Metal: Platinum
Size : 6 1/2
Stones : 98 (0.85ct) comes with GIA Certificate Oval Brilliant Cut Transparant

designed 1952-1953, this example 2015
Painted wood and plywood, metal, steel, painted cast-iron, glass, rope, linoleum, grass cloth
24 feet x 24 feet (7.3 x 7.3 meters) (approximate)

The near-exact replica commissioned from the original Rudolph design by the Sarasota Architectural Foundation, offered partially furnished. The structure is currently installed in downtown Palm Springs, CA, between the Rowan Hotel and the Palm Springs Art Museum, and must be deinstalled by the buyer by March 24, 2020.

For more information or to schedule a tour, please contact Brent Lewis at [email protected].

The Sarasota Architectural Foundation (SAF) commissioned this example of Paul Rudolph’s Walker Guest House (also known as “Cannonball House”) in response to the destruction of several structures designed by the architect. Originally built in 1952 in Sanibel, Florida, the present example was constructed from the original Rudolph plans, and initially installed on the grounds of The John & Mable Ringling Museum of Art where it was open for tours from 2015 to 2017. Countless visitors have toured the interior and exterior of the 576-square-foot house to learn about Rudolph and discover the principles of the Sarasota School of Architecture movement. The structure was thoughtfully constructed with the intention to be portable, and in 2018, it was reinstalled in Palm Springs, where it was a feature of “Modernism Week,” the city’s biannual festival celebrating mid-century modern architecture and design.

“The SAF, whose mission is to educate about, advocate for and celebrate Sarasota’s mid-century modern heritage, undertook this project as an educational initiative,” SAF Chairman Dr. Christopher Wilson, Ph.D., said. “Recognizing that a majority of Sarasota School structures are private residences not normally accessible to the public, the SAF wanted to expose the forward-thinking principles of the ‘Sarasota School’ to a wider audience by constructing and exhibiting this replica.”

The Walker Guest house was Rudolph’s first design executed independently, and is considered among his most significant projects. Rudolph built numerous other influential residential buildings in the Sarasota, Florida region, including his so-called Umbrella House (1953) and Cocoon House (1950), designed with Ralph Twitchell. In 1997, Rudolph donated much of his archive to the Library of Congress, which helped establish the Library’s Center for Architecture, Design, and Engineering. By ensuring that his work was publicly accessible, he acted to see that his work could be preserved even if the original structures were not.”

The 24-by-24-foot structure features full-height, floor-to-ceiling glass walls and movable flaps that act as sun shades when raised and provide privacy when lowered. The flaps are controlled through the use of bright red counterweights on a rope rigging system, a process Rudolph learned during his time serving in the U.S. Navy. The cast weights resemble painted cannonballs, earning the structure the “Cannonball House” moniker. It will be offered at auction partially furnished with faithful reproductions of the original furniture Rudolph designed for the house, and will be on display during Palm Springs Modernism Week this February. The bidding will start at $10,000 – the same amount as the original 1950s budget.

It took nearly nine decades of World Series action for the ultimate symbol of achievement in our national pastime to cross an international border, and we find that symbol on offer here, a massive trophy commemorating the first of two consecutive World Championships in Toronto. While the foot-tall examples cross the hobby’s auction block with a reasonable degree of regularity, these monumental “Commissioner’s Trophy” models are dozens of times as rare, typically issued only to team ownership.

Mr. White tells us that each player was issued the standard twelve-inch model after the Jays’ conquered the world and had the option to purchase the twenty-four inch style out of their own pocket. White believes he was the only player to do so. He also tells us that this trophy, and the 1993 model in the lot that follows, have spent the past three years on display at the Rogers Centre, the Blue Jays’ home park, before consignment to Heritage.

The distinctive styling of this award features a ring of flags announcing every Major League team, with crown and baseball figurals at center. Pins sporting the logo of the Blue Jays and the Atlanta Braves, who met that October, are positioned in front. Ringing the base of the twenty-four-inch tall trophy is a golden band, which is engraved, “Replica 1992 World Series Championship Trophy, Made for Devon White, Member of the 1992 Toronto Blue Jays.” The trophy remains mounted on a red velvet base for public display, adding approximately seven inches (7″) to the height. Fine condition. A portion of the proceeds from this sale will be donated to the Canadian Cancer Society. Letter of provenance from Devon White.

From William Hogarth’s house, Chiswick, England. Sold February 16, 1928.
(SARO574)(MS)
Dimensions: 27 H x 28.25 W x 17.75 D
Property from a private Amenia, NY home
Condition
Overall good. Replacements and wear throughout.

Oval Shape, six-footed open silver frame with well matched and likely original Cranberry Glass insert. Hallmarked with Lion, Anchor, and G, STERLING and 2515. 1.5″ x 2″ x 3″. silver weight: 1.6 OZT. One very minor fleabite to glass rim, otherwise excellent condition. Keywords: Antique, American, Victorian, Classical, Satyr, Salt Dip, Salt Cellar

Francis Focer Brown (American, 1891-1971), early 20th century, oil on Upson board painting depicting a purple pot filled with pink and red daises, signed, ‘F. F. Brown,’ on the face of the painting and on verso priced for, ‘$135,’ and signed,’Francis F. Brown’.

Dimensions are: 19 3/4 inches (50.2 cm) tall X 17 3/4 inches (45.1 cm) wide. All measurements are approximate.

Artist Biography: Francis Focer Brown (American, 1891-1971) was a well-known American Impressionist painter, as well as professor and head of the Fine Arts Department at Ball State University in Muncie, Indiana from 1925-1957, and Director of the Muncie Art Museum. Also known as Francis Brown and Francis F. Brown. His work was exhibited frequently at the Hoosier Salon- Indiana Artists Annual, Herron School of Art Museum, Ball State University, Indiana State Fair, Indiana Art Club and others. Brown studied with painters, John Ottis Adams and William Forsyth at the Herron School of Art; Ball State Teachers College, B.S.; Ohio State University, M.A. Member Indiana AC; Hoosier Salon. He exhibited at the Richmond Art Museum, 1922 (prize); John Herron Art Institute, 1922 (prize); Hoosier Salon, 1922-45 (awards); CMA, 1922-25; PAFA, 1922, 1923. Francis Focer Brown was a child prodigy drawn at an early age to the field of art. Born in Glassboro, New Jersey, Brown later relocated to Muncie, Indiana. During summer vacations while attending Muncie Southside High School, Brown received instruction from J. Ottis Adams in Brookville, Indiana. Following his instruction with Adams, Brown later enrolled at the John Herron Art Institute where he studied under William Forsyth (artist). Brown later shared a studio with his wife, Beulah H. Brown, whom he met while a student at the Herron Art Institute. Brown’s subject matter was often regional and depicted the Indiana countryside. His style resembled impressionism with a juxtaposition of contrasting colors and forms which could encompass the Fauvist and Expressionist movements. Francis Focer Brown are in the permanent collections several Indiana museums including the John Herron Art Institute (now the Herron School of Art and Design at Indiana University), Ball State University’s Museum of Art, the Indianapolis Museum of Art and the Richmond Art Museum. Biography paraphrased from: https://en.wikipedia.org/wiki/Francis_Focer_Brown.

Condition: Wear to the edge of the board but the face is free of chips, cracks and repairs.

Provenance: Oakridge Auction Gallery has been entrusted to bring an archive of paintings by Francis Focer Brown (American, 1891-1971) and Beulah H. Brown (American, 1892-1987), a.k.a. Beulah Elizabeth Hazelrigg Brown, to market. This archive is believed to have been part of the personal collection of one of the artists and was recently discovered languishing in storage. This is the first time in this generation these pieces have been seen and offered publicly.

Chinese K’ang Hsi Period Coromandel Screen
October 1681; having six panels, carved on both sides; one side depicting figures in a courtyard, the other having trees and waterfowl; provenance: Malcolm Franklin, Inc., Chicago, Illinois
Condition: Very Good, overall light to moderate wear consistent with age and normal use, craquelure overall, minor chips and scratches
Height: 71.00 inches, Width: 96.00 inches
Category: Furniture > Asian

Shipping Status: Due to size, weight, value or shipping complexity, this item must be shipped via a 3rd Party and the shipping cost may be high. We recommend contacting multiple shipping vendors for an estimate as the cost may vary greatly.

Approximate Sale Time: 11:07 am CST

Condition
Very Good, overall light to moderate wear consistent with age and normal use, craquelure overall, minor chips and scratches

Only 100 business-strike Liberty eagles were struck in 1875, making it the lowest mintage regular-issue U.S. gold coin and the premier rarity of the series. PCGS CoinFacts estimates the surviving population at eight to nine examples in all grades and no Mint State coins are known, or even rumored. It has been stated that as many as 12 to 15 piece are known, but it appears that figure is on the high side and that the actual number is more likely seven to nine. Only two or three would grade AU, and some of the coins that have been certified are actually impaired proofs. The roster below includes 11 specimens known to us, including one example in the National Numismatic Collection at the Smithsonian Institution.

There was little numismatic interest in Liberty eagles in 1875, as the coins were too expensive for most collectors to set aside. The few numismatists who did collect large denomination gold coins simply ordered one of the 20 proof examples struck that year to update their collections. As a result, no business strikes were saved by contemporary collectors and no Mint State examples have ever been publicly offered. There have only been 13 public offerings of this issue in any grade over the last 20 years and most of the coins are presently in strong hands, so future auction appearances may be even more infrequent.

The present coin is an attractive AU50 PCGS example from the Jacobson Collection which we believe is tied for second-finest known (the AU55 coin in the NGC Census is actually a circulated proof and we believe the AU53 specimen in the PCGS Population Report is a prior submission of the AU53+ example in their listings). Although the 1875 eagle has been something of a sleeper in the past, collectors are beginning to appreciate the rarity and appeal of this issue in recent times. This particular coin set the auction prices realized record for the issue in its 2018 appearance in the Admiral Collection (Heritage, 2/2018), where it brought $372,000. The AU53+ PCGS example in Stack’s Bowers 2011 ANA Auction realized almost as much, as it sold for $345,000. Clearly, collectors have become more aware of the elusive nature and potential value of this classic gold rarity. The 1875 Liberty eagle seems poised to join the other outstanding rarities in the U.S. federal series at the highest level of commercial value and pride of ownership.

This coin exhibits only light wear on the strongly impressed design elements, with much interior detail still intact on Liberty’s hair and the eagle’s feathers. Like all examples seen, the pleasing orange-gold surfaces show a number of minor abrasions and some chatter in the fields, but most of the marks are unobtrusive and none are overly distracting. Original mint luster remains in the sheltered areas, mixed with flashes of prooflike reflectivity around the margins. The overall presentation is most attractive. This coin will be a welcome addition to the finest collection or Registry Set.

Ancient Greece, Athens, Attic, Painter of Louvre F6, ca. 560 to 550 BCE. A magnificent black-figured krater, quite sizeable and presenting a wonderful iconographic program, attributed to Painter of Louvre F6 of the workshop of Lydos by Dr. Janos Gy. Szilagy. Side A features a swan between two confronting panthers. Side B presents a large mountain goat occupying the entire central register. Beneath each handle is another swan, and swans also adorn the square top of the handles. Each animal is further adorned with incised details as well as fugitive red pigment. Painted vessels by the Painter of Louvre F6 relate to Lydos in that animals are featured on very large vessels relatively late in Athens, and the style of the animals is very similar. Size: 14″ W handle span x 10.625″ H (35.6 cm x 27 cm)

The animals on this vessel carried great symbolism. The swan, for instance, was a creature which played a complex role in Greek mythology. The swan was an attribute of Aphrodite and Apollo, said to sing a song of unearthly beauty as it died. It was also the form assumed by Zeus to ravish Leda, mother of Helen of Troy. The panther is associated with Dionysos (Roman Bacchus) – the Olympian god of wine, pleasure, ritual madness, ecstasy, and theatre – as artists in ancient Greece and Rome depicted Dionysos (Bacchus) riding a magnificent panther. For example, a wonderful Greek mosaic from Pella (ca. 4th century BCE) depicts Dionysos riding a panther. Then there is the marvelous marble sculpture of Dionysus with Panther (ca. 2nd century CE) at the Uffizi Gallery in Florence. In addition, another marble sculpture depicting Dionysos with a panther (ca. 150 BCE to 100 CE) is in the esteemed collection of the Yale University Art Gallery (1956.8.30). Goats were another animal associated with Dionysos, traditionally sacrificed to honor the god. In addition, there is evidence that goat masks associated with the god were worn by dancers in worship rituals dating even earlier with imagery found in a Minoan tomb near Phaistos in Crete.

A close parallel for the swan and panther imagery occurs on an amphora that was part of a Christie’s auction (June 12, 2000 – Lot 34). Also compare to a hydria with animal iconography in the manner of Lydos from the Tocra Museum in John Boardman “Athenian Black Figure Vases” (Thames & Hudson, 1985, figure 72).

In addition, the National Archaeological Museum, Athens, Greece has a black-figure column krater by Painter of Louvre F6 in their collection, and the Museum of Fine Arts, Budapest has an Attic Black-Figure Amphora by Painter of Louvre F6 (inventory number T.657).

Provenance: ex-South German private collection, acquired in the 1980s; acquired from J. Haering, Freiburg, Germany, in 2010

All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.

A Certificate of Authenticity will accompany all winning bids.

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#152684

Condition

Professionally repaired from about 2 dozen pieces with restoration over the break lines. Very well done. Very little if any overpainting. Expected surface wear with a few scuffs, scratches, nicks commensurate with age.

Artist: Malcolm Furlow | Living
Title: Braveheart Dance II
Signed verso: “Braveheart Dance ll (1st position) © Furlow
Media: Oil on canvas
Dimensions: 46 by 58 inches

Condition: Very Good
Condition details: This painting is in very good condition. With the unaided eye there are no issues. Closer inspection under ultraviolet light reveals normal fluorescence of artist’s pigments, and no signs of restoration. The piece is unframed. The artist has signed the back of the piece; “Braveheart Dance ll (1st position) © Furlow #827”