ONLINE CONDITION REPORTS
Sale Date:
June 5 & 6, 2004
Cincinnati, OH
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Lot Numbers and Descriptions
Estimate
501. Kenton Hills vase, footed form in a turquoise high glaze stylized leaf designs, inscription on base, impressed mark, executed by William Hentschel, #117, 7”h
500-700
502. Kenton Hills vase, brown high glaze with stylized leaves and berries, artist signed Hentschel, impressed mark, 4”h, drill hole
250-350
503. Kenton Hills vase, mottled brown and tan high glaze with written presentation, impressed mark, #125, 6.5”h
300-400
504. Kenton Hills vase, bulbous form with raised leaf designs covered in a green matt glaze, impressed mark, executed by William Hentschel, #136, 6.25”h
500-700
505. Kenton Hills vase, yellow high glaze with raised designs, impressed mark, executed by William Hentschel #111, 5.5”h
400-600
506. Kenton Hills vase, pink matt glaze with raised designs, executed by William Hentschel, #127, 6.5”h
400-600
507. Kenton Hills vase, bulbous form with raised leaf designs covered in a dark blue high glaze, impressed mark, signed by W.E. Hentschel, #136, 6.25”h
350-550
508. Kenton Hills astrays, two, fish figurals one green and one blue, impressed mark, #165, 8.5”l
300-400
509. Kenton Hills ashtrays, pair, ivory matt with horse heads, impressed mark, #182, 5.5”w
250-350
510. Rare Kenton Hills figural, lamb, impressed mark, executed by David Seyler, #173, 4.25”w x 5”h
250-350
511. Kenton Hills figural, nude holding a star covered in an ivory glaze with molded vertical leaves, impressed mark, executed by Arthur Conant, #158, 10”h
500-700
512. Kenton Hills figurals, three, dove, in pink, yellow and ivory high glazes, all with impressed mark, executed by David Seyler, #185, 6.5”w
450-650
513. Kenton Hills figural, mother and child covered in a brown high glaze, impressed mark, executed by David Seyler, #151, 14”h, drill hole
800-1100
514. Kenton Hills figural, head of a woman, impressed mark, executed by David Seyler, #152, 6.25”h
600-800
515. Kenton Hills candlestick, figural rooster covered in a turquoise high, impressed mark, artist signed, #190, 9.5”h, chip on beak
300-400
516. Kenton Hills paperweight, woman’s head in a goldstone glaze, impressed mark, #157, 4.25”h
250-550
517. Kenton Hills vase, bulbous form with a drip glaze, serica impressed mark, executed by David Seyler, #103, 6”h
500-700
518. Kenton Hills vase, yellow high glaze with raised design, impressed mark, executed by William Hentschel, #168, 5.25”h
500-700
519. Kenton Hills vase, Butterfat glaze with large broad leaves, colorful geometric design at top and bottom, impressed mark and paper label, 12”h, original drill hole for lamp
500-1000
520. Good Kenton Hills lamp, horses, signed, 10”h great per iod original fittings
750-1000
521. Kenton Hills vase, bulbous form with flaring rim with stylized floral design against a cream background, artist signed, impressed mark and paper label, 12.5”h, original drill hole for lamp
500-1000

Session Three - Fine American & European Paintings - Sunday, June 6th 10:00 e.s.t.
522. Dawson Dawson-Watson (American, 1864-1939), “The End of an Autumn Day”, c. 1916; oil/canvas, 24” x 18”, signed and dated. Dawson-Watson was associated with many different areas of the country, including Woodstock, New York, St. Louis and San Antonio as well as Giverny, France. He was influenced by Arthur W. Dow, and is well known for his tonalist works.
5000-7000
523. 18th/19th century Cassetta frame, hand-carved wood and plaster, rabet size: 23.75” x 19.75”.
1000-2000
524. after William Michael Harnett (American, 1848-1892), “The Old Violin”, chromolithograph, 36” x 24”, printed by the Donaldson Art Sign Co.
600-800
525. John Elwood Bundy (American, 1853-1933), two images framed together, one pictured: “Haystacks”, c.1902; pencil drawing, 2.5” x 3”, unsigned; with another the same size of a moonlit landscape, also unsigned.
300-500
526. American School (in the style of Alfred Montgomery), “Ear of Corn”, c. 1903; oil/board, 12” x 6”, unsigned; there is a date of 1903 written on frame.
500-700
527. Lewis Henry Meakin, (American, 1850-1917) ,”Flushing”, c.1883; etching, 4.5” x 7”, signed in plate.
100-150
528. John Elwood Bundy (American, 1853-1933), “A Riverbed”, c.1902; pencil drawing, 4.5” x 5”, unsigned, but guaranteed.
250-350
529. William R. O’Donovan (American, 1844-1920), “Landscape”, c.1913; oil/board, 16” x 12”, signed and dated indistinctly.
800-1200
530. Frank Knox Morton Rehn (American, 1848-1914 ), “Village at Night”, c.1890; oil/canvas, 16” x 24”, signed.
1500-2000
531. Axel Hansen (Danish, 20th century), “Rocky Coast at Bornholm, Eastern Denmark”, c.1930; oil/canvas, 16.5” x 23.5”, signed.
800-1200
532. American School, “The Grand Canal, Venice”, c.1920; oil/canvas laid down on board, 19” x 21”, unsigned.
300-500
533. Emma Lampert Cooper (American, 1860-1920 ), “MIll in France”, c.1910; oil/canvas, 16” x 14”, signed, nice contemporary carved frame.
1800-2200
534. Johan Ulrik Bredsdorff (Danish, 1845-1928), “Moor Landscape”, c.1912; oil/canvas, 15.5” x 25.5”, signed and dated.
800-1200
535. Dutch School, “A Game of Cards”, c.18th century; oil/panel, 13” x 16”, unsigned.
300-500
536. F. A. Meyenschein (German, 19th-20th century), “Portrait of Bismarck”, c.1914; pastel, 25.75” x 21.75”, signed.
500-700
537. Continental School, “Saint Francis”, c. 18th century; oil/canvas, 24.5” x 29.5”, unsigned, unframed.
1000-2000
538. F. Vinea (Italian, 1845-1902), “Suitor”, c.1880; watercolor/paper, 12” x 15”, signed and inscribed, “Firenze”.
600-800
539. British School, “Duncan Grey”, c.1884; watercolor/paper, 6.5” x 9.5”, initialed, “A.T.”, and dated.
1000-1500
540. Benjamin Curtis Porter (American, 1845-1908), Portrait of Man, c.1890; charcoal drawing, 9.6” x 5.6”, signed with monogram. Porter worked in Boston early in his career, and then in New York from 1883 until his death.
600-800
541. Eduard von Grutzner attribution (German, 1846-1925), “Luck Divine”, c.1880; oil/canvas, 27” x 20”, signed indistinctly. The subject and manner of painting is consistent with this artist.
3000-5000
542. Edward Chappel (French, 1859-1946), “Still Life”, c.1927; oil/canvas, 36” x 54”, signed and dated. Chappel painted animals, genre, and still lifes, and exhibited regularly at the Paris salons and throughout Europe in the late 19th and early 20th centuries.
8000-10,000
543. J. H. Robinson (British, 19th century), “Still Life with Fruit”, c.1874 ; oil/canvas, 20” x 24”, signed and dated, ornate frame.
8000-10,000
544. Desire Renadt Thomassin, “Hunters and Dogs in Winter”, c.1882; oil/canvas, 30” x 21.5”, signed and dated, original ornate frame.
7000-9000
545. Weise (American, 19th-20th century), “Head of a Girl”, c.1910; oil/canvas, 18” x 12”, signed indistinctly.
800-1200
546. Sydney Adamson (Scottish/American, 19th century), “Theatrical Scene”, c.1895; gouache/board, 23” x 17”, signed and dated. Adamson exhibited at the Royal Academy in London and Scotland. he was a world traveler, and executed illustrations based on his journeys. He contributed numerous works to well known publications.
500-700
547. C.J. Keats (British, 19th century), "City Street" scene, a pair of watercolors, one pictured: “An English Church”, c. 1890; 16.5” x 13”, unsigned; with another similar work by the artist.
300-500
548. Taber Sears (American, 1870-1950), “The Shrine”, c.1920; oil/canvas, 28” x 22”, signed.
1000-1500
549. F.C. Bromley (American, active 1860-1890), “Coastal Scene”, c.1870; oil/canvas, 23.5” x 35”, signed.
4000-6000
550. Maurice Milliere (French, 1871-1946), “Femme en Repose”, c. 1920; colored etching, 10.5” x 16”, signed and numbered, 35, in pencil.
300-500
Sale Date:
June 5 & 6, 2004
Cincinnati, OH