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THIS AUCTION ENDS Thursday February 22, 2018 AT 10 PM EST SHARP.
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1. [ART] Kate Perugini (1839-1929)  English painter of the Victorian era and the daughter of Charles Dickens. Catherine, nicknamed Kate or Katey, was Dickens' youngest surviving daughter, and according to her siblings her father's favourite child. As a girl, she also bore the nickname "Lucifer Box" for her hot temper. She travelled widely with her family as a child, and performed in her father's elaborate amateur theatrical productions — including the 1857 performance of Wilkie Collins's The Frozen Deep before Queen Victoria. Her first husband was the artist and author Charles Allston Collins, younger brother of Wilkie Collins; they married in 1860. After his death in 1873, Kate married another artist, Charles Edward Perugini. She became a successful painter of portraits and genre paintings, sometimes collaborating with Perugini. She started exhibiting her works at the Royal Academy shows in 1877. The Peruginis were active in artistic society, and maintained friendships with J. M. Barrie and George Bernard Shaw among other celebrities of their era.  Like her first husband, she pursued literary endeavors along with her easel art.  ALS, 1911, 1p, approx. 4.5 x 7 in.  Scarce!..............100-150


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See portrait of Harvey



2. Sam Bartlett (1752-1821) American patriot, and a noted silversmith from Concord, Mass. He was a founder of the Massachusetts Bible Society, a member of the Cambridge Humane Society, and also from 1795-1820 the elected Register of Deeds for Middlesex County, Massachusetts. Deafened by cannon fire during the Boston massacre, he gave up his acedemic studies and became a smith. He worked from circa 1775 to 1795 as a silversmith in Concord Mass.. Although he worked in the town for two decades, Bartlett's most active period in Concord seems to have been between 1785 and 1795. With the aid of journeyman silversmith Joseph Lasinby Brown, of Concord, Bartlett executed communion silver commissions for three towns in Middlesex County, and produced domestic silver for resale and wholesale markets. At the end of the period, he was elected register of deeds for Middlesex County and moved to Cambridge, retiring from the role of silversmith. Bartlett marked 12 pieces of communion silver, including three flagons, one tankard and eight cups. About 25 pieces of Bartlett's domestic hollowware are known, including canns, porringers, creampots, and a unique miniature teapot. In addition, Bartlett marked teaspoons, tablespoons, ladles, and shoe buckles. Offered here is a 1816 Charlestown, Mass. deed, estate of John Trumbull of Newton. Signed on front by John Trumbull  & Nancy Trumbull.  Sam Bartlett has signed on the back as Register of Deeds, Middlesex County, Mass. Very good condition although just beginning to separate at some folds...............200-300

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3. [ART] Bennard B. Perlman (1928-1016)  a Baltimore artist, professor, critic, lecturer and author who first exhibited one of his paintings in a museum at the age of 13, at what is now the Walters Art Museum, Baltimore, Md. Mr. Perlman was a prolific painter and during his lifetime exhibited in 70 one-man shows. Some of his exhibitions were at the Baltimore Museum of Art, Maryland Institute College of Art, Pennsylvania Academy of Fine Arts, Corcoran Gallery of Art, Dallas Museum of Art and the Kennedy Galleries in New York City. His work can be found in permanent collections at the Library of Congress, the Johns Hopkins University and the University of Arizona. He was the author of many important books about American artists.   Offered is a TLS, 1987, 1p, to Brenda Kuhn, daughter of the American artist Walt Kuhn. Re: Exhibition of the works of Arthur B. Davies. VG..........75-100

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4. [KUHN]  Joseph S. Trovato ( 1912-1983) American artist and museum curator.  TLS, Munson-Williams-Proctor Institute, TLS, 1962, 1p., to Brenda Kuhn, daughter of the American artist Walt Kuhn. Re: preview of the Arthur B. davies Centennial Exhibition;  and interest in showing the Armory Show - 50th Anniversary Exhibition. Includes a signed TLS [her signed retained copy] from Brenda Kuhn to Trovato, 1962, 1p. reply to his letter of May 11th.  Two letters. VG.............100-150

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5. Edward "Ed" Martin (September 18, 1879 – March 19, 1967) was an American lawyer and Republican party politician from Waynesburg, Pennsylvania. He served as the 32nd Governor of Pennsylvania from 1943 until 1947 and as a United States Senator from Pennsylvania from 1947 until 1959. TLS, 1951................min. bid $10

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6. [EARLY FILM]  Vintage 1922 photograph of Bebe Daniels (1901-1971) American actress, singer, dancer, writer and producer. Not signed; offered as vintage photography.  5x7................Min. Bid $9

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7. [NORTH CAROLINA] Josiah Bailey (1873-1946) was a Democratic U.S. senator from the state of North Carolina between 1931 and 1946. Before turning to a career in law, Bailey was editor of the Biblical Recorder, a newspaper for North Carolina Baptists. Signed 1920 bank check.  VG..............40-60

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8. Original 1797 engraved portrait of James Nalton (1600?–1662) the English Presbyterian minister, known as "the weeping prophet".  Nalton was born about 1600, the son of a London minister.   In 1642 Nalton signed a petition addressed to Lord Dunsmore respecting the appointment of a master to Rugby grammar school. It was rejected, and apparently caused him to leave Rugby. He subsequently acted as chaplain to Colonel Grantham's regiment; and then about 1644 he was appointed incumbent of St. Leonard's, Foster Lane, London. There he remained, with a short interval, until his death. On 29 April 1646 he preached before the House of Commons at St. Margaret's, Westminster, on The Delay of Reformation provoking God's further Indignation (London, 1646), his fellow preacher on this occasion being John Owen. He was called the "weeping prophet" because "his seriousness often expressed itself by tears".   In 1651 Nalton was indirectly concerned in Christopher Love's plot, and had to take refuge in Holland. For a short period one of the ministers of the English Church at Rotterdam; but he returned to England by permission at the end of six months, and resumed his work at St. Leonard's until he was ejected in 1662. He died in December of that year, and was buried on 1 January 1663. His funeral sermon, entitled Rich Treasure in Earthen Vessels, was preached by Thomas Horton. Nalton was the first signatory of the preface to Jeremiah Burroughes's Saint's Treasury, 1654, and himself published separate sermons. Twenty of these, with a eulogistic preface and a portrait engraved by John Chantrey, were issued by Matthew Poole, London, 1677. The engraved portrait dated 1797 offered here appears to be the same portrait done in 1677 by Chantrey, possibly pulled from the same plate??? Image is about 3-1/4 x 4 in. plus margins.  Expected light toning but in very good condition, esp. for an 18th century print................75-100

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9. Michael Pertwee (1916-1991)  British playwright and screenwriter. Among his credits were episodes of The Saint, Danger Man, Alfred Hitchcock Presents, B-And-B, Ladies Who Do, and many other films and TV series.  TLS, 1966 or 67, 1p, to Milt Ebbins.  VG.............50-75

See letter



10. [THE WHITE HOUSE] Carl T. Curtis (1905-2000)  American politician from Nebraska. He served as a Republican in the United States House of Representatives (1939–1954) and later the United States Senate (1955–1979). Ink signed 1970 White House pass.  The signature of Richard Nixon is printed. Fine..............25-35

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Contract For Artist's Estate

11. [ART] Rare Kuhniana! ORIGINAL 1989 consignment contract between the the Estate of Walt Kuhn [Brenda Kuhn, artist's daughter] and the Midtown Galleries, Inc., 11 East 57th St., NYC. Ten pages plus Page for Notary Public signatures and a cover letter from Attorneys firm. Part of the agreement is for Midtown Galleries to advance $100,000 to Brenda Kuhn. All of the pages, except the cover letter, are printed copies that were sent to the administrator of the Walt Kuhn estate at that time.  Walt Kuhn (1877-1949) American painter and was an organizer of the modern art Armory Show of 1913, which was the first of its genre in America. Today, Walt Kuhn is best remembered for his key role in planning the Armory Show of 1913. Nevertheless, he holds a place in American art history as a skilled cartoonist, draughtsman, printmaker, sculptor and painter. Although he destroyed many of his early paintings, his works that remain today are powerful. His portraits of circus and vaudeville entertainers are some of the most memorable works of early American Modernism. They are reminiscent of commedia dell'arte actor portraits done by the French masters centuries earlier. Nevertheless, Kuhn's works are entirely his own. His intimate portraits and expressionistic still lifes can be found in many top museums and universities across the United States. By the 1940s, Kuhn's behavior began to take on unsound characteristics. He became increasingly distant, and when the Ringling Brothers Circus was in town, he attended night after night. In 1948, he was institutionalized, and on July 13, 1949, he died suddenly from a perforated ulcer.  Notice on cover letter that others received copies including John W. Payson. He owned several art galleries including the Midtown Payson Galleries in NYC.  Payson was an interesting man in many ways. John W. Payson, an art lover and philanthropist who once owned and displayed a Vincent van Gogh masterpiece in an out-of-the-way Portland [Maine] gallery. His mother, Joan Whitney Payson, owned the New York Mets baseball team, and his father, Charles Shipman Payson, was a primary benefactor of the Portland Museum of Art, donating both money and a collection of Winslow Homer paintings to help establish the museum. That van Gogh painting "Irises", was bought by his mother in 1947 for $84,000, although she reportedly balked at the price.  John Payson sold the painting in 1987 for $53.9 million, which stood for more than two years as the record price for a single work of art. The painting is now owned and displayed at the J. Paul Getty Museum in Los Angeles. We could go on & on about John Payson but will tell you about our personal experience with John.  When we moved to Maine and opened our book-art shop we owned several sculptures by Bernard Langlais [1921-1977] the noted artist who lived in Maine.  One day Payson walked in and said that someone had told him we had some Langlais works.  Kaye showed John the works and he said he would buy them - how much.  He then wrote out a personal check and since we had no idea who he was she said she would have to call his bank and he said OK fine.  She then called his bank and when they asked by wrote the check she said John Payson.  At that point the lady at the bank started laughing and then said that yes the check would be good. Needless the say we had no idea who our customer was.  It is highly unusual for a gallery contract for a prominent artist to offered for sale. I am sure that it has happened before but we've never seen one. Highly unusual. Excellent condition..........100-200

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See portrait of Walt Kuhn




12. [WALT KUHN]  Lawrence B. Salander (born 1949) is a former New York City art dealer.  His company, the Salander-O'Reilly Galleries, was cited by the Robb Report in 2003 as the best gallery in the world.   By late 2007, Salander had been sued by numerous customers and business partners who claimed that Salander and his company had defrauded them. In November 2007, Salander filed for personal bankruptcy, listing John McEnroe among his creditors.  At the time, several artists represented by Salander-O'Reilly also claimed to be owed money.  As a result of his bankruptcy, Salander and his wife were ordered to relinquish control of their finances to a trustee.  Salander was charged with 13 counts of first-degree grand larceny, 10 counts of second-degree grand larceny, and other charges.  On August 3, 2010, Mr. Salander was sentenced to 6 to 18 years in prison for his crimes. In early 2007, Earl Davis made a devastating discovery. Salander-O'Reilly Galleries, run by his friend Lawrence Salander, had secretly sold more than 90 artworks created by his father, Stuart Davis. Davis owned them. The looting was a financial blow and decimated Davis's ability to initiate exhibits and promote the legacy of his father, who died in 1964. At Salander's 2010 sentencing for stealing $120 million from clients and investors, Davis said he would've preferred being robbed at gunpoint.  Offered here is a typed letter signed, 1984, concerning art works by Walt Kuhn, to be consigned by the Salander-O'Reilly Galleries to Christie's and also Sothebys, to be sold at auction.  The tiles and their reserve prices are mentioned in this letter.  The letter was sent to the person in-charge of the Kuhn estate in Maine.  Provenance: Estate of Brenda Kuhn, daughter of artist Walt Kuhn.   Highly unusual for this type of private material from the art world to appear on the open market.  Condition: used................100-150

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Original Etching Plate - Walt Kuhn

13. [ART] WALT KUHN [1877-1949]. American painter. An ORIGINAL Walt Kuhn copper etching plate, title is ARCHAIC NUDE. Plate size is approx. 6-1/4 x 8 in. This plate still has some life in it and etchings could be pulled from it. Very seldom does an original etching plate by an important artist ever reach the open market as they usually are in institutional collections. Provenance: Kuhn Estate. It is difficult to get a good scan of this and the picture below isn't very good. He did not etch his initials or signature into the plate into the plate, which was his normal practice. I don't think he ever etched his signature into any of his plates although he sometimes would etch initials, this was seldom. This is guaranteed to be an authentic Walt Kuhn plate without a time limit to the original purchaser. We will send a letter of guarantee and provenance to the buyer. The portrait photo of Kuhn shown below IS NOT for sale. Insured shipping based on zone. In 1967 the Kennedy Galleries [NYC] held an exhibition of Walt Kuhn prints. The catalogue states that Walt Kuhn's prints are of the greatest rarity. Of certain subjects only one to six impressions exist. Others vary in number of impressions, but none exceed fifty of any subject. The catalogue also says - Walt Kuhn's position in the ranks of our foremost American painters has long been assured. What is less familiar to the general public - and indeed to many collectors and institutions - is his work in the graphic media. With the exception of a few examples shown during his lifetime, the greater portion of his prints has remained locked up and forgotten in a warehouse these many years. On the occasion of the first major exhibition of his paintings to be held in New York in several decades, it is our privilege to show the etchings and lithographs that place Walt Kuhn among the most venturesome and exciting graphic artists of the 1920s and 30s. Of the 50 etchings listed in the Kennedy exhibition 41 are in the 6 or less impressions category, with 9 known to have up to 50 impressions. WE ARE NOT SURE HOW MANY PRINTS WERE PULLED from it, however it was 50 or less. Many of you already know that we own the original Walt Kuhn etching plates. ...................2000-3000

See etching plate





14. [ART] Walt Kuhn (1877-1949) American painter and an organizer of the famous Armory Show of 1913, which was America\'s first large-scale introduction to European Modernism. In 1925, Kuhn almost died from a duodenal ulcer. Following an arduous recovery, he became an instructor at the Art Students League of New York. In 1933, the aging artist organized his first retrospective. During these years, he began to question his earlier allegiance to European Modernism. On a 1931 trip to Europe with Marie and W. Averell Harriman, his staunchest supporters, he declined to join the Harrimans on their visits to the studios of Picasso, Georges Braque, and Fernand Léger. Yet neither did he want to align himself with the anti-Modernist camp of Regionalists like Thomas Hart Benton and politically-minded social realists. In the art politics of the day, Kuhn was caught between two extremes. By the 1940s, Kuhn’s behavior began to take on unsound characteristics. He became increasingly irascible and distant from old friends. When the Ringling Brothers Circus was in town, he attended night after night. He also became frustrated by the lack of attention his own work was receiving and was particularly strident about the Museum of Modern Art\'s support of abstraction and neglect of American art in the postwar period. In 1948, he was institutionalized, and on July 13, 1949, he died suddenly from a perforated ulcer.  Offered here are two letters he wrote on August 4, 1925, from Salzburg, Austria.  Both letters are on a single sheet, his retained copies, written and signed by him. One one side he writes to the banking firm firm of Morgan, Harjes & Co., saying that he will be travelling to London in a few weeks, requests that his account be transferred to Morgan in London. On the other side, same date, he writes to the local water department in Maine. Says they will be travelling in Europe for the summer, they have closed their place in Ogunquit [Maine], disconnected the water pipes, will use no water therefore no water bill to pay.  The picture showing here is NOT included.......300-400

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Rare Letter From The Kuhn Estate


15. [WALT KUHN]  Vera Spier Kuhn (1885–1961) studied jewelry-making in Washington D.C. and Woodstock, NY, and opened a studio on East 23rd Street in 1908. There, she met Walt; they married the next year. During his involvement with the Association of American Painters and Sculptors (AAPS), Vera Kuhn stayed with her mother and Brenda, their young daughter, at her mother’s home in Chevy Chase, Maryland.  Walt and Vera’s extensive correspondence during this period contains rich details about the 1913 Armory Show. He credited Vera with being the most important factor in his success.  These letters are in the collection of the Archives of American Art, Smithsonian Institution. TLS, August 1, 1955, 1p, from Vera Kuhn to Maynard Walker (1896-1985).  Walker, was the New York art dealer representating the Estate of Walt Kuhn's art work during this time. In 1933,  while working at the Ferargil Gallery in New York, Mr. Walker organized an exhibition for the Kansas City Art Institute that for the first time brought together the work of the regionalist painters Grant Wood, Thomas Hart Benton and John Steuart Curry.  After Mr. Walker opened his own gallery, at 108 East 57th Street, in 1935, these artists joined him and showed regularly there. The gallery was also among the first to show the work of George Grosz, the German painter and caricaturist, who moved to the United States in 1932. The gallery moved to 117 East 57th Street after the war.   Vera's letter offered here is a retained copy that was sent to Breanda, her daughter. This  letter concerns one of the most important paintings by Walt Kuhn, The White Clown, which is now in the collection of the National gallery of Art, Washington DC, a gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman.  Vera has written a note at top which mentions Mrs. Navas, who was Elizabeth Stubblefield Navas.  She is remembered for "assembling an American art collection for the people of Wichita. From 1938 to 1962, Mrs. Navas purchased 167 outstanding American paintings and sculpture. Artists represented included Dove, Marin, Ryder, Cassatt, Eakins, Henri, Hopper, Sheeler, Prendergast, Homer, Harnett, De Creeft, Lachaise, and Zorach. This strong collection eventually attracted additional gifts to the museum, particularly the L.S. and Ida L. Naftzger Collection of prints and drawings (1943-1951), the Naftzger Collection of C.M. Russell's Art, and the John W. and Mildred L. Graves Collection of American Impressionism." The 2nd scan below shows a photo of Vera Kuhn taken by her husband Walt Kuhn in the summer of 1914. That photo is in the Walter Pach papers, 1857–1980. Archives of American Art, Smithsonian Institution. Extremely Rare!.............400-600

See Vera's letter
Photo of Vera 1914
Scan of The White Clown painting




Walt Kuhn's Autopsy Results

16. [WALT KUHN]  Vera Spier Kuhn (1885–1961) studied jewelry-making in Washington D.C. and Woodstock, NY, and opened a studio on East 23rd Street in 1908. There, she met Walt; they married the next year. Vera Spier Kuhn (1885–1961) studied jewelry-making in Washington D.C. and Woodstock, NY, and opened a studio on East 23rd Street in 1908. There, she met Walt; they married the next year.  Retained ink signed TLS, July 30, 1949, 1p, to James H. Wall, M.D., asking for the results of Walt's autopsy. She wants to know the connection between Kuhn's ulcers and his emotional disturbance. By the 1940s, Kuhn’s behavior began to take on unsound characteristics. He became increasingly irascible and distant from old friends. When the Ringling Brothers Circus was in town, he attended night after night. (During a hard-pressed period in the 1920s, Kuhn had worked as a designer and director for revues and circus acts.) He also became frustrated by the lack of attention his own work was receiving and was particularly strident about the Museum of Modern Art's support of abstraction and neglect of American art in the postwar period. In 1948, he was institutionalized, and on July 13, 1949, he died suddenly from a perforated ulcer. Includes Dr. Wall's reply giving Vera an explanation about uclers and how they were associated with "individuals of Mr. Kuhn's temperament."  The handwritten noter top corner is by Vera for Brenda, her daughter. Envelope to Brenda is present. Extremely Rare!.............700-900

Vera's letter
Doctor's reply
Photo of Vera 1914
See portrait of Walt Kuhn