WILLIAM EDDIS, LETTERS FROM AMERICA,WILLIAM EDDIS, LETTERS FROM AMERICA, 1792 Letters From America, Historical and Descriptive, Comprising Occurrences From 1769 to 1777, Inclusive. by William Eddis. Printed in 1792 for the Author, in London. First edition. Modern parchment spine over older marbled boards. Page edges were left rough. A loyalist, Eddis wrote his 42 letters during an important period of American history giving valuable information on public feeling immediately before the revolution with emphasis on government, trade manners and the progress of war. The concluding letters narrate the difficulties and dangers the author experienced in consequence of his refusing to take the oath tendered him by the Americans. With errata and lists of subscribers. Sabin 21801, Howes E-41.
CHINESE BLANC DE CHIN DOUBLE GOURD SNUFFCHINESE BLANC DE CHIN DOUBLE GOURD SNUFF BOTTLE, QIANLONG SEAL-MARK 3 ?" x 1 ?" x 1 ¼" Exceptionally fine made Blanc de Chin double gourd snuff bottle with double handles and porcelain dome stopper and bone spoon; minute carved depicting carps and blossoming lotus flowers, applied pigments to emphasise details; marked with Qianlong seal-mark on the bottom.
SELECTION OF BOOKS ON AMERICAN HISTORYSELECTION OF BOOKS ON AMERICAN HISTORY Comprising 13 volumes, with emphasis on Maryland and Virginia.
SELECTION OF BOOKS ON AFRICA ComprisingSELECTION OF BOOKS ON AFRICA Comprising 20 titles, with emphasis on South Africa.
SELECTION OF BOOKS ON MUSIC With emphasisSELECTION OF BOOKS ON MUSIC With emphasis on Jazz, including approx. 60 issues of JUST JAZZ GUITAR Magazine and various "fake" books.
SELECTION OF STEREOGRAPH VIEW CARDSSELECTION OF STEREOGRAPH VIEW CARDS Comprising approx. 27 items, with emphasis on images of Presidents McKinley and T. Roosevelt; also a portrait of U.S. WWI aces of the Hat in Ring squadron, including E. Rickenbacher; and a portrait of the assassin, Charles Guiteau.
GROUP OF BOOKS ON EUROPEAN ART HISTORYGROUP OF BOOKS ON EUROPEAN ART HISTORY With emphasis on the 19th and 20th centuries, comprising approx. 60 titles, including soft cover and magazine format items.
EUGENE HENRI CAUCHOIS (FRENCH, 1850-1911)EUGENE HENRI CAUCHOIS (FRENCH, 1850-1911) "LATE SUMMER REPAS" Oil on canvas. Signed 'H. Cauchois Aout 1874' (lower left).
Catalogue Note: The Flemish idiom of flower painting during the first decades of the 19th century combined meticulous draftsmanship enhanced by life-like colors. This style never quite lost its appeal as
the 19th century progressed, especially in France, but by the mid-19th century, one can see the emergence of a new variety of flower painters liberated from the realistic botanical approach of their traditional forerunners. Albeit a brief period, French flower painting reached a pinnacle of excellence before the Impressionists' emphasis on decomposition of light or the ruthlessly synthetic approach of many of the other movements such as the Nabis at the turn of the century overwhelmed the market.
As the century progressed, particularly the French School favored a more casual placement of an artful entanglement of garden flowers along a ledge or on the ground. This required great skill to execute and was extremely popular in the 1860's. For the first time in memory, flowers in a more natural setting did not carry the heavy burden of specific botanical or allegorical associations and esoteric language that had been de rigeur previous centuries. In addition, the gradual loosening up of the brushwork gave the finished work a more lifelike feeling.
CADWALLADER LINCOLN WASHBURN (1866-1965),CADWALLADER LINCOLN WASHBURN (1866-1965), FRED DAVIS'S GARDEN IN CUERNAVACA, OIL ON CANVAS, 25.5" H X 26" WCadwallader Lincoln Washburn, (1866-1965) Fred Davis's garden in Cuernavaca, Oil on canvas Signed lower right: Cadwallader Lincoln Washburn Oil on canvas Dimensions: 25.5" H x 26" W Provenance: The Collection of Frederick W. Davis Private Collection, Southern California, by descent from the above Other notes: Cadwallader Lincoln Washburn was known as "the silent artist" and was quoted as saying "deafness may sometimes be an inconvenience but never a handicap". Primarily known for his mastery of "capturing the spirit of the subject" in his more than 900 drypoint etchings and numerous paintings, he had an incredibly varied life and career as not only an artist but a journalist and enthusiastic naturalist. Washburn lost his hearing at age five and attended Gallaudet College in Washington, DC, an institution for the hearing impaired, where he earned a Bachelor of Arts degree in 1890. While he originally planned to study natural science and entomology, enlivening his essays with illustrations of spiders, bees, and caterpillars, he discovered a love for drawing at Gallaudet. He went on to study architecture at MIT, and even though he considered this choice a compromise, he won a First Award in Design. Still favoring a more artistic path, Washburn later studied art with William Merritt Chase in New York and traveled to Europe along with Chase and other students, studying with Albert Besnard in Paris and with Joaquín Sorolla in Madrid. During this trip, Washburn became interested in etchings, likely inspired by some of Whistler's etchings seen in Venice, and through trial and error, taught himself and created his first drypoint etching in Paris in 1903. He exhibited regularly at the start of the twentieth century in both Europe and the USA. As he mastered the art of etching, he also became a war correspondent, along with his brother, for the "Chicago Daily News," covering the Russian Japanese War of 1904-05. Washburn later traveled to Mexico in 1910 to study architecture and Mexican culture, and while there, covered the Madera Revolution in Mexico from 1910-12. After spending his winters in Mexico, Washburn moved to California, where he exhibited 50 prints at the Panama Pacific International Exposition in San Francisco in 1915, and won a gold medal. By 1937, failing eyesight forced Washburn to give up etching. Undaunted, he returned to oils and produced some beautiful paintings, marked by a fluid, brushy technique and with an emphasis on light and atmosphere. Washburn married in 1943 and settled in Maine. He returned to studying insects, arguing for the intelligence and communication skills of spiders, bees, and caterpillars. His essay entitled "The Mind of a Spider" became required reading in the 1940s in the Washington D.C. public schools! The last part of his life was spent in Maine, where he died on December 21, 1965 at age 99. "His incredibly varied experiences gave his work an authenticity and universality seldom matched by any modern artist. However great he was as an artist, and he was truly great, he remains most fascinating as a man." References: The Annex Galleries, Santa Rosa, CA Frank G Bowe, Jr. "The Incredible Story of Cadwallader Washburn," "The Deaf American," 23, no. 3 (1970): 3-5.
Broyhill Emphasis Server Cabinet. AmericanBroyhill Emphasis Server Cabinet. American Modern walnut
Dimensions: H: 29.5 inches: W: 34 inches: D: 18 inches ---
Condition: Some light surface wear
TIFFANY & CO. ELSA PERETTI OPEN HEARTTIFFANY & CO. ELSA PERETTI OPEN HEART STERLING NECKLACEA sterling Tiffany & Co. open heart necklace by Elsa Peretti on a Tiffany & Co. sterling Elsa Peretti 16" long chain.
Tiffany & Co. was founded in 1837 by Charles Lewis Tiffany (1812-1902). It has grown into a global iconic fashion staple revolutionizing the jewelry industry with its iconic and patented designs. In the past few decades Tiffany & Co has put an emphasis on their commitment to conservation and the arts by establishing the 'Tiffany & Co. Foundation', leading the market with ethical sourcing and diamond traceability. Earlier this year it was acquired by the LVMH group.
Clasp Type: Spring ring.
Metal: Sterling.
Weight: 4.4 dwt.
Measurements: 16" long chain x 1mm thick. The pendant is approximately 7/8" x 13/16".
Markings: The heart pendant is marked "Tiffany & Co. Elsa Peretti 925 Spain". The chain is marked "Tiffany & Co, Peretti, Spain, 925".
Condition
There is some tarnish on the heart pendant otherwise very good condition.
TIFFANY & CO. 14K LINK BRACELETA TiffanyTIFFANY & CO. 14K LINK BRACELETA Tiffany & Co. 14k yellow gold link bracelet accented with gold rope detailing finished with a lobster clasp.
Tiffany & Co. was founded in 1837 by Charles Lewis Tiffany (1812-1902). It has grown into a global iconic fashion staple revolutionizing the jewelry industry with its iconic and patented designs. In the past few decades Tiffany & Co has put an emphasis on their commitment to conservation and the arts by establishing the 'Tiffany & Co. Foundation', leading the market with ethical sourcing and diamond traceability. Earlier this year it was acquired by LVMH.
Clasp Type: Lobster.
Metal: 14k yellow gold.
Weight: 7.5 dwt.
Measurements: 7.75" long x 6mm thick.
Markings: "Tiffany & Co. 585".
Condition
Very good condition.
TIFFANY & CO STERLING BARBELL CUFFLINKSATIFFANY & CO STERLING BARBELL CUFFLINKSA pair of classic Tiffany and Co. sterling barbell cufflinks.
Includes a tiffany jewelry pouch.
Tiffany & Co. was founded in 1837 by Charles Lewis Tiffany (1812-1902). It has grown into a global iconic fashion staple revolutionizing the jewelry industry with its iconic and patented designs. In the past few decades Tiffany & Co has put an emphasis on their commitment to conservation and the arts by establishing the 'Tiffany & Co. Foundation', leading the market with ethical sourcing and diamond traceability. It is now apart of theLVMHgroup.
Metal: Sterling silver.
Weight: 13.4 grams.
Measurements: 1 1/8" long and 10.5mm thick at the thickest point.
Markings: Tiffany & Co. 925.
Condition
The cufflinks need to be polished otherwise good condition.
PAUL TIULANA CARVED SCRIMSHAW WALRUSPAUL TIULANA CARVED SCRIMSHAW WALRUS TASK CRIBBAGE GAME 9 ?" x 1 ½" Walrus scrimshaw tusk by Paul Tiulana, signed on ten back; cribbage game board with four pins, applied pigments to emphasise details, depicting polar bear and walrus heads and seals; carved at one end to hold pins.
JAKE HOGGUM MAMMOTH TASK SCRIMSHAW ONJAKE HOGGUM MAMMOTH TASK SCRIMSHAW ON WOODEN STAND 1 ?" x 12 ¾" mammoth task Masterfully minute hand carved mammoth task, depicting huskies with a snow sled, in mountain landscape on the background, applied polychrome pigments to emphasised details, signed in the lower left corner monogram for Jake Hoggum; attached to the custom made wooden stand, overall 2 ?" x 15" x 27/16".
JACQUES POUCHAIN (FRENCH, 1925-2015)JACQUES POUCHAIN (FRENCH, 1925-2015) ART POTTERY FROG V...Signed large hand-built clay frog vase sculpted into an abstracted owl form. The impressed circles and hand incised patterns create emphasis on its eyes, giving the piece a hypnotic quality. Brushed white glaze with brown and lavender tones. L'atelier Dieulefit and artist initials inscribed to base. Jacques Pouchain is an institutionally recognized painter, sculptor, and ceramicist and has been featured in many major art museums including the Museum of Modern Art of Paris. He is well known for creating utilitarian art objects and abstracted works.
Artist: Jacques Pouchain
Dimensions: 7.5"L x 12"W x 15.5"H
Country of Origin: France
Condition:
Age related wear. Beak shows signs of restoration.
GUNNS DOMESTIC MEDICINE, PUMPKINTOWNGUNNS DOMESTIC MEDICINE, PUMPKINTOWN 1839Gunn's Domestic Medicine or Poor Man's Friend, Pumpkintown, Tennessee edition, published in 1839, Eighth edition (only edition published in Pumpkintown), 635 pages. 8 1/2" H x 5" W. Note: Pumpkintown, TN is no longer in existence but was originally located in McMinn County, TN near present day Athens, TN. The name was a corruption of the existing Cherokee Native American village a corruption of "Potemkin town". History (Courtesy of Ben Harris McClary via https://tennesseeencyclopedia.net/): This popular home medical guide by Dr. John C. Gunn (ca. 1795-1863) was first published in Knoxville in 1830. A proliferation of editions in Tennessee, Kentucky, Ohio, Pennsylvania, and New York soon followed. Enlarged under the author's supervision in 1857 and translated into German, the book remained Gunn's original basic text on through the National Jubilee Edition, the 160th, in 1876, down to the last recorded edition, the 234th, issued in New York in 1920. Designed to serve as a guide for frontier and rural families who lived great distances from even primitive medical care, the book covered virtually any possible miscarriage of health. It contained extensive references from the works of the major medical men and journals of the time, making it also a useful textbook for largely self-taught doctors in all rural areas. The emphasis in the early editions on the use of herbs most readily available in East Tennessee indicates that initially Dr. Gunn did not expect his book to have the far-ranging influence it ultimately experienced. A sense of the volume's impact is suggested by its literary use in such diverse places and times as the Mississippi River in 1884 (Mark Twain's Huckleberry Finn) and California in 1952 (John Steinbeck's East of Eden).
Condition:
Text in very good condition rebound in cloth with 1/4 leather spine(probably 1900+/-). Minor wear to hard cover and minor losses to edge of spine. First line of index page torn away/missing. Interior with expected foxing of pages.
CHINESE WHITE JADE FIGURAL GROUP, 2CHINESE WHITE JADE FIGURAL GROUP, 2 BOYSChinese carved white jade figural group depicting two boys, possibly twins, seated with musical instruments. 2 3/8"W x 1 1/2"H. Qing dynasty. Provenance: the estate of Mrs. Adna Godfrey Wilde, Jr. (Sara Joan Wilde), Colorado Springs, CO. Note: Mrs. Wilde (originally from Nashville) and her husband, Lt. Col. Adna Godfrey Wilde, Jr., traveled in Asia extensively circa 1945-1950 while he served as an aide de camp to General Edward Malory Almond in Tokyo and Korea (Almond was Chief of Staff, Far East Command, to General MacArthur). In 1957, the couple moved to Europe when Lt. Col. Wilde was assigned as Protocol Chief of the Visitors Bureau Section of the Berlin Command under Gen. Barksdale Hamlett. In 1969 Lt. Col. Wilde returned to Asia to work in Saigon with the Research and Analysis Division, working closely with General Westmoreland. After leaving the army, he worked as director of the Pioneers Museum in Colorado Springs and executive director of the American Numismatic Association (and later served multiple roles on its board of directors, including President, and served as an instructor). In this capacity he and Mrs. Wilde traveled the world, collecting art and antiques, with a particular emphasis on Asian decorative arts.
Condition:
Overall very good condition.
WILLIAM S. HORTON O/C, CANAL AT NIGHTWilliamWILLIAM S. HORTON O/C, CANAL AT NIGHTWilliam Samuel Horton (American, 1865-1936) oil on canvas European landscape, depicting a canal by moonlight, with buildings on both banks reflected in the water. Signed "Horton" lower right. Rococo style carved and gilt frame with brass label affixed, reading: "William S. Horton 1865-1936". Fred Reed Atlanta framing label en verso of frame. Sight - 24" H x 30" W. Framed - 32" H x 38" W. Biography: William Horton was born into a wealthy family in Grand Rapids and despite his parents' disapproval, left home as a teen to study at the Art Institute of Chicago. He went on to study at the Art Students League in New York and the Ecole des Beaux-Arts and Academie Julien in Paris (with Jean-Paul Laurens and Benjamin Constant). He was a close colleague of the French Impressionists and has been characterized as painting in a style that is more French than American, with a strong emphasis on color and light. Provenance: Private Michigan collection. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
1" repaired tear to upper center sky area, 1" area of small flakes to lower center edge of canvas (above name plate). Blacklight reveals a few scattered spots of inpainting or overpainting to upper and left corner and possibly along left side. Newer stretchers.
RUSSIAN TEMPURA ICON, ASCENSION OF THERUSSIAN TEMPURA ICON, ASCENSION OF THE PROPHET ELIJAHReligious tempura on panel polychrome icon depicting the "Prophet Elijah and His Fiery Ascension" with a central image of the Prophet sitting in his cave in the desert surrounded by iconographic scenes including a vision of the angel to the left and of preparing to cross the river Jordan to the right. Above him in a fiery red cloud the Prophet ascends to heaven in a chariot drawn by four winged horses. The Prophet drops his mantle to Elisha, his successor, kneeled below. With Russian inscriptions describing the content throughout and additional saints flanking the central image within the border. The central image is recessed for emphasis. 14" H x 12" W x 1" D. Russian, late 19th century.
Condition:
With scattered areas of retouching to central image and paint restoration to border. Some minor losses to edges. Craquelure and natural wood separation to panel, cohesive with age.
BRONZE BAS RELIEF TILE, GIACOMO MANZUBRONZE BAS RELIEF TILE, GIACOMO MANZU (1908-1991)Giacomo Manzu (1908-1991) bronze bas relief tile depicting a child in the up stretched arms of a woman. Stamped lower right, "Manzu" and inscribed A.L.4 lower right. Dimensions: 4.75" x 4.75". Manzu was a largely self taught artist known for depicting the figure with an emphasis on simplification and design. He made three dimensional figures as well as relief works. He concentrated on works from the Bible. He created a number of door commissions including the "Door of Death" for St. Peter's Basilica in Rome. Processing and shipping within the continental U.S. $25.00 plus 1.5% replacement cost insurance.
Condition:
Very good. Witherells strives to provide as much information and photographs as possible but encourages in-person inspection by bidders. Condition: statements are only for general guidance and should not be relied upon as complete statements of fact and do not constitute a representation, warranty or assumption of liability by Witherells. All lots are sold "AS IS" under the Terms & Condition: s. Please be advised we do not provide porters nor packing materials for pick ups.
ARCHIVE OF MOVIE STILLS AND GLAMOURARCHIVE OF MOVIE STILLS AND GLAMOUR PHOTOS.Archive of Movie Stills and Glamour Photos. American, 1930s - 1960s. A 44-volume collection plus an additional unsorted carton, approximately 1,500 photographs (8 x 10") in sum. This photographic archive documents Hollywood film stars, generally of the 1940s - 50s, with an emphasis on actresses. Many are advance press photographs with descriptive labels attached to verso. A substantial portion of the collection is comprised of studio glamour photographs, the balance being stills for a large variety of films. A review of only some of the albums revealed the following actresses and actors photos represented: Dorothy Lamour, Hedy Lamarr, Billie Burke, Betty Furness, Marlene Dietrich, Humphrey Bogart, Lauren Bacall, Janet Gaynor, Carmen Miranda, Gene Kelly, Frank Sinatra, Joan Bennett, Gregory Peck, William Holden, Dick Powell, Evelyn Keyes, Paulette Godard, Barbara Stanwyck, Patricia Neal, Ronald Reagan, Abbot and Costello, Cesar Romero, Ruth Chatterton, Carole Landis, Douglas Fairbanks Jr., Lily Mars, Clark Gable, Fred Astaire, Bing Crosby, Ginger Rogers, Ava Gardner, Lucille Ball, Bob Hope, Henry Fonda, Greer Garson, Marion Davies, Ingrid Bergman, Charles Boyer, Bette Davis, Veronica Lake, Terry Moore, Katharine Hepburn, Donna Reed, Claire Trevor, Elizabeth Taylor, Constance Bennett, Spencer Tracy, Jeanette MacDonald, Vincent Price, Marilyn Monroe, Cary Grant, Myrna Loy, Doris Day, Errol Flynn, Glenn Ford, Rita Hayworth, Ann Baxter, Alice Faye, Nancy Reagan, Betty Field, Linda Darnell, Kay Francis, Sally Rand, Virginia Mayo, Susan Heyward, Roy Rogers, Merle Oberon, James Cagney, Pat O' Brien, Margaret Sullivan, Joan Fontaine, Dean Martin, Rosemary Clooney, George Raft, Robert Mitchum, Burt Lancaster, Victor Mature, Jane Wyman, Anne Baxter, Joan Crawford, Joanne Woodward, Jack Palance, Cleo Moore, Rhonda Fleming, Red Skelton, Virginia Mayo, Kirk Douglas, Joseph Cotton, Betty Grable, Mickey Rooney, Yvonne DeCarlo, Lee Remick, Elvis Presley, Ann Margret, Jeanne Crain, Steve McQueen, Carrol Baker, Brigitte Bardot, Jimmy Stewart, and countless others. In many instances there are many photos of single stars, but there is no duplication of images. Included in this archive is a four volume collection of 1960s full color movie stills for films starring Marilyn Monroe, Frank Sinatra, Deborah Kerr, Yul Brinner, Cary Grant, Jayne Mansfield, Bob Hope, Bing Crosby, Dorothy Lamour, and many others. Well worthy of further classification and research. In-person examination strongly recommended. Most in protective sleeves. All 8 x 10." Very good.
ROBERT MOTHERWELL (AMERICAN 1915-1991)ROBERT MOTHERWELL (AMERICAN 1915-1991) A PRINT, "THE BA...ROBERT MOTHERWELL (American 1915-1991) A PRINT, "The Basque Suite, Untitled B," 1970, screenprint printed in colors, initialed in pencil and numbered L/R, "R.M. 69/150;" the full sheet 40 1/2'' x 28 1/4'', framed 43'' x 31 1/4''. Note: One of America's greatest abstract expressionists, Robert Motherwell spent a lifetime composing, reworking, and inventing an artform that relied heavily on the principals of automatism, modernism, and minimalism, with emphasis on gestural and painterly applications of paint. Splashes of color became more frequent after his marriage to Helen Frankenthaler in 1958. Often composing his complex series over periods spanning decades; his most famous series is Elegy to the Spanish Republic. The Basque Suite was executed February 24-March 10, 1970 at the Kelpra Studio in London, at a time when he was in between studio and lectures. Printed in a low edition of 150, this silkscreen has a central splashy dot encircled in an black egg-form. Kelly green is swathed in a color plane floating above the black form floating in space, creating a horizon in the foreground. Mandarin orange patches are applied under the ovoid form and grey abstracted shadowy elements enhance the background. An exciting pop of color with an unmistakable heavy black, loose form; this is an ideal auction win for either seasoned or introductory collectors, showcases the transition of Modernism to Contemporary Art within Robert Motherwell's oeuvre.
Condition:
There are no visible signs of damage. Archivally hinged at top and framed. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
A CANTON FAMILLE ROSE PARCEL GILT ENAMELEDA CANTON FAMILLE ROSE PARCEL GILT ENAMELED PORCELAIN VA...A CANTON FAMILLE ROSE PARCEL GILT ENAMELED PORCELAIN VASE, PROBABLY GUANGXU PERIOD, QING DYNASTY (1641-1912), the vase with everted flared mouth, painted with moths and flower blooms on a gold ground over an eight paneled rectangular vase with pinched neck, the whole enameled with shaped cartouches containing figural scenes of a young bureaucrat arriving upon a domestic scene filled with architecture, maidens and attendants bustling about courtyards, some leisurely boating, with emphasis on literacy and work resulting in the pleasures of earthly life, the side panels are flanked by blue ruyi scepter handles and profusely decorated with auspicious symbols of luck and prosperity including fruit bowl offerings on stand, musical instruments, endless knots, tassels, a blooming gilded shell cornucopia, scrolls, pamphlets and fans with calligraphy, red and black crickets, burning incense, a parasol and kite among other insects on a flaring foot repeating the gilt ground insect band. Height: 22 1/2" Width: 9 1/2" Depth: 7 1/2"
Condition:
Some rubbing and losses of enamel and gilt decoration, otherwise no apparent repairs or damages, unmarked foot, orange peel texture. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
HUGO KAUFMANN OIL ON BOARD "TWO MENHUGO KAUFMANN OIL ON BOARD "TWO MEN CONVERSING OVER DRI...Hugo Kaufmann (German 1868-1919) Oil on Board "Two Men Conversing Over Drink and Smoke", circa 1898, signed lower right, "H. Kaufmann '89".
10.5 in. x 13.75 in. Overall 15 in. x 18.5 in.
Hugo Kaufmann was born in Schotten (Upper Hesse). After studying at the Hanauer Academy, the Frankfurt Industrial School, the Städel Institute and at the Munich Academy, he lived and worked in Munich until 1907. Kaufmann’s emphasis was on the monumental and small sculptures as well as portraits.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
JOHN PHILLIP OSBORNE OIL ON CANVAS "DECEMBERJOHN PHILLIP OSBORNE OIL ON CANVAS "DECEMBER AFTERNOON,...John Phillip Osborne (American b. 1952) Oil on Canvas "December Afternoon, Nantucket" , signed lower right J.P. Osborne, in a Moyteka giltwood frame
18 in. x 24 in. Framed 25 in. x 30.75 in.
Osborne is both a teacher and painter of the American landscape "en plein aire." Placing an emphasis on how objects in nature are seen in various degrees of sunlight, Osborne works with oil paint to achieve light and shadow effects as they are seen in New Jersey, New England, Nantucket and Martha's Vineyard, and in Europe. His paintings are intended to convey a direct study of the natural environment in all its mysterious, atmospheric moods. He is listed in the "Who's Who in American Art, Who's Who in the East", and he is on the Board of Trustees for the Ridgewood Art Institute. He graduated Cum Laude from the Pratt Institute in New York with a Bachelor of Fine Arts and a teaching certificate, and studied with Alban Albert and Arthur Maynard of New Jersey.
Condition:
Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
142. FOLK ART OWL CANE -CA. 1900 -THE142. FOLK ART OWL CANE -CA. 1900 -THE CANE IS FASHIONED...142. Folk Art Owl Cane -Ca. 1900 -The cane is fashioned of a wild cherry branch with a beautiful brown-red bark and naturally grown angular handle carved with an owl, metal ferrule. Here, strong emphasis was placed on the proud character of the bird, its face with the characterizing rings of feathers centered by inset glass eyes, a beautiful feather coat with a long tail and trademark powerful talons. This cane captures the attention and curiosity of every viewer and aged well with the rightful patina. -H. 4” x 4 ¾”, O.L. 36” -$300-$400 -The owl is a symbol for vigilance, acute wit and has been associated with spirits. It is a guide in the underworld but an effective hunter and the Celtic symbolizes it with wisdom, keen sight, and patience. There are myths and legends from all over the world, from the Americas to the Far East. Owls, as they always have, continue to be a source of wisdom, spiritual and intellectual. -In ancient Greece the owl was sacred to Athena, goddess of wisdom and night, and came to symbolize the city named after her, as well as wisdom. Because of its association with the night, the owl is widely seen as a bird of ill omen with a cry that heralds death and misfortune. Today it is often seen as a luck bringing mascot.
SILVER ART NOUVEAU FIGURAL DAY CANECa.SILVER ART NOUVEAU FIGURAL DAY CANECa. 1890-Large silver crook handle modeled in very fine detail with the head of a knight with armor helmet above a chain-mail shirt, well figured calamander shaft and a long horn ferrule. This cane is obviously hand crafted with passion in the fully developed Art Nouveau style and made by the culture for the culture. It belongs to a very desirable small series of cane handles attributed to Lucien Galliard and tentatively identified as an idealized portrait of Richard the Lionheart or Richard Coeur de Lion. Art Nouveau canes of this quality are quite rare and this one is in superb condition. H. 4 ½” x 3”, O.L. 37” Richard Coeur de Lion, (born September 8, 1157, Oxford, England-died April 6, 1199, Châlus, duchy of Aquitaine), duke of Aquitaine (from 1168) and of Poitiers (from 1172) and king of England, duke of Normandy, and count of Anjou (1189-99). His knightly manner and his prowess in the Third Crusade (1189-92) made him a popular king in his own time as well as the hero of countless romantic legends. He has been viewed less kindly by more recent historians and scholars. Lucien Gaillard was the son and grandson of Parisian jewelers, as well as the brother of the noted Art Nouveau furniture designer Eugène Gaillard. After Lucien took over the family firm in 1892, the emphasis switched to metalworking. Around the turn of the century, with the encouragement of his friend René Lalique, Gaillard turned back to jewelry. His designs, like many by Lalique, incorporated unusual materials such as horn and ivory combined with more traditional precious stones, gold and enamel. Galliard won a prize for his jewelry at the 1889 Universal Exposition and was a judge at the 1893 Universal Exposition in Chicago. In 1902 he was made a knight of the French Legion d’Honneur. Calamander or coromandel is a valuable wood from Sri Lanka and Southeast Asia. It is a hazel-brown color, with black stripes (or the other way about), very heavy and hard. It is also known as Macassar ebony or variegated ebony and is closely related to genuine ebony, but is obtained from different species in the same genus, one of these is Diospyros quaesita Thwaites, from Sri Lanka. The name "calamander" comes from the local Sinhalese name, kalu-medhiriya, which means dark chamber, referring to the characteristic ebony black wood. It is used in furniture, luthiery and for high grade canes and walking sticks. Calamander has been logged to extinction over the last two to three hundred years and is no longer available for new work in any quantity. Furniture in calamander is so expensive and so well looked after that even recycling it is an unlikely source.
SILVER ART NOUVEAU EAGLE HEAD CANE-Ca.SILVER ART NOUVEAU EAGLE HEAD CANE-Ca. 1900 -Modified Opera shaped silver handle embellished by a protruding eagle head at the front and an elegantly arched hand rest at the back, somehow suggestive of its wings. -The strong and stylish modeling is distilled to the essence, and, treated with an exceptional fluidity, it epitomizes many of the qualities of Art Nouveau. -Here, the study of Japanese art assisted the artist in his efforts to simplify nature, clearly displays his virtuosity and hints to the unique talent of Lucien Gauillard. -The architecture of the handle speaks as well in that direction and matches comparable pieces signed by Gaillard with its uncommon Triangular shaped hand rest and fringed collar. -The fact that the handle do not bear any hallmarks or makers marks is an incentive to believe that it must have remained a singular prototype and never mass-produced. -The handle comes with its initial rosewood shaft and a metal ferrule. It survived in superb condition and only in need of deeper surface cleaning. -Like the eagle it represents, this cane raises above the rest and is an amazing sculpture where function meets style and an artwork of genius of its own right. -H. 4 ¾” x 2 ½”, O.L. 35 ½” -$500-$600 -Lucien Gaillard was the son and grandson of Parisian jewelers, as well as the brother of the noted Art Nouveau furniture designer Eugène Gaillard. After Lucien took over the family firm in 1892, the emphasis switched to metalworking, frequently inspired by Japanese prototypes. Around the turn of the century, with the encouragement of his friend René Lalique, Gaillard turned back to jewelry. His designs, like many by Lalique, incorporated unusual materials such as horn and bone combined with more traditional precious stones, gold and enamel. The insect motif of this brooch is typical of the period.
ERIK NITSCHE (1908 - 1998) "LILY" ORIGINALErikERIK NITSCHE (1908 - 1998) "LILY" ORIGINALErik Nitsche (Swiss, 1908 - 1998) "Lily - Manuscript Illumination" Signed lower right. Original Mixed Media painting on Illustration Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This painting is the original painting which was published on the Fleetwood First Day Cover for the Germany 80 + 40pf Medieval Manuscript Illumination stamp issued October 15, 1985.
In the Middle Ages, books were decorated with figures and ornaments which helped clarify their contents and also entertain the reader. For the medieval monk, the margins of a page often presented an excellent opportunity to bring to life the teachings of Christ. Furthermore, the miniature paintings were used to vividly tell the story of the life and suffering of Christ. Often, the pictures could help mentally underscore certain Christian teachings which the monk felt were particularly important and in need of special emphasis. Later, as the art of illumination became more widely used and the skill of the illuminators grew, private citizens of great wealth would commission a monk or other artist to embellish a book with tiny illuminations. These paintings would often focus on such topics as architecture and landscapes. In addition, artists began embuing the written word with a vast network of vines and wicker. Often, the flowers and creatures held special symbolic meanings for the artist. For example, the lily featured in this artwork has long been a symbol of the innocence and purity of the Virgin Mary. The butterfly was frequently used by medieval monks as a symbol of the virtues of the Virgin Mary. Indeed, by being familiar with symbols and their meaning, the reader in the Middle Ages could learn much about the book's subject.
Image Size: 12 x 14 in.
Overall Size: 15 x 20 in.
Unframed.
(B09829)
Condition:
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EARLY 20TH C. USA WROUGHT IRON & GLASSEARLY 20TH C. USA WROUGHT IRON & GLASS ELECTRIC LAMPNorth America, Southern United States, ca. early 1900s CE. This is a fantastical and massive iron floor lamp with floral shaped glass shade inserts, that fully functions with electrical wiring and a flip switch! This lamp was created during the height of the Arts and Crafts style in America, drawing heavily on past medieval styles and the use of floral shapes. This large lamp has a very robust base formed by openwork flower heads fused together, a thick post constructed of several flat iron panels welded into a cylinder, flaring outward at the top to create grooved arms for receiving the individual glass shades, which are fully removable. Around the neck are scrolling flourishes and hooks on the end of each arm that contain hanging iron tassel-like ornaments. The shades are each molded into petaloid shapes with raised flowers at the front, that lend a cheeriness and literal brightness to the imposing black iron. Size: 28" W x 82" H (71.1 cm x 208.3 cm)
From the later 1700s onward, western Europeans became fascinated by the medieval period - what seemed, to them, like a time of simplicity and chivalry, a respite from the incredible changes the Industrial Revolution was bringing to every aspect of life. Reviving the material culture of the so-called Middle Ages became a series of major artistic movements. The Arts and Crafts Movement emerged in approximately 1880 - arising as a response to the mass production of the industrialization era with its emphasis on hand-made craft and design. Architects, craftsmen, designers, and artists participated in this movement which infiltrated all aspects of design - wall coverings, furniture upholstery, ceramics, curtains, and more. This stylish lamp certainly would be at home in a medieval inspired castle- but if you are not as lucky to live in such an estate, this would certainly make a fine addition to an eclectic home style!
Provenance: private Lumberton, Texas, USA collection, acquired before 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.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#170098
Condition:
Chips and russet patina on a few areas of iron work, with age and use expected abrasions and indentations. Lamp functions with switch located under the lamp shades.
LARGE CORINTHIAN SKYPHOS ANIMAL FRIEZE,LARGE CORINTHIAN SKYPHOS ANIMAL FRIEZE, TL TESTEDAncient Greece, Corinth, ca. 6th to 5th century CE. A wheel-thrown skyphos of sizable form with a flared discoid foot, an inverted bell-shaped body with swelling walls, and a thin rim adorned with a pair of parabolic handles. Painted with black and red pigments, the cream-hued exterior ground is decorated with a wide register of highly stylized zoomorphs that includes a goat with curved horns and a bowed head between a pair of prowling panthers as well as a bird - perhaps a dove - on the verso. The creatures' features are first created by applying the colorful pigment and then incising certain accentuating details like the panthers' eyes, the bird's feathers, and the goat's segmented horns. Additional floral motifs fill the spaces between the animals, with bands above and below, a band of wavy lines along the upper body, and slender rays encircling the lower body. The basin interior is covered with a layer of dark brown pigment that contrasts nicely with the soft yellow-white body. Size (including handles): 9.75" W x 4.75" H (24.8 cm x 12.1 cm)
The Corinthian style evolved from the earlier Geometric style. Surfaces were traditionally organized into horizontal bands, with an emphasis on repeated patterns, as well as an attractive play between light and dark. The Corinthian potters elected to expand the bands encircling the vessels, and fill them with both abstract, non-figural design motifs and zoomorphic images. On occasion they also included anthropomorphic motifs.
A very similar example hammered for 2,550 GBP ($3,117) at Bonhams, London, New Bond Street "Antiquities" auction (July 23, 2020, lot 15).
This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full printed and bound report is available to the buyer upon request.
Provenance: ex-John B. Kendrick II collection, Denver, Colorado, USA, acquired 1965 to 1990; John B. Kendrick II was that son of John B. Kendrick, Wyoming governor and US senator
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.
PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm.
Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping.
#172416
Condition:
Repaired with restoration, with resurfacing and overpainting along new material and break lines. Fading and abrasions to pigment, with softening to some incised decorations, some possible touching-up of incised decorations, and craquelure to areas of pigment from possible refiring. Nice preservation to most zoomorphic figures. TL drill holes beneath base and under one handle.
RARE ANCIENT AMLASH BRONZE PRIMORDIALRARE ANCIENT AMLASH BRONZE PRIMORDIAL BULL IDOLNear East / Central Asia, Northwestern Iran, Parthia / Amlash, late Bronze Age, ca. 1000 to 600 BCE. A remarkable bull effigy cast from bronze with a symmetrically proportioned body! Although hollow, no openings lead into the bull - a substantial bronze effigy figure with no obvious utilitarian function other than for use as a Zoroastrian or other religious offering; perhaps as an idol figure of Gavaevodata, a primordial bovine! Note the simplistic geometric forms throughout - cylindrical body and the emphasis on the crescent horns that invoke moon symbolism. Indeed, ancient Zoroastrian followers believed the earth rested on a rock carried by the Gavaevodata bull; when injured the lunar deity, Mah (Mangha), rescued and purified this primordial bull. Mah's crescent was part of the insignia for Parthian royalty as well. Besides use in religious myths, bulls were a recurring theme in near eastern art, most likely symbolizing the leader of the herd, that were known for strength and virility. Size: 8" L x 3.5" W x 7.75" H (20.3 cm x 8.9 cm x 19.7 cm)
Provenance: private Santa Fe, New Mexico USA collection acquired from Allan Davis, acquired before 2000
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.
We ship worldwide and handle all shipping in-house for your convenience.
#174772
Condition:
Repaired with restoration with new material to neck - professional and break line is nearly indiscernible. Surface abrasions, nicks, stable fissures on legs, and chips commensurate with age and exposure.. Heavy mineral encrustations and patina throughout out.
3RD C. ROMAN BYZANTINE TILE - FACE W/3RD C. ROMAN BYZANTINE TILE - FACE W/ HALO, TL TESTEDLate Roman / Byzantine Empire, North Africa, Tunisia, Carthage, ca. 3rd to 4th century CE. A lovely mold-made terracotta tile in low relief with a face within a sunburst / halo, an early Christian representation of Christ or another holy figure. The impressed pellets or sun beams frame the face and red, white, and black pigments highlight the visage and halo. The verso has great remains of encrusted mortar and underneath, the linear X marking that may have assisted removal from a mold. Tiles were added to walls and ceilings to illustrate Biblical scenes, presenting basic catechism through pictures to the illiterate. The Greco-Roman god of the sun, Helios, possesses attributes similar to Christ, and early Christian art sometimes combines the two- using the glory of the sun to represent Christ. Size: 7.75" L x 0.8" W x 7.75" H (19.7 cm x 2 cm x 19.7 cm); 10.5" H (26.7 cm) on included custom stand.
Despite persecution, Christianity appealed to many due to the clear moral structure and explanation of good and evil in the world - which may have helped provide a sense of stability during the fall of the Roman Empire. Without wealth, the poverty-stricken lower classes had few hopes of achieving peace in the afterlife, and the Christian emphasis on abolition of sin and reconciliation no matter social status or wealth, was highly appealing at this time. Similar tiles with Christian themes can be seen at the Bardo National Museum in Tunis.
This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full printed and bound report will accompany the item upon purchase.
Provenance: private Vero Beach, Florida, USA collection, acquired before 2003
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.
We ship worldwide and handle all shipping in-house for your convenience.
#177606
Condition:
Chips and losses to peripheries. Tile is otherwise intact without repairs. Remains or mortar / encrustations on verso. TL holes on upper edge and on verso left corner.
AXEL HERMAN HAIG (SWEDISH, 1835-1921)AxelAXEL HERMAN HAIG (SWEDISH, 1835-1921)Axel Herman Haig
Swedish, 1835-1921
Amiens Cathedral , 1893
Etching, signed in graphite lower right
Interior of the Cathédrale Notre-Dame d'Amiens, densely packed with figures, young women in white veils, with emphasis on the overhead architecture. Marked lower left in the plate with the artist's initials and the date 1893, matted behind glass, the frame of pierced giltwood.
Axel Herman Haig was a Swedish-born artist, illustrator and architect. His paintings, illustrations and etchings, undertaken for himself and on behalf of many of the foremost architects of the Victorian period earned him the title of "the Piranesi of the Gothic Revival".
Plate: 27 1/2 x 18 3/4 in. (69.9 x 47.6 cm.), frame: 43 x 34 in. (109.2 x 86.4 cm.)
Ex Iowa Wesleyan University collection;
Gift of Mr. Terry Moore
Condition:
Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
Y RARE AND IMPORTANT FRENCH GOTHIC IVORYY RARE AND IMPORTANT FRENCH GOTHIC IVORY COMPOSITE CASKET
CIRCA 1330 the panels intricately carved in bas-relief to include scenes from the Medieval tales Queste del Saint Graal and Tristan & Isolde, with later brass brackets, straps and handle25cm wide, 11cm high, 13cm deepProvenance: Property from Tornaveen House, AberdeenshireCurrently only eight other complete secular ivory coffrets like the present one are known. These so-called composite caskets are mostly in important museum collections around the world.[1] With all panels intricately carved in bas-relief, the high quality of the workmanship is immediately visible, while a closer look reveals the richness of the motifs. It gives us a beautiful insight into the medieval fascination with the concept of courtly love.The present example likely originated in a workshop in Paris around 1330, due to the similarities with the existing ones. The exact meaning behind the iconological programs of these caskets has long been a subject for discussion between scholars.One thing the panels on all these caskets have in common is the link to medieval courtly literature, tales of love usually between knights and noble ladies emphasising nobility and chivalry, popular in Europe since around the time of the First Crusade in 1099. On this coffret, the two main tales the panels relate to are most likely Tristan and Isolde, and the Queste del saint grail.[2]The two panels on the right side probably refer to the famous medieval romance, Tristan and Isolde. This tale, based on a Celtic legend, centres around the young knight Tristan, who travels to Ireland to ask for the hand of princess Isolde on behalf of his uncle King Mark of Cornwall. After slaying a dragon there, the princess agrees to marry King Mark. On the journey back Tristan and Isolde drink the love potion prepared by the queen for her daughter and King Mark and fall for each other. The main part of the romance is focussed on King Mark trying to prove their secret love affair and punishing them.Although this legend has been retold many times, one of the most popular ones is the version by Béroul, a Norman or Breton poet of the 12th century. According to his account, King Mark asks King Arthur to try his wife Isolde at court for her unfaithfulness. To have Isolde exonerated from the charges, she and Tristan concoct a clever ruse. Tristan disguises himself convincingly as a poor leper, begging for alms on the banks of the river Malpas. When the royal party arrives, he carries her across the river, so Isolde can truthfully swear in front of the court that “no man ever came between my thighs except the leper who carried me on his back across the ford and my husband, King Mark”. This oath was seemingly so convincing, that everyone hearing it applauded it, and King Arthur made Mark promise to never slander her again.The front left panel shows Tristan carrying Isolde across the river, her headdress clearly indicating she is a married woman. After Isolde is safe, Tristan dresses up as the Black Knight and joins the jousting, a scene represented on the left end panel of the casket.The carvings on the front right and right end panel allude to another preeminent story, the Queste del saint grail, the story of the fabled Holy Grail, part of the Arthurian Legend. It begins at King Arthur’s court with a gathering of the well-known Knights of the Round Table. Just before dinner a sword in a stone appears miraculously floating in the river below the castle. Lancelot’s claims that whoever tries to remove the weapon will be gravely wounded does not deter his companions eager for adventure. Only the recently arrived Galahad can withdraw the sword, which he uses to achieve the quest for the grail.The carving next to the lock on the right of a man presenting his arm with severed hand to a king and queen probably relates to this, he having failed to retrieve the sword and receiving this grisly injury in trying so. The sword over the altar on the right end panel possibly refers to the divine and miraculous nature of the weapon Galahad obtained. The scene on the right end could either show the appearance of the grail just after Arthur, Galahad, and the knights of the Round Table sit down to eat, or when Galahad and his companions finally encounter the grail at the end of the story, or a conflation of the two. That the figure in the middle of the right end panel lacks a crown suggests that he is Galahad and not Arthur. The lions shown on the lid support this identification, as the grail castle was guarded by lions and surrounded by water.The wild men presented in intricate detail fighting to conquer a castle on the lid, and again defeated and in chains on the back panel, are a very popular motif in medieval imagery, ubiquitously represented in art of the highest quality from the early 14th century and continuing well into the sixteenth century[3]. Wild men represented the opposite of accepted standards of society, subliminally implying chaos, insanity and ungodliness. Especially in the 14th century the wild men seem to take on an erotic role, seen storming the Castle of Love in several artworks, one of the most common allegorical scenes in which the winning of a lady’s heart is depicted as the siege of a castle[4]. The carving on this coffret actually is reminiscent of the so-called Academy Casket (see image 1), now lost.[5]Unusual on this panel is the wild man wearing a crown. There are some wild men wearing crowns in 15th century German tapestries (image 2), but we don’t have an explanation why the carver added one in this case.The overall iconography of this casket seems to confirm the general notion that they were made as courting or wedding gifts for noble ladies, personalised to the commissioner’s preferences, as all the panels include notions of love and chivalry, to perhaps represent wishes for the future relationship especially important to the suitor. These very personal meanings have been lost to time, yet make this coffret extraordinarily intriguing.Another element making this casket so significant is the impeccable provenance. We can trace it all the way back to the beginning of the 17th century, as it is mentioned in the family genealogy of the Baird family of Auchmedden[6] in relation to Thomas Baird[7]. According to this text, he became a friar of a monastery in Besançon, Burgundy, in 1615. Letters from his uncle Andrew, who was staying close by in France, to his father Gilbert mention him to be hard of learning and ‘incapable of any of the sciences’. His saving grace was said to being excellent at mechanics, having made ‘an oblong, small chest of ivory 10 inches long, 5 broad, and 4 high, delicately carved in bas-relief, with the chisel, upon the top and sides into figures of knight-errants, distrest [sic] damsels, and enchanted castles, taken from some of the old romances which were so much in vogue in that age’.None of the letters later on in the genealogy indicate as to why the author thinks the casket was made by Thomas Baird, and not just sent over to his family as a gift. We don’t know if it was Thomas himself trying to make up for his shortcomings as a scholar by telling his family he was the talented maker, or if this is down to family lore evolving over the centuries. The casket would have already been nearly 300 years old at the time of Thomas’ acquisition.A footnote in the genealogy places the casket in the editor W. N. Fraser’s possession in 1870, which gives us the firm link to the present-day vendors, who are descendants by marriage of the Baird family.[1] Metropolitan Museum of Art, New York, 17.190.173, 1988, 16; British Museum, London, Dalton 386; Victoria and Albert Museum, London, 146.1866; Walters Museum, Baltimore, 71.264; Barber Institute of Fine Arts, Birmingham; Bargello, Florence, 123 c.; Cathedral Treasury, Krakow; Winnipeg Art Gallery[2] Thanks to Paula Mae Carns for identifying the various iconography[3] Timothy Husband, Metropolitan Museum of Art, Gloria Gilmore-HouseMetropolitan Museum of Art, 1980, p. 4[4] Timothy Husband, Metropolitan Museum of Art, Gloria Gilmore-HouseMetropolitan Museum of Art, 1980, p. 73[5] The location of all panels from this dismantled casket is unknown, apart from the back panel which is now in the Metropolitan Museum of Art in New York (2003.131.2). This casket is known from an eighteenth- century engraving (see Lévesque de Ravalière).[6] Genealogical collections concerning the sir-name of Baird, and the families of Auchmedden, Newbyth, and Sauchton Hall in particular : with copies of old letters and papers worth preserving, and account of several transactions in this country during the last two centuries: Baird, William, 1700 or 1701-1777, edited by W. N. F. Fraser, London 1870, page 21[7] The exact dates for Thomas Baird are unknown, however he is known to be the third son of Gilbert Baird (1551-1620), and he resided in France from at least 1609.Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/