This collection includes 37 Photos from John and Elaine Steinbeck’s tour of the Greek Islands with Liz & John McKnight (head of USIS in Rome) in October 1954. Skipper and Mate: Sam & Eileen Barclay Some photos inscribed on the back: “Pappy Threading needle” Restaurant in Turcolimira just before sailing “What’s so funny?” ‘You know who…” “When we were looking over a batch of funny pictures Johnny remarked: “We sure did a lot of laughing on that trip!” Museum in Athens. Notice reflection of Elaine’s earring at left Acropolis + J.S. Taverna outside Athena Angelica off Corfu Epidaurus Provenance: The Estate of John and Elaine Steinbeck

Untitled
Signed
Oil on canvas
24 x 18″ (61 x 45.5 cm)

Titled Le Chinois No. 2, signed “JBt. Carpeaux” and stamped “Propriete Carpeaux”, “Atelier-Depot, 71 rue Boileau a Auteuil, Paris”, numbered 1765. Repaired cue. 13.5″h.

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