- Attributed to David Dalby
(British,
Attributed to David Dalby
(British, 1794-1836)
A Chestnut Hunter and His Master
oil on canvas
19 1/2 x 26 1/2 inches.
- 12VOL J.CHANDLER HARRIS BOOKS, INCLUDING
12VOL J.CHANDLER HARRIS BOOKS, INCLUDING 1ST ED. A lot of 12 books by Joel Chandler Harris, including some first editions. Daddy Jake The Runaway by Joel Chandler Harris. Published 1898 by The Century. Blue cloth boards with gilt titling and decoration. 8vo. 198pp.
A Little Union Scout by Joel Chandler Harris. Published 1904 by McClure, Phillips. Green cloth boards with a floral design and gilt titling. 8vo. 181pp. Ex-library book with stamps and pockets. On The Wing of Occasions by Joel Chandler Harris. Published 1900 by Doubleday, Page. Red cloth boards with illustration. 8vo. 310pp.
Nights With Uncle Remus by Joel Chandler Harris. Published by George Routledge and Sons, London. Peach cloth boards with a turtle decoration and black titling. 8vo. 312pp. Free Joe by Joel Chandler Harris. Published 1901 by International Association of Newspapers. Bound in tan boards with a green floral design and black titling. 8vo. 236pp. Balaam and His Master by Joel Chandler Harris. Published 1891 by Houghton Mifflin. Tan boards with gilt titling. 12mo. 293pp. Gabriel Tolliver by Joel Chandler Harris. Published 1902 by McClure, Phillips. Red boards with blind stamping and gilt titling. 8vo. 448pp. Evening Tales by Joel Chandler Harris. Published 1893 by Charles Scribner's Sons. Red cloth boards with black and silver titling and decoration. 8vo. 280pp. Previous owner's bookplate as well as small newspaper articles pasted down on front and back boards. Told By Uncle Remus: New Stories of the Old Plantation by Joel Chandler Harris Published 1905 by McClure, Phillips. Red cloth boards with illustrated rabbit and gilt titling. 8vo. 295pp. Songs of the South: Selections From Southern Poets by Jennie Thornley Clarke with an Introduction by Joel Chandler Harris. Published 1896 by Lippincott. Blue cloth boards with gilt titling. 8vo. Plantation Pageants by Joel Chandler Harris. Published 1899 by Houghton, Mifflin. Light blue boards with gilt titling and decoration. 8vo. 247pp. Book has lost covering on spine. Daddy Jake The Runaway and Other Stories by Joel Chandler Harris. Published 1889 by Century Company. Bound with a pictorial cover and a brown leather spine with gilt titling. 4to. 145pp.
- ALBRECHT DURER, CLARISSIMI PICTORIS,
ALBRECHT DURER, CLARISSIMI PICTORIS, 1532 Clarissimi Pictoris et Geometrae de Symetria Partium in Rectis Formis by Alberti Dureri (Albrecht Durer). Published 1532 and printed by D. Caroli, Noremberger. An extremely rare first Latin edition of this masterpiece on anatomy by Durer, the first fully illustrated anatomy. This is the personal copy of Johann Georg Bergmiller, Director of the Augsburg Academy. Book is bound with paper boards. Book comes in a custom clamshell case. 79 counted pages, pages are unnumbered.
- A large collection of miscellaneous
A large collection of miscellaneous 78 records. Including 'His masters voice', Parlophone and more.
- RARE PIERCED MASONIC TIN LANTERNThis
RARE PIERCED MASONIC TIN LANTERNThis Masonic lantern is a rare example of early tin work. Ontario, circa 1830. Excellent condition. Measuring, 14” height x 5" diameter. The Larry Foster Collection.
- 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.
- JOHN FAED R.S.A. (SCOTTISH 1819-1902)
'LOOK
JOHN FAED R.S.A. (SCOTTISH 1819-1902)
'LOOK AFTER THE PENNIES' Signed, oil on canvas61cm x 76cm (24in x 30in)Provenance: Private collection, ScotlandNote: John Faed was born near Gatehouse of Fleet, Kirkcudbrightshire. Artistic talent emerged early and between the ages of 11 and 12 he worked as an itinerant miniature painter fulfilling portrait commissions for Galloway aristocracy. In his late teens Faed moved to Edinburgh to study at the Trustees Academy, and was soon regularly exhibiting portraits and historical and genre scenes at the Royal Scottish Academy. Many of his compositions derived from the works of William Shakespeare, as well as Walter Scott and Robert Burns; more still depict characters and scenes inspired by his native Dumfries and Galloway. Look After the Pennies is set within a humble domestic interior, and demonstrates Faed’s exquisite handling of light and shade to articulate form: delightful details such as the soft light on the boy’s green woollen beret, the older woman’s hands, and the dust on the well-used spinning wheel exemplify his mastery.Faed’s paintings proved immensely popular to a Victorian audience in Britain, and he also had a significant following in the United States, in acknowledgment of which he painted an important posthumous equestrian portrait of George Washington (1856). Faed’s siblings James (1821-1911), Thomas (1826–1900) and Susan (1827–1909) were also successful artists.
- JEWELRY. GRAND DUKE SERGEI ALEXANDROVICH
JEWELRY. GRAND DUKE SERGEI ALEXANDROVICH OF RUSSIA 18kt Gold Pocket Watch? A truly exemplary French L. Leroy & Cie of 7 Boulevard de la Madelaine, Paris 18kt yellow gold open face pocket chronometer watch. This masterpiece features an 18kt yellow gold Empire shaped case, 18kt yellow gold bow with a high polished finish, 18kt yellow gold cuvette, 18kt yellow gold hinged case back with a high polished finish bearing the potential royal Imperial Russian crest of Grand Duke Sergei Alexandrovich executed in red and white enamel, signed gold tone dial with central Clous de Paris textured finish, Arabic numeral hours chapter executed in black enamel, subsidiary seconds dial at 6 o’clock position, blued steel moon hands, glass crystal, and a stunning signed Leroy gilt mechanical movement with keyless winding and setting. Accompanied by an exquisite English 18kt yellow gold double Albert pocket watch chain fitted with a sliding T bar, (2) oversized spring rings, and an Albert swivel clasp. All components of the chain bear the traditional pictorial fineness mark of a crown indicating that the item is indeed gold, also bearing a numerical purity mark of "18", and finally a maker's mark of "W G". In addition to the chain a vintage typed letter stating the provenance of the pocket watch shall be included and a vintage Hammer Galleries jewelry box. The total approx. weight of the pocket watch is 92.2 dwt (gross) including the movement and crystal. The total approx. weight of the double Albert chain is 60.8 dwt (gross). From a Hollis, NY estate. Dimensions: pocket watch case measures approx. 58 mm in diameter. Chain measures approx. 16" in length and each link measures approx. 8 mm w x 24 mm l. Condition: Good, with light surface scratches and minor dings/dents. Watch was running prior to auction. All watches are sold as is regardless of functionality. The first "C" executed in white enamel exhbits loss. This can be viewed in the fourth photograph. The provenance may be viewed in the twentieth photograph.
- WILLEM DE KOONING (1904-1997): STUDY
WILLEM DE KOONING (1904-1997): STUDY FOR CLAM DIGGERSCharcoal, pencil and pastel on paper, circa 1960-1965, signed 'de Kooning' lower right, with label from Allan Stone Galleries, NY.
11 x 8 1/2 in. (sheet), 18 x 16 1/4 in. (frame).
Note: " When I go down to the water's edge on my daily bicycle ride, I see the clam diggers bending over, up to their ankles in the surf, their shadows quite unreal, as if floating. This is what gave me the idea ." --Willem de Kooning
The clam digger motif was one of Willem de Kooning's most enduring subjects, explored across mediums, from his masterful painting on paper Clam Diggers (1963, Private Collection, New York) to his late bronze sculptures, many of which are held in museum collections. Within this pictorial lineage, de Kooning's signature motif emerges in Study for Clam Diggers as a dynamic flurry of charcoal ribbons--a testament to the very tension between abstraction and figuration that defined his art. In 1963, de Kooning moved from New York City to Springs on Long Island, shifting his focus on subject matter and style away from the urban towards the pastoral and reflective, as he settled into his new life away from the intensity of the New York art world. Dating from a pivotal moment in the artist's career, Study for Clam Diggers is an intimate masterwork--a bridge between his assertive Abstract Expressionist works of the late 1950s and the energetic and vibrant figuration of his Women paintings in the 1960s.
Condition
Mat and light- staining. Small spots of staining from old tape at places on the reverse of the sheet edges showing through. Otherwise in good condition.
Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
- EXCEPTIONAL SWIMMING MERGANSERNorth
EXCEPTIONAL SWIMMING MERGANSERNorth Shore, MA, c. 1890
17 1/2 in. long
This hollow swimming merganser is among the finest decoys discovered in decades. As this Massachusetts masterpiece makes its public debut, no other decoys from this rig are known to have surfaced in any auction to date. Like the goose, the red-breasted merganser has been a muse for many of the great known and unknown Atlantic carvers. A thorough review of the finest mergansers confirms that this carving stands on its own as one of the greatest extant, and it is certainly second to none among all hollow examples of this species.
The sleek body stretches forward to a raised neck seat topped by a highly refined reaching head, turned slightly to the left. The delicate bill is trimmed with incised mandible carving. Topping the head is a ridged crest running from the crown to the nape with a rasp finish capturing the texture of the wet shaggy feathers after a dive. The lightweight body features refined raised wing tip carving and a thin tail. A round beveled weight and thin bottom board complete the underside of the decoy and it appears to have had a wooden keel at one time. The surface is finished with softly blended paint and sharp wing patches. Given its fragile features, the decoy has survived in remarkably good condition. It is being offered here in its discovered state with no touch-up or repairs.
Bob Shaw demonstrates in the opening salvo to his Massachusetts chapter, one cannot discuss the unrivaled region’s great decoys without embracing the unknowns. As he makes clear, masterworks such as this easily rise above the trivia of attributions. That said, naturally this swimmer’s origin is being explored. Only two other decoys from this rig are known and all are in the same plumage. The other two are in upright positions, but no raised wing carving. One is in a prestigious private collection where it shares space with exceptional works from the North Shore, Massachusetts, rigs of Capt. Samuel A. Fabens, Fred M. Nichols, and Capt. Charles Osgood. The features of this lot place it firmly in region, and some believe it is in fact a Nichols decoy as the style relates closely to works identified from his rig. While more sleek and detailed than an Osgood or even a Fabens merganser, the form and construction appear to have a common origin with the latter. Gigi Hopkins reveals that Fabens and Nichols were both guests at the prestigious Ives Camp in Rowley, Massachusetts, which was co-founded in 1853 by none other than Capt. Charles C. Osgood (1820-1886).
“The Massachusetts region, which includes coastal New Hampshire, Cape Cod, the islands of
Nantucket and Martha's Vineyard, and the state of Rhode Island, arguably produced more
first-quality decoys than any other area of the country and was home to a number of the decoy's greatest artists, including such masters as Elmer Crowell, Joe Lincoln, Lothrop Holmes, and George Boyd.
“Massachusetts also produced several of the greatest as yet unidentified carvers. Many of the region's most accomplished and inventive nineteenth-century shorebird carvers have never been identified, while a uniquely constructed group of geese and red-breasted mergansers is attributed by oral tradition to a Salem sea captain named Charles C. Osgood, although whether he actually made them or not may never be known. One unidentified master carved a rig of astonishing animated shorebirds for Dr. John C. Phillips, a wealthy sportsman and amateur ornithologist who was also one of Elmer Crowell's most important patrons, while another made equally remarkable geese and shorebirds with tightly fitting, removable dovetailed heads.” — Bob Shaw, “Bird Decoys of North America”
Excellent original paint with light gunning wear, some chipping to tail edge, and head is slightly loose.
Provenance: Private Collection, Massachusetts
Literature: Gwladys Hopkins, “Massachusetts Masterpieces: The Decoy As Art,” Lincoln, MA, 2016, pp. 76-77, Osgood, Fabens and Nichols discussed and Osgood merganser illustrated.
Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, pp. 150-151, lost Fabens merganser illustrated and Massachusetts discussed.
- CARL BRENDERS (1937-), LOOKOUT TOWER,
CARL BRENDERS (1937-), LOOKOUT TOWER, TIMBERWOLVES Title: Carl Brenders (1937-), Lookout Tower, Timberwolves Medium: mixed media on board Dimensions: 43 1/4 x 31 3/4 Frame dimensions: 54 x 42 1/2 x 4 Notes: Born near Antwerp, Belgium in 1937, Carl Brenders has drawn since childhood. He studied at the Fine Arts Academy in Antwerp and later at Berchem. His love for all creatures is evident in his masterful attention to detail. Brenders’ insistence on anatomical perfection in his paintings stems from his philosophy that nature, itself, is perfection. A dedicated conservationist, Brenders has raised awareness for environmental and conservation causes through his art, which enjoys international acclaim.
Of his painting Lookout Tower - Timberwolves he says: “Why are most people so fascinated with wolves? If one looks at these four wolves on a cliff, the harmony of their colors and wonderful proportions of their bodies, as well as the resemblance to our dear German Shepherds and Huskies, explains everything. The teamwork in their hunting strategy has fascinated many biologists and naturalists. It is the same for most dog species like the Wild Dogs in Africa and the Dingoes in Australia, to name a few. Just like lions hunting in groups, the wolves can lay down big prey like moose, elk and caribou. Even a bear isn’t safe facing a big pack of wolves. One might wonder why wolves are so shy of humans. The story of Little Red Riding Hood is still in people’s minds. This fairy tale gave the wolf a bad reputation. Wolves avoid humans, as humans are their worst enemy.”
He adds: “The inspiration for this painting came when I flew back to Europe after a wonderful field work trip (hunting with my camera). As I am unable to sleep in planes, I often make sketches for future paintings. With a ball-point pen and a little sheet of paper, one sketch was enough to create this painting. The scenery in this painting is typical of Western America with Lodgepole Pine and Rocky Mountain Maple. I mostly paint not what I have seen, but what I dream of seeing in the wild. This painting was done as a celebration for the success of the reintroduction of the wolves in Yellowstone National Park. As a wolf-lover, I am thankful to the people who worked hard to reintroduce the wolf into Yellowstone National Park. A wild area like this isn’t complete without this wonderful predator.”
- ROLEX OYSTER PERPETUAL MILGAUSS WATCHA
ROLEX OYSTER PERPETUAL MILGAUSS WATCHA Rolex Oyster perpetual Milgauss, the green crystal (introduced in 2007) is made of a virtually scratchproof synthetic sapphire, the orange second hand shaped like a lightning bolt, with the Z blue dial - exclusive electric blue that is only available on this Rolex model. This masterpiece is in excellent condition with the original bracelet. Serial numbers. 771T9775 and 16400 verified by Rolex Ottawa.
- ROYAL DOULTON, HIS MASTER'S VOICE NIPPER
ROYAL DOULTON, HIS MASTER'S VOICE NIPPER DOG FIGURECommissioned to commemorate the centenary of Nipper 1900-2000.
Limited edition of 2000. Hand made and hand decorated. Complete with Certificate of Authenticity. Fully stamped on base.
Artist: David Biggs
Issued: 2000
Dimensions: 6.75"H x 12.25"W
Manufacturer: Royal Doulton
Condition:
Restoration to handle
- SANCHO PANCA D6456 - LARGE - ROYAL DOULTON
SANCHO PANCA D6456 - LARGE - ROYAL DOULTON CHARACTER JU...Sancho Panca D6456 (black hat with a white feather, black coat with a white collar). Designed by Geoff Blower. Series: Characters from Literature, issued 1957 - 1983. Size: 6.5"H (Large)This amiable peasant was employed as the squire to Don Quixote in Cervantes's 17th-century novel. Accompanying Quixote on many adventures, his down-to-earth common sense acted as a foil to his master's romantic musing.
Manufacturer: Royal Doulton
Country of Origin: England
- SANCHO PANCA D6518 - MINI - ROYAL DOULTON
SANCHO PANCA D6518 - MINI - ROYAL DOULTON CHARACTER JUG...Royal Doulton Character Jug, Sancho Panca D6518 (black hat with a white feather; black coat with a white collar). Designed by Geoff Blower. Series: Characters From Literature, issued 1960 - 1983. Size: 2.5"H (mini)This amiable peasant was employed as the squire to Don Quixote in Cervantes's 17th-century novel. Accompanying Quixote on many adventures, his down-to-earth common sense acted as a foil to his master's romantic musing.
Manufacturer: Royal Doulton
Country of Origin: England
- SANCHO PANCA D6456 - LARGE - ROYAL DOULTON
SANCHO PANCA D6456 - LARGE - ROYAL DOULTON CHARACTER JU...Sancho Panca D6456 (black hat with a white feather, black coat with a white collar). Designed by Geoff Blower. Series: Characters from Literature, issued 1957 - 1983. Size: 6.5"H (Large)This amiable peasant was employed as the squire to Don Quixote in Cervantes's 17th-century novel. Accompanying Quixote on many adventures, his down-to-earth common sense acted as a foil to his master's romantic musing.
Manufacturer: Royal Doulton
Country of Origin: England
- HIS MASTER'S VOICE NIPPER 1900-2000
HIS MASTER'S VOICE NIPPER 1900-2000 - ROYAL DOULTON ANI...Very rare His Master's Voice figure of a dog and gramophone.
Nipper (1884-1895) was a dog from Briston, England, who served as the model for an 1989 painting by Francis Barraud titled His Master?s Voice. This figure was commissioned by Millenium Collectibles Ltd. In 2000 to commemorate the 100 year anniversary of this iconic image. Although 2000 were to be made, there was significant problems with shipping the figure and few survive. #nipper #victor #RCA #cylinderphonograph
Issued: 2000
Dimensions: 12"W x 6.5"H
Edition Number: 2000 Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good
- RARE ROYAL DOULTON WALL MASK, MADAME
RARE ROYAL DOULTON WALL MASK, MADAME POMPADOUR HN1816White hair, pink and green feather, with brown eyes.
Full mask depicting Jeanne Antoinette Poisson, commonly known as Madame de Pompadour, a member of the French court and royal mistress of Louis XV. This mask is finely detailed and delicately painted illustrating her famous hairstyle, the pompadour, originally named after her. With Royal Doulton backstamp. #RoyalDoulton
Artist: Harry Fenton
Issued: 1937-1940
Dimensions: 13.25"H
Manufacturer: Royal Doulton
Country of Origin: England
Provenance: The Harriman Judd Collection, Sotheby's
Condition:
Good.
- SANCHO PANCA D6518 - MINI - ROYAL DOULTON
SANCHO PANCA D6518 - MINI - ROYAL DOULTON CHARACTER JUG...Black hat with a white feather; black coat with a white collar.
This amiable peasant was employed as the squire to Don Quixote in Cervantes's 17th-century novel. Accompanying Quixote on many adventures, his down-to-earth common sense acted as a foil to his master's romantic musing.
Artist: Geoff Blower
Issued: 1960 - 1983
Dimensions: 2.5"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good
- SANCHO PANCA D6518 - MINI - ROYAL DOULTON
SANCHO PANCA D6518 - MINI - ROYAL DOULTON CHARACTER JUG...Black hat with a white feather; black coat with a white collar.
This amiable peasant was employed as the squire to Don Quixote in Cervantes's 17th-century novel. Accompanying Quixote on many adventures, his down-to-earth common sense acted as a foil to his master's romantic musing.
Artist: Geoff Blower
Issued: 1960 - 1983
Dimensions: 2.5"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good; glaze fading.
- SANCHO PANCA D6461 - SMALL - ROYAL DOULTON
SANCHO PANCA D6461 - SMALL - ROYAL DOULTON CHARACTER JU...Black hat with a white feather; black coat with a white collar.
This amiable peasant was employed as the squire to Don Quixote in Cervantes's 17th-century novel. Accompanying Quixote on many adventures, his down-to-earth common sense acted as a foil to his master's romantic musing.
Artist: Geoff Blower
Issued: 1957 - 1983
Dimensions: 3.25"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good
- SANCHO PANCA D6518 - MINI - ROYAL DOULTON
SANCHO PANCA D6518 - MINI - ROYAL DOULTON CHARACTER JUG...Black hat with a white feather; black coat with a white collar.
This amiable peasant was employed as the squire to Don Quixote in Cervantes's 17th-century novel. Accompanying Quixote on many adventures, his down-to-earth common sense acted as a foil to his master's romantic musing.
Artist: Geoff Blower
Issued: 1960 - 1983
Dimensions: 2.5"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good
- SANCHO PANCA D6456 - LARGE - ROYAL DOULTON
SANCHO PANCA D6456 - LARGE - ROYAL DOULTON CHARACTER JU...Black hat with a white feather, black coat with a white collar.
This amiable peasant was employed as the squire to Don Quixote in Cervantes's 17th-century novel. Accompanying Quixote on many adventures, his down-to-earth common sense acted as a foil to his master's romantic musing. Series: Characters from Literature. Royal Doulton backstamp.
Artist: Geoff Blower
Issued: 1957 - 1983
Dimensions: 6.5"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Good.
- SANCHO PANCA D6461 - SMALL - ROYAL DOULTON
SANCHO PANCA D6461 - SMALL - ROYAL DOULTON CHARACTER JU...Black hat with a white feather; black coat with a white collar.
This amiable peasant was employed as the squire to Don Quixote in Cervantes's 17th-century novel. Accompanying Quixote on many adventures, his down-to-earth common sense acted as a foil to his master's romantic musing.Series: Characters From Literature. Royal Doulton backstamp.
Artist: Geoff Blower
Issued: 1957 - 1983
Dimensions: 3.25"H
Manufacturer: Royal Doulton
Country of Origin: England
Condition:
Age related wear.
- FRENCH RIVIERA "CANNES" SIGNED LITHOGRAPH
FRENCH RIVIERA "CANNES" SIGNED LITHOGRAPH BY HENRI PLIS...DESCRIPTION: Limited Edition Henri Plisson (1933 - 2006) original lithograph entitled "Cannes" depicting a summerly French Riviera scene with Cannes oceanside refreshing landscape. It is hand signed in the lower right corner and has number hand mark 48/295 in the lower left corner.
Henri Plisson was born in Omaha Nebraska as Patrick Ryan. He later embraced the name of Henri Plisson to be used in his impressionist paintings. He originally attended the University Of Nebraska , but continued his studies at the University Of Southern California . It was that he obtained his Master of Fine Arts Degree. Many feel Plisson style of painting used seemingly innt methods which he combined with a unique sense of color and dynamic and lustrous images. "Painting is elusive. It is very difficult to verbalize, as you're putting into words something that speaks on its own." Says the artist. This modern American Impressionist works are currently displayed by some very distinctive corporate and private collectors.
CIRCA: Mid- Late 20th Century.
ORIGIN: USA
DIMENSIONS: Frame is W: 45" H: 38" Lithograph is W: 31" H: 25"
CONDITION: Good condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- AFTER FERNANDO BOTERO "HORSE" BRONZE
AFTER FERNANDO BOTERO "HORSE" BRONZE SCULPTUREDESCRIPTION: An after Fernando Botero "Horse" bronze sculpture featuring a large horse. This masterful example of Fernando Botero’s sculptural practice epitomizes the dramatism of voluminous shape and sensuality that has come to define the artist’s celebrated visual idiom. This monumental sculpture exemplifies the significance of sculpture in Botero’s pursuit of exploring volume and the sensuality of form. Base marked " Botero" with foundry stamp "M, Founderia, Italy".
CIRCA: 20th Century
ORIGIN: Italy
DIMENSIONS: H: 9" W: 8" D: 4 1/2 "
CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- RARE STEUBEN CINTRA PAPERWEIGHT STYLE
RARE STEUBEN CINTRA PAPERWEIGHT STYLE COLOGNE BOTTLEDESCRIPTION: Steuben faceted crystal paperweight style cologne bottle with pink to blue shaded controlled Cintra internal decoration and controlled bubbles. c. 1927-31. Factory records call this a tall cologne originally retailed at $37.50.
Clear cased, deep cut lead glass with bubbles with clear stopper.
Shape # 6687 p. 242 Paul V. Gardner book.
Reference:
Pictured p. 58 of Objects of Desire: The Art of Frederick Carder by Alan Shovers.
Shown on the cover of Vanity Vessels: The Story of the American Perfume Bottle by Gay LeCleire Taylor in a publication produced by the Museum of American Glass at Wheaton Village in Millville, NJ for an exhibit held on April 10 through October 24, 1999. At p. 6 the author states: No two designs better illustrate the new Deco trends than the Cintra cologne bottles made by the Steuben Glass Works (cover:3) and Ruba Rombic.
Shown in 1932 Steuben Catalogue at plate V. See, p. 315 in The Glass of Frederick Carder by Paul V. Gardner.
Shape in Cluthra shown at Fig. 6.34 p. 147 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff. In figure 6.11 p. 140 the author states: Paperweight cologne is the term collectors have applied to these heavy bottles. It was not a term officially used at the time of production. They are also sometimes referred to as Cintra colognes, although many actually have a core of Cluthra glass rather than Cintra.
Color combination shown at Plate XVII, A shown in The Glass of Frederick Carder by Paul V. Gardner. The description states: The heavy crystal casing encloses controlled bubbles.
Color combination shown in a full page plate in a different shape at p. 54 of Steuben Glass An American Tradition in Crystal by Mary Jean Madigan.
Color combination also seen in Paper-Weight bottles in The Fieldstone Porch Presents Creations by Carder of Steuben His American Art Glass.
In plate Number 45 of Collector’s Choice Review on a paperweight cologne the author states: Despite his acknowledge disdain for the Art Deco style, Frederick Carder was fully aware of this trend and did indeed produce some forms and decoration in this style (Venetian). Outstanding among them, and in marked contrast to his delicate Venetian-style glass, was a series of massive, boldly cut cologne bottles more sculptural than utilitarian usually referred to today by collectors as Paperweight Colognes (Gardner line drawings 6687, 6707-8, 6712, 6916-7, 6941-2, 6944-45.
His inspiration for these pieces was most likely the massive individual pieces created by Maurice Marinot as one of Europe's most outstanding glass makers. Each example of Carders massive colognes made of brilliant colorless lead glass incorporates different colors, ranging from light green to deep brilliant blue often accompanied by irregular bubbly glass like Cintra(as found in some Marinot pieces) or by a controlled pattern of bubbles formed of air traps. Other colored glasses are enclosed with mica flecks and patterns of opaque white cane. All are enhanced by the broad, bold cutting that defines each final form.
The massive cologne bottle shown here is expressive of Carders ability to adapt techniques inspired by the work of other artists and glass makers to create a new, distinctive form and type of decoration by imaginatively combining these various elements in an unusual and distinctive manner. These sculptured colognes are outstanding examples of American glass in the Art Deco style.
Color combination shown at p. 51 of Steuben Seventy Years of American Glassmaking by Perrot, Gardner, Plaut. At p. 54, The vibrant pinks and blues in the Cintra glass center of this massive cologne bottle are partially veiled by the network of controlled bubbles and enhanced by the depth of the crystal casing. Broad panel and facet cuttings on the outer surface create a prismatic illusion which is heightened by a kaleidoscopic play of colors as the piece is viewed from various angles. Very few of these bottles were produced, all differ in form, the color of the Cintra core, the pattern of the included bubbles, and type of surface cutting. This piece is probably unique.
In The Complete Cut and Engraved Glass of Corning by Estelle F. Sinclaire and Jane Shadel Spillman 198, the authors state: Cutting-as-shaping distinguishes a group of paper-weight cologne bottles and vases made in the 1920s. Though enclosed color gives them much of their charm, deep channel cuts add a new drama to their shapes. At fig. 549, p. 194 a cut paperweight cologne is shown.
Provenance:
Estate of Mr. and Ms. Alan Shovers
Acquired 9/15/02 from Thomas P. Dimitroff of Corning, NY
CIRCA:1927-1931
DIMENSIONS: H:10.5" and 4" in diameter
CONDITION: Good condition exterior. Has chip along stem of stopper. Normal signs of age. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- RARE STEUBEN CINTRA PAPERWEIGHT STYLE
RARE STEUBEN CINTRA PAPERWEIGHT STYLE COLOGNE BOTTLEDESCRIPTION: Steuben faceted crystal paperweight style cologne bottle with pink to blue shaded controlled Cintra internal decoration and controlled bubbles. c. 1927-31. Factory records call this a tall cologne originally retailed at $37.50. Clear cased, deep cut lead glass with bubbles with clear stopper. Shape 6687 p. 242 Paul V. Gardner book. Provenance: Purchased From Joan Miller in 1998 Reference: Pictured p. 58 of Objects of Desire: The Art of Frederick Carder by Alan Shovers. Shown on the cover of Vanity Vessels: The Story of the American Perfume Bottle by Gay LeCleire Taylor in a publication produced by the Museum of American Glass at Wheaton Village in Millville, NJ for an exhibit held on April 10 through October 24, 1999. At p. 6 the author states: No two designs better illustrate the new Deco trends than the Cintra cologne bottles made by the Steuben Glass Works (cover:3) and Ruba Rombic. Shown in 1932 Steuben Catalogue at plate V. See, p. 315 in The Glass of Frederick Carder by Paul V. Gardner. Shape in Cluthra Shown on Fig. 6.34 p. 147 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff. In figure 6.11 p. 140 the author states: Paperweight cologne is the term collectors have applied to these heavy bottles. It was not a term officially used at the time of production. They are also sometimes referred to as Cintra colognes, although many actually have a core of Cluthra glass rather than Cintra. Color combination Shown on Plate XVII, A shown in The Glass of Frederick Carder by Paul V. Gardner. The description states: The heavy crystal casing encloses controlled bubbles. Color combination shown in a full page plate in a different shape at p. 54 of Steuben Glass An American Tradition in Crystal by Mary Jean Madigan. Color combination also seen in Paper-Weight bottles in The Fieldstone Porch Presents Creations by Carder of Steuben His American Art Glass. In plate Number 45 of Collector's Choice Review on a paperweight cologne the author states: Despite his acknowledge disdain for the Art Deco style, Frederick Carder was fully aware of this trend and did indeed produce some forms and decoration in this style (Venetian). Outstanding among them, and in marked contrast to his delicate Venetian-style glass, was a series of massive, boldly cut cologne bottles more sculptural than utilitarian usually referred to today by collectors as Paperweight Colognes (Gardner line drawings 6687, 6707-8, 6712, 6916-7, 6941-2, 6944-45. His inspiration for these pieces was most likely the massive individual pieces created by Maurice Marinot as one of Europe's most outstanding glass makers. Each example of Carders massive colognes made of brilliant colorless lead glass incorporates different colors, ranging from light green to deep brilliant blue often accompanied by irregular bubbly glass like Cintra(as found in some Marinot pieces) or by a controlled pattern of bubbles formed of air traps. Other colored glasses are enclosed with mica flecks and patterns of opaque white cane. All are enhanced by the broad, bold cutting that defines each final form. The massive cologne bottle shown here is expressive of Carders ability to adapt techniques inspired by the work of other artists and glass makers to create a new, distinctive form and type of decoration by imaginatively combining these various elements in an unusual and distinctive manner. These sculptured colognes are outstanding examples of American glass in the Art Deco style. Color combination Shown on p. 51 of Steuben Seventy Years of American Glassmaking by Perrot, Gardner, Plaut. At p. 54, The vibrant pinks and blues in the Cintra glass center of this massive cologne bottle are partially veiled by the network of controlled bubbles and enhanced by the depth of the crystal casing. Broad panel and facet cuttings on the outer surface create a prismatic illusion which is heightened by a kaleidoscopic play of colors as the piece is viewed from various angles. Very few of these bottles were produced, all differ in form, the color of the Cintra core, the pattern of the included bubbles, and type of surface cutting. This piece is probably unique. In The Complete Cut and Engraved Glass of Corning by Estelle F. Sinclaire and Jane Shadel Spillman 198, the authors state: Cutting-as-shaping distinguishes a group of paper-weight cologne bottles and vases made in the 1920s. Though enclosed color gives them much of their charm, deep channel cuts add a new drama to their shapes. At fig. 549, p. 194 a cut paperweight cologne is shown. CIRCA: 1927-1931 ORIGIN: USA DIMENSIONS: L: 3.5” W: 3.75" H: 10.75". Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Tip of stopper has light shaving.. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS(305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
- CEREMONIAL MASK, MONPA PEOPLE, ARUNACHAL
CEREMONIAL MASK, MONPA PEOPLE, ARUNACHAL PRADESH, 19TH/...Ceremonial Mask, Monpa People, Arunachal Pradesh, 19th/Early 20th C. Carved wood. This mask is featured on the cover of the book, ARUNACHAL - Peoples, Arts and Adornments in India's Eastern Himalayas, by Peter van Ham. Size: 10'' x 7'' x 3.5'' (25 x 18 x 9 cm).
- ARCHIVE OF MASONIC ITEMSArchive of Nashville,
ARCHIVE OF MASONIC ITEMSArchive of Nashville, Tennessee related Masonic and Fraternal Organization memorabilia. Includes 1 partially printed, highly decorated certificate for Edward Dickson Hicks certifying he has been "dubbed a Knight of the Red Cross Knight Templar and Knight of Malta", at the Nashville encampment, Sept. 9, 1859. 16" x 12" sight, 22 1/2" x 18 1/2" in molded giltwood frame; 1 Partially printed Master Mason's Diploma for C.C. Giers, Nashville Tenn. Oct. 14 1862, signed Chas. C. Giers, John McClelland, S. Kirkpatrick, R.C. Bransford and C.M. Peden, 18" x 13 1/2", folds into a pocket sized leather pouch labeled Moss & Brother Philadelphia Stationers Binders and Manufacturers of Masonic and Odd Fellows Regalia; 1 small book written in German, published 1864, inscribed inside front cover "Germania Lodge No. 355" (C. C. Giers was a member of Nashville's Germania lodge); 3 C.C. Giers CDVs of members of Nashville masons including Giers himself, Andrew Johnson (later President of the United States); and Frank Steiner; 1 black beaded ribbon with insignia; Book - Tennessee Craftsman or Masonic Textbook, undated, circa 1915, the leather pouch cover stamped "Edward Dickson Hicks Jr. May 1, 1917, Observance Lodge No 686 F. & A. M.; Book: A Digest of the Laws, Decisions, Rules and Usages of the Independent Order of Good Templars, Philadelphia: J.C. Garrigues & Co. 1870 (internal inscription in pencil for H.A. Lynes Nashville); Booklet: By-laws and Membership of Corinthian Lodge # 414 F & A.M. Nashville, dated 1960; Booked - The Lodge of Washington and his Masonic Neighbors, Copyright 1928 by the Alexandria-Washington Lodge, with photos and descriptions of antique relics in President George Washington's lodge; and assorted booklets and letters related to the Knights of Phythias and Phythian Sisters, Domain of Nashville, circa 1898-1918 including Instructions for Forming Temples, programme for an 1898 installation service etc; plus 1 Knights of Phythias white metal belt buckle with chain for sword. Also included is a 1799 Masonic Traveling Certificate on parchment for Thomas Harding (1755-1805) from Lebanon Lodge no. 41 of Gainesburg, Va., Goochland County. Contains numerous hand drawn symbols including the all-seeing eye, coffin, scythe and hands, along with the signatures of William Sanders, S. Warden, John Brown and Henry Bishop. 18" x 15". Provenance: the estate of Giers descendant Sarah Hunter Hicks Green, formerly of Historic Devon Farm, Nashville, Tennessee. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
All paper items lightly toned with some scattered foxing. Additionally, Hicks certificate: 7" area of staining to upper right corner, scattered chips and cracks to frame gilding. CDVS: corner loss to Johnson CDV, general light grime/fading to all. Belt Buckle and sword chain shows oxidation.
- PAUL CORNOYER O/C LANDSCAPEAttr. Paul
PAUL CORNOYER O/C LANDSCAPEAttr. Paul Cornoyer (New York/Missouri, 1864-1923) oil on canvas landscape depicting a grove of trees against a darkening sky. Signed very lightly lower left, Paul Cornoyer. Joel Fletcher, Edenton NC label en verso states title as "Missouri Landscape". Newcomb Macklin style giltwood frame. Sight - 11 1/4" H x 15 3/8" W. Framed - 22 3/8" H x 26 3/8" W. Biography (courtesy Askart: The Artists' Bluebook): Cornoyer studied at the School of Fine Arts in St. Louis, Missouri in 1881. In 1889, he went to Paris for further training, studying at the Academie Julien, and returned to St. Louis in 1894. In 1894, he painted a mural depicting the birth of St. Louis for the Planters Hotel in that city. In 1899, Cornoyer traveled to New York City, upon the encouragement of William Merritt Chase. In New York, Cornoyer became a specialist in Tonal urban scenes, especially after rain with its blurred effects, his masterwork being The Plaza after Rain, purchased in 1910 by the new art museum of St. Louis. In addition, Cornoyer taught at the Mechanics Institute in New York, and later was an instructor in Massachusetts, moving there in 1917. He painted and exhibited his works up until his death in 1923. (Higher-resolution photos are available at www.caseantiques.com)
Condition:
Some losses to gilding on frame.
- MCEWEN, PHILIP HARTLEY. THE FAMOUS SCOT.
MCEWEN, PHILIP HARTLEY. THE FAMOUS SCOT. MCEWEN.Dunedin: Otago Daily Times Print, ca. 1905. Offset and letterpress broadside advertising a final appearance of the Scottish hypnotist McEwen in Sydney, Australia. A portrait of McEwen, a black cat, and a picture of a throng gathered in front of the town fill out the poster, along with descriptions of his master of the powers of hypnotism, here described as “auto suggestion.” 14 ¼ x 34 ½". Margins unevenly trimmed, minor pinholes and wear; B+.
- A 22-VOLUME COLLECTION OF MOVIE SCRAPBOOKS.A
A 22-VOLUME COLLECTION OF MOVIE SCRAPBOOKS.A 22-Volume Collection of Movie Scrapbooks. 1940s. Thousands of movie star related clippings and full color portrait supplements to various publications, including Photoplay, Screenland, and others. This massive scrapbook collection appears to have been put together in the 1940s. Generally very good. In-person examination recommended.
- IVORY COAST GUERE-WOBE MASKGuere-Wobe
IVORY COAST GUERE-WOBE MASKGuere-Wobe make from Ivory Coast with teeth and horns; measures approximately 7" tall; please refer to photographs for condition.
Bete carvers are renowned for one particular type of face mask, the gre or nyabwa , which has exaggerated, grimacing distorted features – a large protruding mouth, facial protuberances, bulging forehead, elongated nose, with nostrils sometimes extending to each side of the face, and globular or bulging slit eyes set beneath a high-domed forehead carved with a medium ridge. In earlier days, this mask presided over the ceremony held when peace was restored after armed conflicts and it participated in sessions of customary justice. This type of mask was also worn to prepare men for war; the masks offered magical protection by instilling fear and terror in potential enemies. Nowadays, it is worn for a variety of ceremonies, including entertainment dances.
- BAGA NIMBA MASK FROM GUINEABaga Nimba
BAGA NIMBA MASK FROM GUINEABaga Nimba mask (Masque d'epaule nimba). Fertility shoulder mask measuring approximately 49" tall; from Guinea; with carved facial scarification and sight window between the breasts, representing a beautiful mother; circa first half of the 20th century; grass skirt, which is possibly later, is tied below the breasts and around the waist to conceal dancer's identity. This mask was acquired by the consignor during the period of the reign of Sekou Toure when rituals and associated paraphernalia were suppressed by the government.
- ANTHONY A. FERRARA "BRIDGE SCENE" OIL
ANTHONY A. FERRARA "BRIDGE SCENE" OIL ON CANVASAnthony A. Ferrara (American, Born 1930) framed oil on canvas depicting a bridge, signed A. Ferrara to bottom lower right; measures approximately 17-5/8" x 21-5/8" with sight image of approximately 11-1/2" x 15-7/8". Contemporary artist Anthony A Ferrara is considered by some to be one of Philadelphia's "great cityscape artists". He was born in 1930 in South Philadelphia. He studied at Temple's Tyler School of Art where he earned his Master of Fine Arts degree in 1963. He also attended the Fleisher Art Memorial where he studied under Ben Eisenstat . Eisenstat , known for paintings of Philadelphia's historical buildings may have been influential in Ferrara's choice of subject matter as well as his vibrant use of color. ( see Ben Eisenstat the Scattergood building in our collection)Anthony Ferrara's works painted "en plein air, have been exhibited throughout the greater Philadelphia area .