William Gerard De Brahm: A Map of South Carolina and a Part of Georgia
Fine example of the rare first edition of De Brahm’s 4-sheet map of South Carolina and Georgia, published by Thomas Jefferys in London in 1757. Very good condition; 43.5 inches x 48.5 inches.
After Guillaume Coustou, The Elder
(French, 1677-1746) Chevaux de Marly (one of an intended pair), numbered “3”, unsigned, patinated bronze, 13-3/4 in., dark brown patination, minor rubbing.
Albert Pasini
(Italian, 1826-1899) View of the Alhambra, 1892, signed lower left “A. Pasini” and inscribed indistinctly lower right, oil on canvas, 21-1/8 x 14 in., original gilt wood and composition frame, lined and restretched on original stretcher, retouch at top middle edge at repair, conservation report attached verso, Colin Post, Asheville, N.C.; frame with abrasions.
Anton Josef Storch
(Austrian, 1892-1979) Alpine Village, signed lower left “Storch”, oil on canvas, 24 x 32; gilt silver frame, light grime, original stretcher and tacking edge; frame with abrasions.
Follower of Nicholas Lancret
(French, 1690-1743, 19th century) Fête champetre, Fontainebleau, unsigned, oil on canvas, 27 x 34-1/2 in.; gilt wood and composition frame, lined and restretched on old stretcher, scattered light retouch, areas of overcleaning, craquelure.
George Adolphus Storey, The Young Prodigal and His Friends
(British, 1834-1919) The Young Prodigal and His Friends, signed lower right “G.A.S.” with artist’s label and remant of exhibition label verso with title, oil on canvas, 40 x 63 in.; gilt wood and composition frame, lined, restretched on original stretcher, scattered retouch throughout, flattening and consolidated crackle; frame with abrasions.
John Clark
(20th/21st century) Quiet Harbor, signed lower right “John Clark”, oil on canvas, 48 x 60 in.; modern original frame, good condition; frame with abrasions.
Joseph Wrightson McIntyre, Touch Me If You Dare, 1877
(British, 1841-1897) “Touch Me If You Dare,”1877, signed lower right conjoined monogram “JMc/1877”, oil on canvas, 21-7/8 x 36-1/8 in.; gilt wood and composition frame, lined with translated inscriptions verso on lining, restretched on original stretcher,retouch in sky and right bottom edge, crackle; frame resurfaced.
Leopold Schmutzler, The Serenade, 1890
(German, 1864-1941) The Serenade, 1890, a flirtatious gent with two elegant young ladies beneath a portrait of their father peering down in possible disapproval, signed lower right “L. Schmutzler ’90”, oil on canvas, 16 x 23-3/4 in.; modern gilt wood and composition frame, lined with wax and linen, crackle, no apparent retouch, conservation by Ray Ketcham, Atlanta, Georgia, 1976; frame with abrasions.
Paul Louis Narcisse Grolleron
(French 1848-1901) French Artillerie Soldiers at Rest in a Village, 1887, signed lower right “P. Grolleron 87”, oil on canvas, 61-3/4 x 82-3/4 in.; fine gilt wood and composition frame, lined, restretched on old stretcher, crackle, limited retouch at repaired tears and edges; frame with abrasions.
Four Sporting Prints
(British, 19th and 20th century) “The Meet”, after Herring, restrike by Victorius, Virginia, 21 x 33-1/4 in. (sight); “The Meet at Badminton”, after W. & H. Barraud, 20 x 29-1/4 in. (sight); “The Meet at Melton”, after F. Grant, 22 x 34 in. (sight), toning; “The Essex Hunt”, after D. Wolstenholme, 21-3/4 x 27-1/2 in. (sight), Ackerman label verso, hand colored engravings; painted wood frames, not removed from frames.
Follower of Hyacinthe Rigaud
(French, 1659-1743) Portrait said to be the Comtesse de Clermont, unsigned, oil on canvas, 63-1/4 x 47-1/2 in.; modern gilt wood frame, lined, crackle, retouch scattered thoughout affecting approximately 25% of surface; frame with abrasions.