming patterns against the billowing clouds." (Elisabeth Jane Merrill in The Art of Birger Sandzen, as detailed in Lindquist)    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, W - 31  Emory Lindquist, Birger Sandzen: An Illustrated Biography, Birger Sandzen Memorial Foundation, 1993

Birger Sandzen  (Swedish-American, 1871-1954)  Timberline Snow, 1925  Lithograph on paper  Edition of 100  9 7/8" x 13 3/4"    A pencil-signed and titled vista of Pike's Peak, with cedars in the foreground. Executed on cream laid paper, in a wooden frame that measures 19 7/8" x 23 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 106    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  The Granite Castle, 1917  Nailhead woodcut on paper  One edition  8 1/2" x 12"    "[Sandzen's nailhead woodcuts] were produced with a nail pounded by a wooden paddle, recalling the cribl√© metal relief prints of the fifteenth century." (Margaret Sandzen-Greenough, "From Sweden to Kansas," American Artist, January 1961)    A pencil-signed and titled nailcut woodblock print of mountainous granite rock formations. In a wooden frame that measures 17 1/2" x 20 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, W - 19    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Margaret Sandzen  (American, 1909-1994)  Tulips, circa 1930s  Oil on board  22" x 28"    An impasto still life of tulips in a purple vase. Margaret Sandzen was a student of her father, Birger Sandzen, whose strong influence is apparent in this painting. Skilled in her own right, Margaret's work was exhibited across the Midwest throughout the 1930s and early 1940s. She also taught art at Bethany College in Lindsborg, Kansas, in her father's department.    To the reverse, in Margaret Sandzen's hand: "Tulips / Margaret Sandzen / Lindsborg, Kansas". In a gilt wooden frame measuring 27 1/4" x 33".    Provenance: Purchased directly from Margaret Sandzen-Greenough by a private collector in the Kansas City area. The present owner was a friend of the late Margaret Sandzen-Greenough, daughter of Birger Sandzen, and acquired a number of oils and prints directly from her between 1985-1992.    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

A Bernardaud & Co. Limoges porcelain vase, nicely painted with marigolds and imaginative scenes. Signed to the underside by the artist, Vedia Brilhart of Jackson County, Missouri, and dated April 18, 1923.    Measures 13 1/2" high.

Bruno Krauskopf  (German, 1892-1960)  Untitled (Reclining Nude)  Gouache on paper  19 1/2" x 25 1/2"    A gestural depiction of a reclining nude woman. Signed in the lower right. Estate stamp of the artist to the reverse of the sheet. The work is not framed, but is hinged to a mat.    Bruno Krauskopf was elected member of the Berliner Secession and co-founder of the Novembergruppe. He lived and worked in Germany until World War II, when his art was labeled degenerate by the Nazi party. His works are held today in collections including the MoMA and the British Museum.

Marilyn Propp  (United States, 20th/21st c.)  The Garden, 1976  Mixed media collage on canvas  38" x 46"    Oil and pastel on canvas affixed with paper and corrugated cardboard, depicting an abstracted nude sitting before expressionistic non-representational colors. Trimmed with a simple pine frame. Signed and dated in the bottom left corner, signed and titled on the reverse, with a Donald Batman Gallery tag affixed to the stretcher.

Arthur M. Kraft  (American, 1922-1977)  Oil on Masonite  22" x 17"    An expressive abstract figural painting by the late, beloved Kansas City artist Arthur Kraft. Signed faintly to the bottom right corner, and again to the reverse. In a thin metal frame.

Arthur Kraft  (Kansas City, 1922-1977)  Clem's Butterfly  Watercolor on paper  14 3/4" x 10" (sight)    An abstracted image of a butterfly, signed by Arthur Kraft to the bottom right, and titled to the bottom right (somewhat indiscernibly, but appears to read "Clem's Butterfly"). In a simple black wooden frame that measures 21 1/4" x 17 1/4".

Arthur Kraft  (Kansas City, 1922-1977)  Untitled (Abstract)  Oil and mixed media on artists board  24" x 12".    An abstract work signed by Arthur Kraft to the bottom right. Oil on artists board with other added mixed media elements including organic materials and expressively applied clear coat. In a gold-tone frame that measures 26 3/4" x 14 3/4".

A Murano art glass vase handmade by maestro Afro Celotto (Italian, b. 1963), asymmetrical and organic in form, with four large latticino surrounded by peacock plumage designs. Signed "Afro Murano" to the underside.    Measures 27" high.

A stunning Lotton Studios art glass paperweight, unusually large in size, signed "John Lotton 1991" to the base. Featuring several layers of handiwork including two distinct layers of pink foliage with black/blue vines surrounding two semi-transparent, concentric orbs of glittering glass in the center.    Weighs 26 pounds, and measures 7" high x 8 3/4" wide.

A matched pair of large Lalique frosted art glass Liberty eagle figures, a 1975 Marc Lalique design. Both incised "Lalique France" on the underside, one with a Lalique sticker still affixed between its talons.    Each measures 9 1/4" high.

A Steuben crystal winged hippocampus sculpture, designed by Donald Pollard in 1976 (Madigan no. 8340). "Steuben" incised to the underside.    Measures 6 1/2" x 7" x 3".

A Lalique molded and frosted glass elephant standing on a clear base. Incised "Lalique France" in script on underside.    Measures 6" x 6" x 3 5/8".

Thomas Hart Benton  (American, 1889-1975)  The Benton Farm, 1972  Lithograph on paper  11 3/8" x 14 3/8"  Edition of 250    "...The edge of the great plains the country in this particular area of Kansas is broken. There are ridges and bottom lands and spring fed creeks. Here's the barn, and the road out of the Benton farm." -Thomas Hart Benton    A lithographic study for an oil painting currently on display beside Persephone (1938-1939) and Hollywood (1937-1938) in the Nelson-Atkins Museum of Art in Kansas City. Taken from the gallery's label: "The Benton Farm highlights the artist's signature use of layered curves and bold contours."    From an edition of 250, circulated by Associated American Artists. Pencil-signed "Benton" in the lower right margin and titled in pencil in the lower left margin. Sheet not laid down, all edges deckled. Full sheet (16" x 19"), in a contemporary silver leaf frame that measures 20 1/2" x 23".    Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, Austin, Texas, 1990, 87.

Thomas Hart Benton  (American, 1889-1975)  Making Camp, 1972  Lithograph on paper  11 3/4" x 14 1/4"  Edition of 250    "As I've said lots of times, I like rivers. I especially like those clear free flowing rivers of the Ozarks which have escaped the attentions of the Army Corps of Engineers. For years I've floated down these rivers every spring... Generally the river floaters I run with make camp at the end of the day on the gravel bars lining one of these pools and fish them while supper is cooked. That's what this litho shows. The pool is under some bluffs on the Buffalo River in northwest Arkansas." -Thomas Hart Benton    From an edition of 250, circulated by Associated American Artists. Pencil-signed "Benton" in the lower right margin. Sheet not laid down, all edges deckled. Full sheet (16" x 19"), in a contemporary silver leaf frame measures 21" x 23'.    Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, Austin, Texas, 1990, 86.

Thomas Hart Benton  (American, 1889-1975)  Mr. President, 1971  Lithograph on paper  14" x 12" (sight)  Edition of 150    "Shortly after I finished painting the mural in the Truman Library at Independence, MO, I tried, at the request of some of the President's admirers, to make a portrait of him. I failed. The reason--there were too many people around him, secretaries, politicians, and would-be cronies who wanted me to make him look like god--or maybe Clark Gable--anyway some kind of beauty... Later on, when he was eighty six years old, I went to visit him... I said "You know, Mr. President, we can try that business again." He said "Why not?" I made some drawings of him and later a portrait which, this time, did not fail." - Thomas Hart Benton    From an edition of 150, circulated by Associated American Artists. Pencil-signed "Benton" at the bottom left of the image. Sheet not laid down, all edges deckled. Sheet measures 19" x 16", in a contemporary silver leaf frame that measures 22 1/2" x 20".    Literature: Creekmore Fath, The Lithographs of Thomas Hart Benton, Austin, Texas, 1990, 83.

Anthony Benton Gude  (Kansas/Missouri, b. 1963)  Before the Frost, 1992  Oil on Masonite  24" x 30"    A country view of a dewy spider web reflecting the sunrise, with a woman quietly completing morning chores. Signed and dated to the lower right corner. In a gilt frame that measures 34 1/4" x 39 3/4".    The grandson of the late Regionalist Thomas Hart Benton, Anthony Benton Gude has carried on the tradition of his grandfather's pastoral visions of America. He spent his childhood summering on Martha's Vineyard with Tom and Rita Benton, where his grandfather had a studio. He creates artwork with an attentive eye for nature's details and an appreciation for quiet, rural life, working from the Benton Farm.    Exhibition History: Under the Influence: The Students of Thomas Hart Benton, The Albrecht Kemper Museum of Art, April 15-August 31, 1993.

A rare Rookwood Pottery tiger eye clay vase with two scrolled handles, dated to 1890, #545B, painted with floral decoration by noted Rookwood artist Albert Valentien. Stamped with the Rookwood cypher and signed by the artist on the underside.    Measures 10 1/2" x 15 1/2" x 12".

The first, a J.B. Owens Pottery Company (Ohio) baluster vase, #1258, circa 1900, hand-painted with poppies. Stamp to underside. Measures 7 1/2" x 6".    Also offered is a Weller Pottery (Ohio) Louwelsa bud vase, circa 1905, hand-painted with lily-of-the-valley and signed by artist Josephine Imlay. Stamp to underside. Measures 7 3/4" x 4".

Three Eagle Pottery Niloak vases, circa 1920s. Brown, blue, and cream in the signature Mission Swirl pattern. Each stamped NILOAK to the underside.    The vases measure 8", 8", and 6 1/4" high, respectively.

Two Rookwood Pottery vases. The first is executed in glossy mottled blue/white glazes, #6363, dated 1950. The second is executed in a matte white glaze, #6375, dated 1946. Each vase is stamped with the Rookwood cypher to the underside.    The first measures 5 1/2" x 3 3/4", the second measures 5 1/4" x 4".

From the Meiji period (1868‚Äì1912), a pate-grey Banko-ware ceramic teapot with a metal wire handle, made by Hori Tomonao, and decorated with bird, flowers, a long stem of grass, and a cicada atop the lid. The body is covered with incised quail feathers. Signed to the underside.    Measures 4" x 6" x 4 1/2" without handle.

A Japanese ceramic teapot with twisted fiber handle, likely Meiji period (circa late 19th/ early 20th century). Polychrome Banko-ware decorated with an octopus atop the lid, eel for the spout, and intertwined sea creatures of fish, lobster, and clam on the body. Artist‚Äôs signature to the underside.    Measures 4 3/4" x 7" x 5" without handle.

A Republic-era Chinese cloisonne ginger jar, with enamels of royal blue, cinnabar, and turquoise on gilt bronze, measuring approximately 9" x 9". Decorated with four unique still life panels of decorative arts and auspicious objects, amid extensive scrolling floral designs, circa early-mid 20th century.

Jane Uren Scott  (Nebraska, 1918-2011)  Indian Summer  Pastel on paper  20" x 16"    A pastel of flowers and fruit by the celebrated Nebraskan pastel artist Jane Scott. Signed "Jane U. Scott A.S.A." to the bottom left corner. In a gold-leaf frame that measures 25 1/8" x 21 1/8".

Jane Uren Scott  (Nebraska, 1918-2011)  The Collector  Pastel on paper  30" x 18"    A genre scene by the celebrated Nebraskan pastel artist Jane Scott. Signed "Jane Scott P.S.A." to the bottom right corner. In a gold-leaf frame that measures 36 3/8" x 24 1/4".

Birger Sandzen  (Swedish-American, 1871-1954)  Untitled (Crane and Teapot), 1915  Oil on canvas  20 1/4" x 14 1/4"    A brass teapot sits on a green table, and behind, a stork motif with wings outstretched stands on a field of bold red. The work is informed by the saturated colors of the Fauvists, as well as Sandzen's personal admiration of Asian art and antiquities.    Signed and dated to the top right. In a hand-carved gold-leaf frame, measuring 27 1/2" x 21 1/2". No notations on the reverse outside of trace framer's notes.    Provenance: Purchased directly from Margaret Sandzen-Greenough and the Sandzen estate by a private collector in the Kansas City area. The present owner was a friend of the late Margaret Sandzen-Greenough, daughter of Birger Sandzen, and acquired a number of oils and prints directly from her between 1985-1992.

Birger Sandzen  (Swedish-American, 1871-1954)  In the Garden of the Gods, 1917  Lithograph on paper  Edition of 11  14 3/4" x 19 3/4"    Among Sandzen's most scarce prints, this lithograph is one of an edition of just 11, varying slightly from the later re-worked version (Lithographs, 21) as illustrated in the Greenough catalogue raisonne. A rare opportunity for a completist to obtain this rarely-seen work. Executed in sepia ink on watermarked Etruria cream laid paper. Pencil-signed and titled to the lower margin, in a wooden frame that measures 24" x 28 5/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 20    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Old Cedar and Rocks, 1919  Lithograph on paper  Edition of 50  15" x 20"    A pencil-signed and titled lithographic view of a handsome cedar set high in a mountain landscape. Executed in sepia on cream laid paper, in a wooden frame that measures 24 1/8" x 28 3/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 35    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Three Owls, 1918  Lithograph on paper  Edition of 50  15" x 20"    A pencil-signed and titled image of perched owls from Sandzen's early graphic work. Alternately titled Three Sleepy Owls. Executed in umber ink on watermarked Etruria laid paper, in a wooden frame that measures 24 1/8" x 28 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 29    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  The Gateway, 1919  Lithograph on paper  Edition of 50  12" x 18"    A pencil-signed and titled depiction of the famous view in the Garden of the Gods, Colorado, with the faintest suggestion of Pike's Peak in the background. Of the Gateway Rocks formation, William M. Thayer said "[It is] not a gate of human workmanship... The massive portals seem to have been carved; but the workmanship is all divine." Executed in sepia, in a wooden frame that measures 21" x 26 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 36    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Abandoned Mill, 1918  Lithograph on paper  Edition of 50  15" x 20"    A pencil-signed and titled view of an old mill in a mountainous Colorado landscape. Alternately titled Abandoned Zinc Mill. Executed in sepia on watermarked Etruria paper, in a wooden frame that measures 24" x 28 3/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 27    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Untitled (Roses), 1915  Oil on canvas  20 1/4" x 14 1/4"    An impasto bouquet of roses in a blue glass vase, executed gesturally, and set in a green field. Signed to the top left. Executed on a Pfleger stretcher, and in a subdued Vilas-Mages white-washed gilt frame that measures 27" x 21".    Dated to the reverse in Sandzen's hand: "Dec. 28, 1915". Also written on the reverse: "M.S.G. Collection [Margaret Sandzen-Greenough] / XVII 6 / Stevens / Designated in memory of Mrs. Harry Rosenkrantz". Canvas measures 20 1/4" x 14 1/4", frame measures 27" x 21".    Provenance: Purchased directly from Margaret Sandzen-Greenough and the Sandzen estate by a private collector in the Kansas City area. The present owner was a friend of the late Margaret Sandzen-Greenough, daughter of Birger Sandzen, and acquired a number of oils and prints directly from her between 1985-1992. This work had been a part of Margaret Sandzen-Greenough's personal collection until that time.

A bronze reproduction after James Earle Fraser's defining sculpture End of the Trail, depicting a Native American man on horseback, weary of the harm inflicted upon his people and land at the hands of European settlers. "1918 Fraser" signed to the casting. On a marble plinth.    Measures 26 1/2" x 19 1/2" x 7 1/4". Weighs 53 pounds.

A bronze reproduction after Frederic Remington's sculpture The Cheyenne, depicting a Native American warrior on horseback, spear in hand. "Frederic Remington" signed to the casting. On an oval marble plinth.    Measures 20 1/4" x 20 3/4" x 8". Weighs 39 1/2 pounds.

A cast metal reproduction after Frederic Remington's sculpture Mountain Man, depicting a man on horseback, descending a steep slope with his rifle across his lap. "Frederic Remington" signed to the casting. On a marble plinth.    Measures 27" x 18" x 9".

A patinated bronze perched eagle, signed "Eric Lee 7-4-76", a patriotic sculpture created on the bicentennial of the United States of America.    Measures 24 1/4" x 14 1/2" x 8". Weighs 40 pounds.

George Ernest Colby  (American, 1859-1922)  Mountain landscape, 1882  Oil on canvas  22" x 36"    An atmospheric mountain landscape of the American West, with a single Ponderosa pine rising before a creamy pastel sunset. George Colby was a Chicago-based painter best known for his landscapes. Signed "G.E. Colby 82" to the bottom left corner. In a gold-leaf frame with molded trim, measuring 28" x 42" in total.

Birger Sandzen  (Swedish-American, 1871-1954)  Cedar and Red Rocks, circa 1922  Oil on canvas  36" x 48"    An large-scale canvas of the Garden of the Gods near Manitou, CO, executed in Sandzen's signature heavy impasto, depicting a lone cedar tree growing through the area's defining red sandstone formations. A smaller variation of very similar motif is depicted in Sandzen's oil Red Rocks and Cedars in the Garden of the Gods (1922-23), in the Spencer Art Museum's permanent collection, as well as Sandzen's drypoint Red Rocks and Cedars (Greenough, The Graphic Works of Birger Sandzen, Drypoints #3). Signed to the bottom right. In an attractive gold-leaf frame that measures 42 3/4" x 55".    Provenance: Purchased directly from Margaret Sandzen-Greenough and the Sandzen estate by a private collector in the Kansas City area. The present owner was a friend of the late Margaret Sandzen-Greenough, daughter of Birger Sandzen, and acquired a number of oils and prints directly from her between 1985-1992.

Birger Sandzen  (Swedish-American, 1871-1954)  Gray Day in the Mountains, 1917  Lithograph on paper  Edition of 50  16" x 24"    A pencil-signed and titled sweeping landscape from Rocky Mountain National Park in Colorado, an early work that ranks among the largest images in Sandzen's oeuvre of prints. In a wooden frame that measures 25" x 32 3/8".    "[Sandzen's Gray Day in the Mountains] expresses much better than words the mastery of form and the feeling of strength which are typical of his best work." (Mary E. Marsh in 1920, as detailed in Lindquist)    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 14  Emory Lindquist, Birger Sandzen: An Illustrated Biography, Birger Sandzen Memorial Foundation, 1993    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  The Red Cathedral, 1923  Lithograph on paper  Edition of 100  14 7/8" x 12"    A pencil-signed and titled lithograph of the Cathedral Spires rock formation in the Garden of the Gods, Colorado. In a wooden frame that measures 24 7/8" x 21 1/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 87    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  The Old Mill, 1929  Oil on canvas  22" x 28"    A view of a red mill before a poplar grove, set in the rugged Western landscape of Logan, Utah, applied in thick impasto typical of Sandzen's signature style. The mill also served as the subject of another Sandzen oil, The Red Mill (1929), in the Wichita Art Museum's permanent collection, as well as a watercolor in the collection of the Birger Sandzen Memorial Gallery.    Signed to the lower right. Written to the reverse in Sandzen's hand: "1929 / The Old Mill / Logan, Utah / Birger Sandzen / Lindsborg, Kansas". In a Carl A. Teed (Lindsborg, Kansas) painted wood frame that measures 27 1/2" x 33 1/2".    Exhibition history: Fastened to the reverse is a remnant tag from from the Brooklyn Museum of Art exhibit Paintings and Sculpture by the Society of Scandinavian American Artists, April 11th-May 15th, 1932. In addition to the work of Sandzen and his contemporaries, that exhibition featured a memorial of the work of Emil Carlsen. The Brooklyn Museum concurrently ran a large exhibition of the work of Carl Milles, the Swedish-American sculptor and dear friend of Sandzen.    Provenance: Purchased directly from Margaret Sandzen-Greenough and the Sandzen estate by a private collector in the Kansas City area. The present owner was a friend of the late Margaret Sandzen-Greenough, daughter of Birger Sandzen, and acquired a number of oils and prints directly from her between 1985-1992.

Birger Sandzen  (Swedish-American, 1871-1954)  Mendenhall, 1923  Lithograph on paper  Edition unknown (scarce)  14 7/8" x 19 7/8"     A particularly scarce and seldomly seen lithograph originally created by Birger Sandzen for the Colkin family of Ponca City, Oklahoma. In The Graphic Works of Birger Sandzen, the edition size is not given, with only a notation indicating that the entire edition was at that time privately owned by CF Colkin. In a wooden frame that measures 24" x 28 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 82    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Colorado River, 1929  Lithograph on paper  Edition of 100  10" x 14"    A pencil-signed and titled scene of rock formations along the Colorado River, with a pine tree to the left foreground. In a wooden frame that measures 19" x 22 3/8".    Literature: Charles Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 124    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Utah Farm Barns (Logan, Utah), 1929  Oil on board  20" x 24"    A view of red barns among tall poplars in a mountainous Utah landscape, done in Sandzen's signature heavy impasto. Signed and dated in the lower left. In a simple Vilas-Mages gilt frame that measures 26 5/8" x 30 5/8".    Written to the reverse in Sandzen's hand: "Utah Farm / Red Barn / Logan, Utah / 1929 / Birger Sandzen / Lindsborg, Kansas". Gallery notation to the reverse: "Utah Farm Barns (corrected title from book) / Cat No 1296 / XVIII 3 / Gallery". Board measures 20" x 24", frame measures 26 1/2" x 30 3/4".    Provenance: Purchased directly from Margaret Sandzen-Greenough and the Sandzen estate by a private collector in the Kansas City area. The present owner was a friend of the late Margaret Sandzen-Greenough, daughter of Birger Sandzen, and acquired a number of oils and prints directly from her between 1985-1992.

A.D. Greer  (American, 1904-1998)  Oil on board    A painterly still life of cherry blossoms in a blue vase, signed to the top left by AD Greer, noted artist of Texas, the Midwest, and New York. Presented in a gilt relief frame.    Board measures 20" x 16", frame measures 27 1/2" x 23 1/2".

An oil half-length portrait of a young lady holding sheet music, which reads "Country Dances / ...the Seat of the Earl of [Mayo?] / ...of Ireland". Circa 1900. In an antique Rococo-style gilt frame, Gilbert Gallery tag attached to the reverse.    Measures 30 1/8" x 24 7/8", frame measures 38 3/4" x 33 3/4".

William Frye (alt. George Wilhelm Frye)  (German-American, 1822-1872)  Shipwreck with Mother and Children  Oil on canvas  50" x 42 1/4"    A large-scale tragic history painting of the Romantic movement from William Frye, a noted portrait artist of the mid-19th century. The subjects are composed triangularly: a mother in profile clutches her young daughter who faces away from the viewer, while her infant child gazes in three-quarters' view directly toward the viewer. In the right foreground, water pours into the vessel. The composition is framed by the ship's sail to the left and riggings to the right. In the background, lightning strikes from stormy skies above the waves.    Dramatic scenes of sinking ships were a staple of Romanticism in the 19th century, from Gericault to Delacroix to Turner. Frye's oil is notable within that tradition for its subject being closely observed figures rather than the typical emphasis on large-scale spectacle.    William Frye was a successful portrait artist born in Germany in 1822, who immigrated to the United States, where he worked across the American South. He is most closely associated with Huntsville, Alabama in Madison County.    The work is unsigned. In a lighted frame that measures 56 1/2" x 49".    Provenance: From the collection of a descendant of William Frye: the painting has remained in the family's possession since its creation. Included is notarized documentation to that effect.

Two well-painted British watercolor portraits on paper, circa 1820, of gentlemen in formal attire, seated in nicely detailed interiors. To the reverse of one of the frames is attached a period "John Hudson (late Burkitt & Hudson)" publisher tag, London.    Each measures approximately 12" x 9", in gilt frames that measure 15 1/2" x 13".

Attributed to Sir Thomas Lawrence  (English, 1769-1830)  Mother & Son  Oil on canvas  50 1/2" x 40 1/4"    A large-scale oil portrait of a mother and her son, executed circa 1800, with an old attribution to Sir Thomas Lawrence, the preeminent Romantic portrait artist of European royalty and the fourth president of the Royal Academy of Arts. The sitters are beautifully painted with rosy countenance, the lady portrayed standing before a red curtain in black mourning garments and the young boy nicely dressed and seated on a velvet roll-arm. The piece is presented in a period English Regency gilt frame, early 19th century.    To the reverse is written in pencil in vintage hand: "Sir Thos. Lawrence Portrait Mrs. Lawrence & Son". The painting is elsewhere listed in an old 1966 will as "the painting of Mrs. Lawrence and son", though no evidence is given in support of this connection or identification of the sitters.    Provenance: From a Kansas City, Missouri collection. Paperwork tracing the painting's ownership inside the family's possession as far back as 1965, when it was in the possession of a gentleman of means in the lumber industry. That gentleman donated the Stonehouse residence (also known as the Rockhill House) to the William Rockhill Nelson Gallery of Art (now the Nelson-Atkins Museum of Art), and is known to have made a donation of artwork to the Smithsonian Museum of Art. Among the paperwork included is the conservation documentation of a 1965 cleaning done by James Roth of the William Rockhill Nelson Gallery of Art (which refers to the work as Sir Thomas Lawrence), as well as a copy of a hand-written 1966 will (which also refers to the work as an original Sir Thomas Lawrence) bequeathing the work to another family member, along with works by Childe Hassam and Pierre-Auguste Renoir.

A miniature mourning portrait brooch or pendant said to depict Mary Jane Sarsfield of Ireland, 19th century, framed behind bowed glass. With glazed twists of hair to the reverse, interlaced with gold wire wheat sheafs, with seed pearl accents, backed by opalescent glass. Inside a tested 10k gold frame with a metal chain.    Brooch measures 2 1/2" x 2 1/4" x 5/8", chain is 30" long.

A Georgian period (early 19th c.) mourning portrait of a young girl, executed on ivory, encased in a gilt metal pendant. The reverse displays the child's hair mounted in a diamond weave. Each side is framed with bowed glass.    Measures 2 5/8" high.

A horn snuff mull fitted with a hinged sterling cap, stamped with La Pierre's mark and "STERLING 76". The cap appears to be monogrammed "LBW". Circa 1900.

A Victorian leather gun case, constructed with an iron frame, and lined with striped linen. Bears a tag to the underside of the lid that reads: "George Gibbs Gun Maker, 29 Corn Street, Bristol. Sole manufacturer of the Metford patented rifle." Brass lock is stamped "Bussey & Co. London". Traces of period paper travel tags on each end. Restrained tooling to the top, handle, and strap loops.    Measures 4 3/4" x 33" x 6 1/2".

A large brown-patinated cast metal Austrian carriage drawn by four horses, 41" in length, in the style of Carl Kauba. 20th century. On a marble base.    Measures approximately 14" x 41" x 9 1/2". Weighs 99 1/2 pounds.

Jean-Jacques Feuchere (after)  (French, 1807-1852)  Daphnis and Chloe  Circa 1860s-70s    A beautifully patinated spelter sculpture of Greek goatherd Daphnis teaching Chloe to play the pipe, created by Jean-Jacques Feuchere and later cast by Victor Paillard (French, 1805-1886). Signed in the casting "Feuchere 1847", and bearing a Paillard foundry mark (crown above VP).    Weighs 69 pounds, and measures 20 3/4" x 16" x 10 1/2".

Henri Honore Ple  (French, 1853-1922)  Bon Vin Doux ("Good Sweet Wine")    Cast spelter sculpture of a young boy drinking wine, circa 1900, with applied bronze patina and remnant green paint, on wooden plinth. Signed in the mold, and identified with a metal plaque affixed to the plinth: "BON VIN DOUX Par H. Ple".    Measures 8 3/4" x 4 1/2" x 3 1/4".

Birger Sandzen  (Swedish-American, 1871-1954)  Summer Breeze, 1916  Woodcut on paper  Edition of 100 in two states  First state with hand-accent in ink  7" x 10"    A pencil-signed and titled woodblock print of Summer Breeze, an early graphic work by Birger Sandzen. Printed first state, with ink additions done as a study for the second state, when he would add more detail to the cresting waves. In a wooden frame that measures 15 7/8" x 18 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, W - 6    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Glimpse of Taxco, 1935  Lithograph on paper  Edition of 100  16" x 20"    A pencil-signed and titled lithographic view of the southern Mexican city of Taxco, created during the second of Sandzen's two trips to Mexico. In a wooden frame that measures 25 1/4" x 28 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 151    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Temple of Quetzalcoatl, 1935  Lithograph on paper  Edition of 50  16" x 20"    A pencil-signed and titled lithographic view of the Temple of the Feathered Serpent in Teotihuacan, the ancient city and site of many notable Mesoamerican pyramids. The image was created during the second of Sandzen's two trips to Mexico. Teotihuacan translates to "place of the gods," and the sculptural Aztec deity portrayed in this image are of Quetzalcoatl. Watermarked Arches sheet, in a wooden frame that measures 25 1/4" x 28 1/2".    "Willard Hougland [Southwest Review] described Sandzen's Temple of Quetzalcoatl as 'a masterful production of a finished artist and technician. I wonder if any artist, other than Sandzen, will ever be able to flood a black and white print with as much sunshine." (Lindquist)    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 152  Emory Lindquist, Birger Sandzen: An Illustrated Biography, Birger Sandzen Memorial Foundation, 1993    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Rocks and Sea, 1924  Lithograph on paper  Edition of 100  15" x 9 3/4"    A pencil-signed and titled lithographic view of the rocky shores of Kullen, on the coast of Sandzen's native Sweden. In a wooden frame that measures 24 1/8" x 28 1/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 96    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Arroyo with Trees, 1925  Lithograph on paper  Edition of 100  12" x 18"    A pencil-signed and titled image of trees before a Southwestern gully. In a wooden frame that measures 23 1/8" x 28 5/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 105    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Evening Clouds, 1928  Lithograph on paper  Edition of 100  10" x 13 7/8"    A pencil-signed and titled image of birches and pines along a river, with dramatic clouds above. Executed on cream laid paper, in a wooden frame that measures 20" x 23 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 121    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Fjord Motif, 1924  Lithograph on paper  Edition of 100  7 1/2" x 10 1/2"    A pencil-signed and titled fjord landscape. In a wooden frame that measures 20 5/8" x 23 1/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 100    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

An antique Chinese blue and white porcelain plaque, beautifully hand-painted with a scene of a farmer pulling a water buffalo past a grove of trees. In a handcrafted period rosewood frame with rudimentary dovetails at each corner, measuring 10 1/2" x 14 1/2".

An exceptionally large black and white saussurite (sometimes called dushan jade) landscape boulder carving, depicting a fisherman with a catch beside a waterfall. Around him are ‚ÄúThree Friends of Winter‚Äù: a plum tree, a large pine tree, and groves of bamboo, plants adored by Chinese scholars for being symbols of one‚Äôs upright character. To the left background is a temple under cloud cover, and to the top right background is a mountain village. Chinese, 20th century. Unmarked.    Measures approximately 16 3/4" x 22" x 9". Weighs 115 pounds.

A matching set of six 20th c. Chinese eggshell porcelain vases, of translucent thinness. Each vase is hand-painted with a different beauty (named in calligraphic script) from Dream of the Red Chamber, an 18th c. work that ranks among China's most famous novels. Dream of the Red Chamber is a tragic romantic epic detailing the manners and social structures of the era.    Each vase measures 4" high.

A Chinese carved pale green jadeite jade Guanyin Bodhisattva figure (Bodhisattva of Compassion), circa late 19th to early 20th century. Depicted with a mythical dragon attendant, holding a water bottle and a stem of lotus flower, a symbol of rebirth in the Buddhist pure land. Stone identified as jadeite by a GIA certified gemologist (no formal report included).    Measures 7" high.

Chinese, 20th century. Carved from brown and purple agate, a dragon rests on top and coils to protect a precious pearl, or wish-granting pearl, one of the Hundred Treasures and a symbol for wealth due to its value. Seal face uncarved.    Measures 2 3/8" x 1 5/8" x 1 1/4".

A mid-19th c. Chinese Canton famille rose porcelain oval footed dish, hand-painted with a scene of two gardeners, surrounded by various flower and fruit motifs. Stipple-signed by the artist at the bottom of the image.    Measures 2 1/2" x 9 1/2" x 7 3/4".

A set of four uniquely hand-carved soft elmwood Chinese door panels. Each door is carved with four themes, with each door's carvings distinct from the other doors: a bird-and-flower motif to the top, a scene of scholars in nature in the center of the latticework designs, a scene of two auspicious animals below the latticework, and a large botanical motif to the bottom. Each panel with later hanging brackets to the reverse. Circa mid-20th century.    Each door panel measures 86 1/2" x 20 1/8".

A Kindel Furniture Winterthur Collection "Updyke Rhode Island" block-front secretary desk and bookcase, reproduced after an 18th century piece by the famed Goddard and Townsend cabinetmakers of Newport, Rhode Island. Two pieces. Hand-carved shell motif and adornments, constructed of mahogany with sycamore and poplar, and having polished brass hardware.    The original secretary desk, created circa 1770 and attributed to John Goddard, resides at the Winterthur Museum, Gardens, and Library in Delaware. The last privately held of just ten such desks created by the Goddards and Townsends came to auction at Christie's New York in 1989, where it set a world record for any non-painting at auction at $12.1 million. Kindel Furniture of Grand Rapids gained the right to hand-reproduce the piece to order in 1982, held to exacting standards befitting of the legendary design.    Measures 98" x 45" x 27".

An English chest of five drawers, in the Hepplewhite style, from the late Georgian period (early 18th century). Mahogany veneers on oak and pine solids, with original brass hardware. Tasteful string inlays including two columns topped with small floral marquetry motifs.    Measures 42 3/4" x 46 1/4" x 21".

An early 18th c. American sideboard in the Hepplewhite style, flame mahogany veneers on oak and pine solids. Subtle string inlays, and early brass hardware. A single drawer above a two-door cabinet, flanked to the left by a cabinet and to the right by a large drawer.    Measures 36 1/2" x 67 1/4" x 25 7/8".

A hanging corner wall cabinet with three shaped interior shelves, first half 18th century, likely American. Walnut veneers on pine solids, including a book-matched walnut veneer door. Original brass escutcheon and H-hinges.    Measures 38 1/4" x 28" x 15".

A Georgian period ash ladder-back chair with twisted rush seat, possibly of Irish origin, with organically tapered arms and turned accents, circa late 18th century.    Measures 45" x 23 1/2" x 26".

A pair of late Georgian period English oak brace-back Windsor chairs with wagon wheel motif splats, circa early 19th century. One arm chair and one side chair.    Side chair measures approximately 34" x 16" x 22", arm chair measures approximately 34" x 21" x 21".

An antique French mahogany two-drawer kidney table in the Louis XV style, first quarter 20th century. Features include a shaped oval marble top, gilt metal mounts, fine parquet inlays, and a blue Wedgwood jasperware plaque. "Made in France" paper tag affixed to the underside. Ornamental key with tassel included.    Measures 29 1/8" x 23 7/8" x 15 7/8".

Two near-matched handmade three-drawer petite commodes in the Louis XVI style, with gilt metal mounts and burl inlays. Late 19th century. Variations between the pair include very slight size differences and a different style bottom shelf.    Each measures approximately 28 1/2" x 12 1/2" x 11 3/8".

A matching pair of large Villeroy & Boch (Mettlach) Delft-style stove tiles of exceptional quality, by artist Jean-Baptiste Stahl (German, 1869-1932). Circa 1895-1900. Each measures approximately 25 5/8" x 18 1/4".    The first is after Gerrit Dou's (Dutch, 1613-1675) painting Violinist at the Window (1665). The violinist is framed by a bas-relief arched window, including raised sheet music and sword. Below the window is a pate-sur-pate frieze.    The second is after Willem van Mieris's (Dutch, 1662-1747) painting A Musician Being Served Wine (1699). The two figures are framed by a bas-relief window, including raised flute, sheet music, sleeve, and grapevines. Below the window is a pate-sur-pate frieze.    Each is signed by Jean-Baptiste Stahl, noted V&B Mettlach artist and inventor of the Phanolith technique. Marked on the reverse: "V&B M Delft" (written in blue underglaze), "Made in Germany" (green stamp), and respectively numbered "2274" & "2275" (impressed).

Birger Sandzen  (Swedish-American, 1871-1954)  Rags, 1942  Lithograph on paper  Edition of 50  10 1/4" x 11 7/8"    A pencil-signed and titled lithograph of the Sandzen family dog Rags, of whom Birger Sandzen was quite fond, taking the terrier with him daily to his studio as he painted--according to Sandzen, painting was "almost his profession." In a wooden frame that measures 19" x 20".    "Another dog, a Scottie type, a most unlikely-looking stray, was adopted into the Sandzen household and named Rags... It was an unforgettable sight to see dignified Dr. Sandzen holding Rags and feeding him an ice cream cone." (Lindquist)    "When the day's work is over the two of us sit down almost every evening and take time to relax. Our little Rags sits down faithfully between us and waits for his graham crackers." (Sandzen, in a letter to Carl Milles, 1943)    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 170  Emory Lindquist, Birger Sandzen: An Illustrated Biography, Birger Sandzen Memorial Foundation, 1993    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Creek and Pasture, 1944  Lithograph on paper  Edition of 105  11" x 14 3/8"    A pencil-signed and titled lithograph of a Kansas creek lined with trees. In a wooden frame that measures 19 3/4" x 22 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 180    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Barker Homestead, 1945  Lithograph on paper  Edition of 50  14" x 18 1/4"    Pencil-signed and titled, with chop mark to the sheet that reads "CUNO PHILA, PA. IMPRESSION". In a wooden frame that measures 23 1/4" x 26 3/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 185    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  In the Desert, 1916  Lithograph on paper  Edition of 50  11 3/4" x 17 7/8"    A pencil-signed and titled panorama from the outskirts of Arizona's Painted Desert, near Grand Canyon National Park. Alternately titled In the Desert, Arizona. In a wooden frame that measures 20 1/8" x 26 1/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 5    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Lake in the Mountains, 1916  Lithograph on paper  Edition of 50  11 7/8" x 17 3/4"    A pencil-signed and titled view of Wellington Lake outside of Bailey, Colorado, from Sandzen's early graphic canon. In a wooden frame that measures 20 1/2" x 26".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 9    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  In the Foothills, 1952  Lithograph on paper  Edition of 100  10 1/4" x 14"    A pencil-signed and titled late-career landscape. In a wooden frame that measures 22 1/4" x 25 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 206    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Nature's Bridge, 1944  Lithograph on paper  Edition of 70  14" x 18 3/8"    Pencil-signed and titled view of a natural bridge across a stream, with chop mark to the sheet that reads "CUNO PHILA, PA. IMPRESSION". In a wooden frame that measures 23" x 26 3/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 177    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Frank Meisler  (Israeli, 1925-2018)  Rabbi Mendel  Silver & gold plated metal  Edition of 280    A cast metal sculpture of a Hasidic Jewish rabbi reading the Torah, on a black granite base, with an articulating neck allowing the rabbi to peer up from his reading. Signed ("Frank Meisler Israel") and numbered (190/280) to the back of the coat.    Measures 12" high.

Frank Meisler  (Israeli, 1925-2018)  Hasidic Dancer  Silver & gold plated metal  Edition of 320    A cast metal sculpture of a Hasidic Jewish dancer playing a horn, on a black granite base, with a rotating waist. Signed ("Frank Meisler Israel") and numbered (168/320) to the back right arm.    Measures 14" high.

Frank Meisler  (Israeli, 1925-2018)  Klezmer Fiddler  Silver & gold plated metal  Edition of 320    A cast metal sculpture of a Hasidic Jewish klezmer fiddler, on a black granite base, with a rotating waist. Signed ("Frank Meisler Israel") and numbered (85/320) to the back of the coat.    Measures 12 1/2" high.

Joseph Bohler  (American, b. 1938)  Untitled (Harbor Scene), 1966  Watercolor on paper  13 1/2" x 20"    A view of boats at harbor, an attributed early work by Joseph Bohler, a celebrated watercolorist and founding member of the Northwest Rendezvous Group. Signed "Bohler 66" to the bottom left. In wooden frame with gilt band measuring 16" x 22 1/2".

Joseph Bohler  (American, b. 1938)  Untitled (Winter Homestead), 1969  Watercolor on paper  11" x 23 1/2"    A watercolor depicting a rural American homestead in winter by Joseph Bohler, celebrated watercolorist and founding member of the Northwest Rendezvous Group. Signed and dated to the lower left. In a rustic wooden frame measuring 19" x 32".

Phil Starke  (American, b. 1957)  Untitled (Broadway Bridge, Kansas City)  Oil on board  8" x 13"    A view of the Kansas City, Missouri skyline, with Broadway Bridge (renamed the Buck O'Neil Bridge in 2016) above the Missouri River to the left middle ground. Signed to the bottom right corner. In a painted wooden frame that measures 14 1/2" x 19 1/4". Starke, a contemporary plein air painter associated with Kansas City, MO and Tuscon, AZ, has enjoyed solo exhibitions across the nation.

A gold-plated LeCoultre Atmos Perpetual Motion mantel clock, caliber 528-8, serial number 256740, circa 1970s. Swiss, torsion pendulum, 15 jewels.    Measures 9 1/4" x 8 1/4" x 6 1/4".

A LeCoultre (Switzerland) gilt brass 8-day desk clock, #530, 7 jewels, brushed metal finish with a speckled blue dial. Circa 1960s. Bearing its original sticker label to the underside, which is also stamped "SWISS 530".    Measures 5 3/4" high.

A beautiful antique fore-edge painting titled "Le Grand Canal a San Vio". Gems of Beauty, printed 1850 by Phillips, Sampson, and Company, having gold-stamped green morocco binding and illustrations of demure women throughout, medium octavo size. Edited by Emily Percival.    Measures 9 1/2" x 6 3/4".

A cast iron doorstop in the form of a Boston bull terrier, by Hubley Manufacturing Company, Pennsylvania, circa 1920s. Measures 9 1/4" x 9 1/2" x 4 1/4".

Simeonie Ohaituk  (Canadian, b. 1941)  Untitled (Hunter with Char), 1970s  Carved steatite    An elegant steatite carving of a hunter crouching as she holds a tied char, by Inukjuak artist Simeonie Ohaituk. Incised to the underside is the artist's syllabic signature (·ìØ·í•·êÖ·ìÇ) and disc number (E9-924). A "Canadian Eskimo Art" sticker is also affixed to the underside.    Measures approximately 10" x 11 1/2" x 8".

Birger Sandzen  (Swedish-American, 1871-1954)  Coxcombs, 1933  Linocut on paper  One edition of 150  9" x 11 7/8"    A pencil-signed and titled linoleum block still life of cockscombs on a tabletop. In a wooden frame that measures 18" x 20 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, LN - 71    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Glimpse of Smoky River, 1948  Linocut on paper  Two editions  8 5/8" x 12"    A pencil-signed and titled linoleum block print of the Smoky River in Kansas, a favorite Sandzen subject. In a wooden frame that measures 17 5/8" x 20 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, LN - 93    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Flooded Meadow, 1927  Lithograph on paper  Edition of 100  10" x 13 7/8"    A pencil-signed and titled view of a grove of trees partially submerged in high waters outside in Rocheport, Missouri, near Columbia. Executed on cream laid paper, in a wooden frame that measures 18" x 21 3/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 119    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Hidden Lake, 1927  Lithograph on paper  Edition of 100  12" x 18"    A pencil-signed and titled view of windswept pines in a rugged lake landscape. In a wooden frame that measures 24" x 29 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 115    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Magnus Carlson's Homestead, 1927  Lithograph on paper  Edition of 100  10" x 14"    A pencil-signed and titled view of a Lindsborg, Kansas home built by Swedish-born Magnus Carlson, a stonemason and bricklayer who had passed away in 1913. Carlson was a pivotal figure in the founding and development of the Swedish-American community in Lindsborg. The work illustrates Birger Sandzen's appreciation for the history of the town's rich heritage. Executed on cream laid paper, in a wooden frame that measures 20 1/8" x 23 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 116    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  A Mountain Studio, 1934  Lithograph on paper  Edition of 100  11 1/2" x 17 1/2"    A pencil-signed and titled view of a cabin studio set in a rugged landscape, with inscription "with warm regards to AL 1934". In a wooden frame that measures 22 7/8" x 28".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 143    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Houses by the Canal, 1929  Linocut on paper  One edition  9" x 12"    A pencil-signed and titled linoleum block print of houses among a grove of poplars near a canal. In a wooden frame that measures 18" x 20 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, LN - 62    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

A pair of handmade 1960s Italian art glass bookends in the shape of an apple and pear, blue glass cased inside yellow-green vaseline glass, one bearing a Cenedese Murano sticker to its underside. May be used as bookends, or fit together as a sculpture.    Pear measures 8 1/4" x 5 1/4". Apple measures 4 1/2" x 7".

A "Dale Gun" five cent skill shot arcade game by Exhibit Supply Co., whose wooden top sign reads "EXHIBIT'S AUTOMATIC MAUSER PISTOL SHOOTING GALLERY". Circa 1949.    Measures 72 1/4" x 17" x 33 1/2".

A sterling Nassau luxury cigarette lighter with automatic push-button mechanism, engraved with "B" monogram. Design patented Dec. 26, 1905, lighter produced circa 1910.    Measures 2" x 1 1/2".

A Whiting Manufacturing Co. sterling silver heart-shape perfume flask, chased acanthus leaf motif, with "MM" monogram on one side, circa 1895. Locking twist cap. Stamped on the neck with a Whiting pictorial mark, "STERLING 4734". Weighs 2.01 ozt.    Measures 3 3/4" high.

Four hand-colored stipple engravings after Pierre-Joseph Redoute (French, 1759-1840), early 19th century impressions. Each of the four botanical illustrations were created for Duhamel du Monceau's Traite des Arbres et Arbustes (published first quarter 19th c.). Each sight measures 12" x 9 1/4", and each is framed in ash wood, measuring 17 5/8" x 13 5/8".    SALIX arenaria - SAULE des Sables (T. 3. No. 30)  Creeping silver willow    DIRCA palustris - DIRCA des marais (T. 3. No. 48)  Eastern leatherwood    PRINOS glaber - APALANCHE glabre (T. 3. No. 54)  Inkberry    GLEDITSIA triacanthos - FEVIER a trois pointes (T. 4. No. 25)  Honey locust    Redoute has been described as "the Raphael of flowers" for his deft handling of botanical subjects, and his patrons included French royalty from Marie Antoinette to Empress Josephine de Beauharnais.

Two hand-colored stipple engravings after Pierre-Joseph Redoute (French, 1759-1840), mid to late 19th century impressions. Both botanical illustrations were created for Duhamel du Monceau's Traite des Arbres et Arbustes (published 1801-1819). Each engraving depicts a variety of cherry, executed on wove paper. Each sheet measures 16 1/4" x 10". Not framed.    CERASUS Padus - CERISIER a grappes (T. 5. No. 1)  Bird cherry    CERASUS Mahaleb - CERISIER de Sainte Lucie (T. 5. No. 2)  Saint Lucie cherry    Redoute has been described as "the Raphael of flowers" for his deft handling of botanical subjects, and his patrons included French royalty from Marie Antoinette to Empress Josephine de Beauharnais.

Two hand-colored stipple engravings after Pierre-Joseph Redoute (French, 1759-1840), mid to late 19th century impressions. Both botanical illustrations were created for Duhamel du Monceau's Traite des Arbres et Arbustes (published first quarter 19th c.). Each engraving is a depiction of four varities of cherries, executed on wove paper (one with 19th c. French "Odent & C." watermark). Each sheet measures 20 1/2" x 13 1/2". Not framed.    CERASUS - CERISIER (T. 5. No. 12)  A. Gros Gobet, B. Cer. a courte queue, C. Guindoux de Poitou, D. Der d'Espagne    CERASUS - CERISIER (T. 5. No. 16)  A. Guigne piquante, B. Griolle de Portugal, C. Petite Guigne noire, D. Guigne blanche tardive    Redoute has been described as "the Raphael of flowers" for his deft handling of botanical subjects, and his patrons included French royalty from Marie Antoinette to Empress Josephine de Beauharnais.

Two hand-colored stipple engravings on wove paper after Pierre-Joseph Redoute (French, 1759-1840), late 19th century impressions. Both botanical illustrations were created for Duhamel du Monceau's Traite des Arbres et Arbustes (published first quarter 19th c.). Each sheet measures 16 1/8" x 10 1/4", unframed, in heavy paper mats that measure 19" x 15".    THUYA articulata - THUYA articule (T. 3. N. 5)  Tetraclinis cypress    EPHEDRA altissima - EPHEDRA tres eleve (T. 3. N. 6)  High-climbing jointfir    Redoute has been described as "the Raphael of flowers" for his deft handling of botanical subjects, and his patrons included French royalty from Marie Antoinette to Empress Josephine de Beauharnais.

Erte (Romain de Tirtoff)  Russian-French, 1892-1990  Faubourg St. Honore, 1990  Cold-painted bronze  Edition of 375    A cold-painted bronze of a tall, elegant woman in flowing robes, from the essential Art Deco artist. Numbered 151/375. Signature Erte cipher on the back of the cape. Stamped "CHALK & VERMILION AND SEVENARTS" to the back of the base, where it is also dated and numbered.    Measures 19 1/2" high. Weighs 37 pounds.

Lucien Charles Edouard Alliot  (French, 1877-1967)  Phalene, 1904  Cast bronze  28" height    An Art Nouveau woman with a butterfly in her hair, coyly smiling, covering herself in flowing garments decorated with stars. Titled to the base, signed in the casting, with a partially obscured cast "1904 Alliot" foundry mark.    Weighs 43 1/2 pounds.

A figural nude Art Deco dancer lamp with gold patina. Topped with a Czech amber crackle glass globe. On a marble-patinated metal base, outfitted with a turning switch.    Measures 13 1/4" x 11 1/4" x 4 3/4".

A 1920s Art Deco lamp in the style of Gerda Gerdago, having a patinated dancing harlequin figure beside a lighted pedestal that is topped by an orange controlled-bubble glass orb. Switch on power cord. Black slate base.    Measures 8 1/2" x 10" x 4 1/4".

A figural nude Art Deco dancer lamp with gold patina. With a controlled-bubble glass orb set on a black-patinated metal base, outfitted with a turning switch.    Measures 13 1/4" x 8 1/4" x 4".

A green-patinated metal Art Deco lamp by Frankart. Nude figure kneeling before a controlled-bubble glass orb. Turn switch on the back of the base, next to cast "FRANKART INC. PAT. APPL'D FOR".    Measures 8 1/2" x 8 1/4" x 3 3/4".

Auguste Moreau (after)  (French, 1834-1917)  Young Psyche  Cast Bronze  20 3/4" height    A fine early 20th century patinated bronze of Auguste Moreau's sculpture of the young girl who would become the object of Cupid's affection, depicted here with her iconic allegorical butterfly wings. Signed in the casting "Aug'te Moreau" and bearing a foundry mark "E. Colin & Cie Paris".    Weighs 24 pounds.

A pair of nicely cast spelter Art Deco incense burners, circa 1930, attributed to Ronson Art Metal Works. One in the form of a nude pinup in high heels, kneeling before an incense box; the other, an Egyptian Revival reclining woman, holding out a bird-form incense box.    The first measures 6 1/4" x 6 1/4" x 3 1/2", the second measures 3 1/4" x 13 1/2" x 2 1/4".

Birger Sandzen  (Swedish-American, 1871-1954)  Gran Quivira, 1919  Lithograph on paper  Edition of 50  16" x 22"    A pencil-signed and titled New Mexican panorama framed by trees in the foreground. In a wooden frame that measures 24 7/8" x 30 1/8".    "We [Sandzen with Marsden Hartley and BJO Nordfeldt] made a 400-mile trip in the wilderness which took us four days, and saw some of the most picturesque Indian villages and ruined cities that died of fear--Aba, Cuari, and Gran Quivira--abandoned by the Pueblo Indians about 250 years ago after repeated attacks by the Plains Indians. The trip was delightful beyond words." (Birger Sandzen in a letter to Raymond Johnson, 1919, as detailed in Lindquist)    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 43  Emory Lindquist, Birger Sandzen: An Illustrated Biography, Birger Sandzen Memorial Foundation, 1993    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Kansas Stream, 1939  Lithograph on paper  Edition of 100  10" x 14"    A pencil-signed and titled view of distinctive trees along a Kansas stream. Executed on cream wove paper, in a wooden frame that measures 19 1/8" x 22 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 162    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Top of Salemsborg Hill, Kansas, 1917  Lithograph on paper  Edition of 100  12" x 18"    A pencil-signed and titled landscape of rocks and barren trees in Salemsborg, Kansas, just outside of Salina. Executed on cream laid paper, in a wooden frame that measures 20 1/2" x 26".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 22    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  At the Timberline, 1943  Lithograph on paper  Edition of 60  16" x 19 1/4"    A pencil-signed and titled mountain vista with barren cedars in the foreground. In a wooden frame that measures 25 3/8" x 28 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 176    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Stony Pasture with Cottonwood Grove, 1916  Lithograph on paper  Edition of 50  11 7/8" x 17 7/8"    Among his earliest graphic work, a view from Birger Sandzen's in-laws' farm in Graham County, Kansas. Pencil-signed and titled, in a wooden frame that measures 20 5/8" x 26 1/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 4    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Sunset in the Mountains, 1916  Lithograph on paper  Edition of 50  7" x 10"    A pencil-signed and titled view from Buffalo Park, Colorado, from Sandzen's early graphic oeuvre. In a wooden frame that measures 15 5/8" x 18 1/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 8    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

A French chiming mantel clock, late 19th c., marble case flanked by cherubim, and topped by a patinated spelter sculpture titled Hesitation, after Charles Anfrie (French, 1833-1905). Hand-painted enamel dial, gilt metal feet and accents. The movement is unmarked.    Measures 23 1/2" x 12 1/2" x 6 1/2".

A heroic cast metal sculpture of Joan of Arc in full armor, holding a sword in one hand and a flag in the other. Patinated bronze finish, marble base.    Measures 31 1/2" x 8 1/2" x 8 1/2". Weighs 37 1/2 pounds.

A cast metal bust of Napoleon III, depicted in military attire, with a brown-patinated bronze finish. 20th century casting after a 19th century sculpture. The base reads "Napoleon III en Italie". When surveying the gruesome remains of a victorious battle in Solferino, Italy, Napoleon III was said to have been moved to end the Franco-Austrian War.    Measures 29" high. Weighs 73 1/2 pounds.

A sculptural cast spelter chiming mantel clock by New Haven Clock Company of New Haven, Connecticut, late 19th century. The castings include a figure of an artisan crafting a pitcher, an urn compartment holding the clock key, two feet in the form of neoclassical dolphins, and a center scrolling mount on the base. Hand-painted numerals on the enamel dial behind bowed glass. Ebonized steel base.    Measures 15 1/2" x 20 1/2" x 7".

An 1823 alphabet sampler by a young Ms. Fisher, with some floral detailing. In a wooden frame that measures 17" x 9".

A deftly executed 1821 alphabet sampler, with a row of labeled crown symbols of English royalty. The reverse of the original antique frame bears a hand-written inscription: "Grandmother June Tyley White / Sarah Housh / Wedmore, Somerset / Worked by her at the age of 10 years".    Frame measures 14 1/4" x 13 3/4".

A late 18th century needlepoint of a woman in fancy garments surrounded by her garden, as she sows seeds. With blue fringe and beige velvet backing.    Measures 15 5/8" x 13".

An antique pair of Gorham sterling grand candelabra, in the popular decorative Chantilly pattern, with made with removable bobeches. One dates to 1911 (pictorial pipe stamp to underside), the other to 1912 (pictorial fish stamp to underside).    Each measures 15 1/2" x 15" x 15".    Note: This lot is offered with a confidential reserve price, in an amount not to exceed the low estimate.

A Gorham sterling compote, circa 1906, having a rounded square form above a reeded pedestal. Stamped to the underside with the Gorham cipher, key, and "STERLING A4538".    Weighs 16.11 ozt, measures 3 1/4" x 8".

Porter George Blanchard  (American, 1886-1973)    A set of eight pewter chargers with hand-hammered lobes, circa 1960s. Each is stamped "197 HANDMADE PORTER BLANCHARD" to the underside. Blanchard worked in the Arts and Crafts tradition, operating his California studio from the 1920s until his death in 1973, and his work is included in a number of museum collections across the US.    Each measures 12 1/2" in diameter.

A sterling silver Reed & Barton dresser clock with Waltham mechanism, first half 20th c. Chased floral motif, hand-engraved Roman numeral dial. Stamped with the Reed & Barton eagle/lion mark and "STERLING".    Measures 9" x 7 1/2".

A 19th c. English footed salver, Sheffield silver, with chased floral designs and an engraved 12-point buck crest. Unmarked.    Measures 8" in diameter.

A countertop drug store blood pressure monitor (sphygmomanometer), identified as the "B-D MANOMETER" on a metal plaque, by Becton-Dickinson (New Jersey). Walnut case with porcelain meter that runs from 0-300, and a pump inside the case's side storage compartment. First half 20th century.    Measures 13 1/4" x 7 3/4" x 4".

A late Victorian English oak barrel, with four brass bands and two brass handles. Inside is a removable lead liner.    Barrel is 13" x 15" (19" across including handles).

Birger Sandzen  (Swedish-American, 1871-1954)  Magnolias, 1946  Lithograph on paper  Edition of 100  14" x 18 3/8"    A pencil-signed and titled floral still life. In a wooden frame that measures 23 1/2" x 27 7/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 189    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Bennington Lake, 1945  Lithograph on paper  Edition of 100  14" x 18 3/8"    A pencil-signed and titled lake view with trees, with a chop mark to the sheet that reads "CUNO PHILA, PA. IMPRESSION". In a wooden frame that measures 23" x 26 3/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 186    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Lone Pine, 1919  Lithograph on paper  Edition of 50  11 3/4" x 17 1/2"    A pencil-signed and titled depiction of a single distinctive pine tree in a mountainous landscape. In a wooden frame that measures 20 3/4" x 26".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 37    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  The Prairie Castle, 1918  Lithograph on paper  Edition of 50  15" x 20"    A pencil-signed and titled depiction of Castle Rock, a limestone pillar formation in Gove County, Kansas, in the Smoky Hills region of the Great Plains. Formed an estimated 80 million years ago, Castle Rock was named one of the 8 Wonders of Kansas in conjunction with the nearby Monument Rocks. In a wooden frame that measures 24 1/8" x 28 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 33    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Kansas Farm, 1940  Lithograph on paper  Edition of 50  10 1/8" x 11 7/8"    A pencil-signed and titled view from the Smoky Valley. Alternately titled The Hillside Farm. In a wooden frame that measures 19 1/4" x 20 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 167    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Willows by the Rio Grande, 1921  Lithograph on paper  Edition of 50  12" x 18"    A pencil-signed and titled vista of willow trees the southern border. In a wooden frame that measures 21 1/8" x 26 5/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 60    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  A Kansas Creek, 1930  Lithograph on paper  Edition of 200  7" x 10"    A pencil-signed and titled view of Wild Horse Creek lined by trees. This edition of 200 was created as the first ever "gift print" of the Prairie Print Makers, a respected artists group founded at a meeting in Sandzen's studio that included C.A. Seward, later joined by artists including John Steuart Curry and William Dickerson. In a wooden frame that measures 16" x 18 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 131    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

A nicely cast bronze reproduction of Frederic Remington's Paleolithic Man, attributed to World of Bronze. Paleolithic Man was originally created in 1906, Remington's prehistoric figure a representation of the Darwinian ideas novel to that time period. Titled and facsimile signed near the base of the bronze, and stamped "20/100". Set on a marble base bearing an etched brass title plate.    Measures (including base) 15 3/4" x 13 1/2" x 8". Weighs 28 1/2 pounds.

A French chiming mantel clock, circa 1880-1890, marble case topped by a patinated spelter sculpture titled Roses Tremieres, after Auguste Moreau (1855-1919). Hand-painted enamel dial. The movement was created by A. Chapus for the Parisian store La Gerbe d'Or, located at that time on the historic Rue de Rivoli.    Measures 23 1/2" x 12 1/2" x 6 1/2".

A nicely rendered early 20th c. botanical pastel of blue and white irises, on paper. Signed "R. LeRoy" in the bottom right corner.    Mat sight: 21" x 13", frame size: 33 1/2" x 25 1/2".

Gladys M. Wheat  (Kansas/Missouri, 1889-1976)  Untitled, 1927  Woodcut  9" x 12"    A woodcut, signed and dated in the plate to the bottom right, pencil-numbered in the lower right margin (6/100), executed in a style similar to Birger Sandzen. Gladys Wheat was an artist and educator perhaps best remembered for her role as a professor of art at the University of Missouri. In a reeded black frame that measures 17 3/8" x 19 7/8".

Gertrude Freyman  (Kansas City, 1901-1994)  Peacocks  Watercolor on paper  14" x 15 1/2" (sight)    A pencil-signed watercolor by Kansas City area artist and educator Gertrude Freyman. In a simple black wooden frame that measures 20 1/4" x 21 3/4".

Robert Kalthoff  (American, b. 1936)  Untitled (Football Player), 1964  Charcoal and wash on paper  17 1/2" x 23"    An early original work on paper by Robert Kalthoff, signed and dated to the bottom right. Not framed or matted.

An oil on canvas, likely Mexican, early 20th c., signed "L. Pelestor" or "C. Pelestor", of a stream-side home in a desert landscape. The work bears some similarities to artist Carlos Pelestor, but the signature is a non-match to known examples. In a painted wood frame.    Canvas measures 10 3/4" x 16 1/4", frame measures 16 1/4" x 21 3/4".

An unsigned antique oil of a man seated next to a small corner shop labeled EPICERIE, with a woman lighting a lantern nearby. European, circa 1900. The canvas measures  8" x 6", in a double frame measuring 14 1/4" x 12 1/4".

A vintage color lithograph on laid paper after Holbein the Younger's Portrait of an Unknown Woman. The sight measures 15 3/4" x 11", in a silver frame that measures 25 3/4" x 21". The original painting, created circa 1528, resides in the Royal Collection at Windsor Castle.

A 1993 art glass vase by artist Tim Lazer (California, 20th century). Signed and dated to the underside.    Measures 8 3/8" high.

A dichroic glass vase by California artist Randy Strong, signed "R. Strong 2002" to the base. Strong's studio was a stalwart of the American Studio Glass movement from 1971-2013.    Weighs 11 1/2 pounds, measures 13 1/2" x 9 1/2".

A group of three assorted art glass vases.    The first, a 1982 Orient & Flume bud vase, with flowers cased in clear glass, above a network spiraling white canes. Incised on the underside "CC1982AT27". Measures 4 1/4" high.    The second, a 1985 Bettina Foothorap pulled feather vase with a spiraling black line over a blue ground. Signed and dated on the underside. Measures 6" high.    The third, an unidentified vase, with many layers of designs, forming an abstract landscape. Indecipherable signature on the underside, dated 1980. Measures 5 3/4" high.

A large finely cast French gilt bronze five-arm wall sconce, 19th century. The wall plate features a figural Louis XIV relief above crossed torch motif, and three of the arms feature putti busts.    Measures 18 1/2" x 21" x 11 1/2".

A nicely cast matched pair of 19th c. three-arm gilt candelabra, likely Belle Epoque period, with a putti figure on each stem. Fruit finials sit on each top. Unmarked.    Each measures 23 1/4" high.

A spelter and slag glass boudoir lamp in the form of a lidded urn, with neoclassical stylings. The turn switch is on the base.    Measures  10 1/2" x 5 1/4".

Birger Sandzen  (Swedish-American, 1871-1954)  White Rocks, 1942  Lithograph on paper  Edition of 100  15 1/16" x 20 1/16"    A pencil-signed and titled panorama of the rugged American West. In a wooden frame that measures 24 1/4" x 28 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 173    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Margaret's Creek, 1930  Lithograph on paper  Edition of 100  15" x 20"    A pencil-signed and titled lithographic landscape on laid paper by Birger Sandzen, likely a view of the Smoky River, named in tribute to his daughter Margaret. In a wooden frame that measures 24 1/8" x 28 5/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 132    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  The Colonnade, 1924  Lithograph on paper  Edition of 100  10 1/2" x 14 1/2"    A pencil-signed and titled rocky landscape near Palmer Park in Colorado Springs. Watermarked Arches laid paper, in a wooden frame that measures 23 3/8" x 26 7/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 102    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  In the Park, 1917  Lithograph on paper  Edition of 50  7" x 10"    A pencil-signed and titled scene of Swensson Park in Lindsborg, Kansas, next to Bethany College, and just a block away from the present-day location of the Birger Sandzen Memorial Gallery. In a wooden frame that measures 16" x 18 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 10    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Margaret Sandzen Greenough (American, 1909-1994)  Birger Sandzen (Swedish-American, 1871-1954)  Wildcat Valley Farm, 1942  Lithograph on paper  Edition of 50  10 1/8" x 12"    Pencil-signed by both Birger Sandzen and his daughter Margaret, and titled by Birger. Executed on watermarked cream wove paper, in a wooden frame that measures 19 1/8" x 20 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 172    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Farm on Smoky River, 1936  Lithograph on paper  Edition of 100  16" x 20"    A pencil-signed and titled view of a Kansas farm in the Smoky River Valley. Watermarked Arches sheet, in a wooden frame that measures 25 1/8" x 28 1/2".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 153    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Robert Crowder (attributed)  (Beverly Hills, 1911-2010)  Byobu screen  67" x 99 1/2"    A four-panel Japanese-style byobu screen. Gold, ink, and colors on paper, with a silk border and black lacquer frame. Depicting ducks, swallows, and doves in and around a distinctive cherry tree, set in a lake landscape. Attributed to Robert Crowder, though the work is unsigned. The panels are each detached.    Each panel measures 65 1/2" x 24 1/2". Including the frame, the set measures 67" x 99 1/2".

Three late 19th c. Japanese Imari scalloped plates, stenciled and hand-painted blue underglaze, and hand-painted green and iron-red. No identifying marks.    The plates measure 8 3/4", 8 1/2", and 8 1/4" in diameter, respectively.

A Chinese ceramic teapot with metal handle, circa late 19th/early 20th century. Globular-shaped teapot with lid, S-curved spout, and short raised neck, decorated in blue and white with mythical beasts, foliage, and net patterns on body. Six-character Chenghua mark to the underside.    Measures 4 1/8" x 6 1/2" x 4 1/2" without handle.

An antique Chinese stem cup, circa late 19th/ early 20th century, having a rounded bowl with incised marks in the center, an everted rim, and a dome-shaped base. Dipped with white glaze and decorated with blue underglaze in floral, net, and wave patterns.    Measures 2 1/8" in height and 3 1/2" in diameter.

A ceramic Guanyin (Kwan-Yin) seated on a Buddhist lion, silver-leaf on red bole. Second half 20th century. Measures 24 1/4" x 11 3/4" x 6".

A Chinese brass side-by-side cigarette and match holder with hand-enameled figural scenes, having a handle and meander form feet. Circa 1920s.    Measures 3 1/2" x 5 1/4" x 2".

A Chinese cast metal jardiniere with hand-enameled champleve taotie mask motif, circa 19th century. Unmarked.    Measures 8 1/2" x 12 1/4".

A puzzle ball carved from a single piece of spinach-colored nephrite jade, 20th century. Five concentrically nested movable openwork layers.    Measures 5" high with small stand.

A pair of 20th c. Japanese woodblock prints, each printed circa 1950s-60s.    The first, after a woodblock by Takahashi Shotei, titled Sagami River, Evening, depicting several boats in the fore and middle ground, with Mount Fuji looming in the background.    The second, after a woodblock by Hiroshige Ando, titled Monkey Bridge, Full Moon, depicting travelers over the famed ancient bridge in Otsuki, with a full moon rising above Fuji on the horizon.    Each sheet measures 15 1/4" x 6 3/4", each frame measures 20" x 11 3/4".

Carved from stone, possibly granite, Emolument Star, one of the Three Star Lords in Chinese popular religion, wearing a Chinese official‚Äôs garment and hat. His right hand holds a jade belt and his left hand a wish-granting wand. Indistinct mark to the underside. Chinese, 20th century.    Measures 6 1/2" high.

An intricately carved soapstone double-basin match holder, 19th c. Chinese, carved with a dragon motif among clouds. Signed with a stamp to the underside.    Measures 8" x 11" x 2 1/2".

A 20th c. Chinese carved soapstone double vase with floral motifs. Measures 8" x 6 3/4" x 3 1/4".

An antique Japanese Satsuma porcelain vase that has been drilled and converted into a two-light table lamp. Hand-painted scene of scholars to one side, with a scene of archers on the other side, and moriage-decorated designs above and below.    Measures 30 1/2" high.

A rectangular flask-shaped snuff bottle made of metal and bone, Tibetan, 20th century. Decorated with a bird surrounded by stars on one side and a yin-yang symbol within a hexagram and stars on the other.    Measures 2 1/4" x 1 3/8" x 3/4" inches.

Birger Sandzen  (Swedish-American, 1871-1954)  Toward Evening, 1942  Linocut on paper  Two editions  8 15/16" x 11 15/16"    A pencil-signed and titled linoleum block print of trees along a stream. In a black and silver frame that measures 20 1/4" x 23 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, LN - 88    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Hilly Pasture with Cows, 1917  Lithograph on paper  Edition of 50  12" x 18"    A pencil-signed and titled landscape with four cows in the foreground. In a wooden frame that measures 20 5/8" x 25 7/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 17    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Blue Valley Farm, 1929  Linocut on paper  First edition of seven  9" x 11 7/8"    A pencil-signed and titled first-state linoleum block print of a farmhouse near Randolph, Kansas, set among windswept trees. There is a hand-written inscription to the lower margin that reads "with best wishes to Doris Hancock 1930". In a wooden frame that measures 18" x 20 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, LN - 60    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Pond with Willows, 1937  Linocut on paper  6" x 7 3/4"    A pencil-signed and titled linoleum block print, alternately titled Prairie Stream or Pasture with Willows. In a simple black frame that measures 14 1/4" x 18 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, LN - 80

Birger Sandzen  (Swedish-American, 1871-1954)  Mountain Stream, 1937  Lithograph on paper  Edition of 100  10" x 14"    A pencil-signed and titled view of a stream flowing through a mountain homestead. In a black frame with gilt sight edge, measuring 18 5/8" x 23 5/8" in total.  Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 159    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Stream with Cottonwoods, 1929  Lithograph on paper  Edition of 100  10" x 14"    A pencil-signed and titled lithograph of a pastoral stream lined by cottonwood trees. In a wooden frame that measures 19" x 22 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 123    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

A six-spoke English oak ships wheel, with a steel center, circa late 19th c.     Measures 48 1/2" in diameter. Weighs 25 1/2 pounds.

An early 20th c. eight-spoke brass ships wheel, with walnut handles. Marked "Rosebank Ironworks Edinburgh / Brown Bros. & Co. Ltd.".    Measures 24 1/2" in diameter.

A vintage life ring, stenciled "S.S. Constitution". Stitched linen covering a cork ring, and fitted with ropes. 30" in diameter.    Commissioned in 1951, the S.S. Constitution was an ocean liner that carried passengers including Harry S. Truman and Grace Kelly and featured prominently in Hollywood productions including I Love Lucy and An Affair to Remember. The ship was retired in 1995.

An early 20th c. brass-plated steel ships binnacle, marked "James Morton Ltd. Sunderland / Moraziton". Walnut base.    Measures 8 1/4" x 12 1/2" x 12". Weighs 25 1/2 pounds.

A matching pair of early 20th c. marine portholes of heavy cast brass, with original glass and mountings. Unmarked.    Each approximately 17-18" in diameter with 12" window.

A nautical brass padlock with hinged steel shackle, with original skeleton key, hand-engraved "SHIP'S STORES". The reverse of the lock and the key handle are both stamped "235".    Measures 5" high.

A pair of handcuffs (late 19th c.) and a pair of leg irons (ca. 1930s). Each pair is fully functional, and offered with original keys. The steel handcuffs are marked "TOWER'S DOUBLE LOCK". The leg irons are WWII era, marked "HARVARD LOCK COMPANY NEW YORK".

A matching pair of round bamboo-form planters, cast iron, each having two ring handles and three feet. Circa 1960s.    Each measures 6" x 12", with handles that protrude another inch in total.

An antique reverse-painted glass plaque, a half-length portrait of a handsome young man in ermine and regal robes. French, late 19th/early 20th c. Remnant of a signature to the bottom right, possibly "M. Surelle".    Measures 8" x 6", in a frame that measures 14" x 12 1/4".

An antique French reproduction of Jean-Louis Ernest Meissonier's "The Jolly Cavalier", ca. 1900, reverse-painted on bowed glass. Signed indistinctly by the artist in the lower right, above "d'apres Meissonier."    Measures 7 1/2" x 5 1/2", and in a gold-leaf and yellow velvet frame measuring 12 3/4" x 10 3/4".

A grouping of dishes from Kansas City's historic Hotel Muehlebach. Including a set of six hand-hammered copper pans, heavy gauge copper with tin lining, first half 20th c. In addition to "HOTEL MUEHLEBACH, KANSAS CITY - MO", each pan is stamped with an "NYC" makers mark on the underside. Each measures 1 1/2" x 6 1/2".    Also included are a Royal Doulton teacup and two saucers, a Bauscher sugar bowl (dated 1925), and a Reed & Barton soup spoon, all custom-decorated with Hotel Muehlebach's swag designs.

Six pewter plates with a matching charger, early 19th c., each engraved with an elaborate heraldic crest, a lion salient inside crown-topped scrolling designs. Plates engraved "M.C." below a crown on the underside, alongside several worn stamps. The charger is engraved and stippled on the underside, "E.M.I." between fleur-de-lis, alongside several worn stamps.    Plates measure 7 3/4" in diameter, charger measures 10 1/2" in diameter.

Birger Sandzen  (Swedish-American, 1871-1954)  Birches, 1924  Lithograph on paper  Edition of 100  12 1/2" x 14 7/8"    A pencil-signed and titled landscape featuring birch trees near water. Executed on cream laid paper, in a wooden frame that measures 21 3/8" x 23 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 93    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Smiling Water, 1925  Lithograph on paper  Edition of 100  9 3/4" x 13 3/4"    A pencil-signed and titled lithographic stream view. In a wooden frame that measures 19 7/8" x 23 1/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 107    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Birch and Pine, 1924  Lithograph on paper  Edition of 100  13 3/4" x 17"    A pencil-signed and titled view of stream-side birch trees with pines shaded behind. In a wooden frame that measures 22 7/8" x 25 5/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 95    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  The Winding Stream, 1928  Lithograph on paper  Edition of 100  9 7/8" x 13 7/8"    A pencil-signed and titled view of trees along a stream. Executed on cream laid paper, in a wooden frame that measures 19 7/8" x 23 3/8".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 120    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Stream with Willows, 1923  Lithograph on paper  Edition of 100  7 3/4" x 11 3/4"    A pencil-signed and titled scene of gestural willow trees lining the banks of the Smoky Hill River in Kansas. In a wooden frame that measures 16 7/8" x 20 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 91    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

Birger Sandzen  (Swedish-American, 1871-1954)  Blue River, 1926  Lithograph on paper  Edition of 100  9 3/4" x 13 3/4"    A pencil-signed and titled view of trees along the Blue River. Executed on cream laid paper, in a wooden frame the measures 19 3/4" x 23 1/4".    Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 113    Framed to archival standards with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri.

A Louis XVI style hand-carved and gilt wood mirror, circa 1950s, crafted by Palladio for Kindel. Crossed torch and quiver with birds among laurels and ribbons to the top panel, which sits atop the frame in three slots.    Measures approximately 50" x 31".

A Georgian period candlebox, circa 1800, with a book-matched flame mahogany front and filigree top characteristic of the Chippendale style.    Measures 21 1/2" x 8 1/2" x 7".

An antique German faience stein, hand-painted with rural scenes and green sunflowers. The pewter lid is incised "J.S. 1785", and stamped on the underside with Merkelbach & Wick marks.    Measures 10 1/2" high.

A pair of Chippendale period (18th century) brass andirons with claw and ball feet. Each andiron measures approximately 18" x 26" x 10 1/2". Offered alongside a brass fireplace fender circa 1840, which measures approximately 7" x 10 1/2" x 46".

A group of nine antique brass candle holders, including two pair from the Queen Anne period. The group includes three matched pairs and three assorted single candle holders. Unmarked.    Heights range from 7" to 9 1/2".

A homemade doll buggy, 19th c. Kentucky, said to have been made by a father for his daughter. It was entered into a contest at the Hopkins County Agricultural and Industrial Fair in Madisonville, Kentucky, where it won first prize--the ribbon remains attached.    Bent and hand-painted oak with a fringed canopy mounted on a metal frame, original tufted seat cushion, and carpetbag floor cover. Measures 28" x 41" x 15".

A low cast metal table, first half 20th century, marked "VERONA 649 PAT. PEND." to the underside. Inset glass top with reverse painted gold-foil decoration.    Measures 19" high and 15 1/2" across.

A pair of vintage figural silver plate oxen tied with metal wire to a rolling cart, perhaps used as tableware. Stamped "Wallace EPNS 52609" on one wheel.    Measures 3" x 7 1/4" in total.

Two bronze-patinated cast metal fireplace ornaments, in the form of double guitars, set above tripod bases. One bears a tag to the underside, "Hand Made in Thailand".    Each measures approximately 30" high. The pair weighs 39 pounds.