3 ART DECO ALUMINUM PANELS, BARBIZON3 ART DECO ALUMINUM PANELS, BARBIZON PLAZA HOTELThree Art Deco cast aluminum panels from the Barbizon Plaza hoteldesigned by Lawrence Emmons for Murgatroyd & Ogdencirca 1930the largest height 85 1/2in (216cm); width 36in (91.5cm); depth 3in (7.5cm)
PAINTING, OGDEN WOOD Ogden Wood (American,PAINTING, OGDEN WOOD Ogden Wood (American, 1851-1912), Cattle Resting in an Open Field, oil on panel, signed verso, panel: 6.25"h x 9.5"w, overall (with frame): 9"h x 12.25"w. Provenance: Clars Auction Gallery, July 26, 2015, lot 6193.
J RICHARD OGDEN, THE DELMAR HOTEL, WATERCOLORJ RICHARD OGDEN, THE DELMAR HOTEL, WATERCOLOR AND INK ARCHITECTURAL PLAN, FRAME: 23 1/2 X 27 1/4 IN. (59.7 X 69.2 CM.)J Richard Ogden, The Delmar Hotel, Watercolor and Ink Architectural Plan,, Dimensions: Frame: 23 1/2 x 27 1/4 in. (59.7 x 69.2 cm.)
TWO NEW YORK STONEWARE TWO-GALLON JUGS,TWO NEW YORK STONEWARE TWO-GALLON JUGS, 19TH C.Two New York stoneware two-gallon jugs, 19th c., one impressed W. Hart Ogdensburgh , with cobalt flower decoration, 13 1/4" h.; the other impressed Lyons with cobalt flower decoration, 14 1/2" h.
Competitive in-house shipping is available for this lot.
Condition:
Hart - small rim chip, 4'' mid-body hairline. Lyons - good condition.
AFTER OGDEN PLEISSNER (1905-1983): OCTOBERAFTER OGDEN PLEISSNER (1905-1983): OCTOBER SNOWOffset lithograph in color on wove paper, signed in pencil, from the edition of 350.
16 x 24 in. (sight), 24 1/2 x 32 in. (frame).
Condition
Apparently in very good condition. Not examined out of frame.Not withstanding 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.
AFTER OGDEN PLEISSNER (1905-1983): THEAFTER OGDEN PLEISSNER (1905-1983): THE CLOVEPhotomechanical print on paper, 1981, signed in pencil, from the edition of 156.
24 1/2 x 33 in. (sight), 26 x 34 1/2 in. (frame).
Condition
Foxing and staining. Not examined out of frame.Not withstanding 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.
OGDEN PLEISSNER (1905-1983): THE LYEOGDEN PLEISSNER (1905-1983): THE LYE BROOK POOLOffset lithograph on paper, signed in pencil, from the edition of 400.
22 1/2 x 30 1/2 in. (sight), 25 1/2 x 33 1/2 in. (frame).
Condition
Some pale staining and foxing. Otherwise apparently in good condition. Not examined out of frame.Not withstanding 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.
LARGE FRENCH OAK AND PARCEL-GILT EXTENSIONLARGE FRENCH OAK AND PARCEL-GILT EXTENSION DINING TABLE, BY JULES ALLARD & FILS, FOR OCHRE COURT, NEWPORT, RI30 1/2 x 5 ft. 7 in. x 15 ft. 1 in. (fully extended).
Note: Ochre Court is a Louis XIII inspired chateau in Newport, Rhode Island. Built for Mr. and Mrs. Ogden Goelet in 1892 for a cost of $4.5 million, by renowned architect Richard Morris Hunt. It is the second largest mansion in Newport. The house was donated to the Sisters of Mercy in 1947, by Robert Goelet IV.
Condition
Seam separations to the leaves are more evident due to age but the top is stable and in generally good condition. The top does not sit flush to the base in places as extra pieces of wood are used to fill the space. This table does come with bearers which will stabilize the top. Very slight lifting to some of the boards on the top. The gilding has been worn through in places, particularly on the lower part of the table. Minor losses to the carving on the legs and feet with one loss to a semi-circular border along the base. Minor seam separations to the base as to be expected. The central support has large age cracks to the pedestal, one vertical 3 in. running down to a horizontal crack of just under 7 in. and is missing one foot and half of the other. The other side of the pedestal has a 6 in. diagonal age crack. One of the baluster form supports at the end of the table has a vertical seam separation from top to bottom. Feet missing throughout which should be replaced in order to make the table stable and complete. Formerly had casters. Impressive scale and nicely carved. Not withstanding 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.
FINE AESTHETIC MOVEMENT EBONIZED ANDFINE AESTHETIC MOVEMENT EBONIZED AND VARIOUS WOODS MARQUETRY AND PARCEL-GILT PORTFOLIO CABINET WITH PAINTED PANELS OF MUSES CALLIOPE AND TERPSICHORE,The overhanging top above four frieze drawers, above two glazed doors enclosing sliding baize-lined shelves, flanked by a pair of painted doors fitted with shelves, raised on feet which have been cut down. Stamped 'Herter Bros'., marked in pencil 'N169 Mills' on reverse.
42 1/4 x 8 ft. 9 in. x 34 in.
Note: This is one of a pair commissioned for the Darius Ogden Mills residence 'Happy House', Millbrae, California.
Condition
Generally in good overall condition with nicks, gouges and scuffing to the top. The feet have been cut down. Expected wear throughout. Fine quality, grand scale, structurally sound. Two keys.Not withstanding 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.
OGDEN M. PLEISSNER (1905-1983): MARTINOGDEN M. PLEISSNER (1905-1983): MARTIN B-26G MARAUDERWatercolor on paper, 1944, signed 'Pleissner' lower right, with label from Coe Kerr Gallery, NY.
12 x 18 in. (sheet), 21 1/4 x 26 3/4 in. (frame).
Condition
Remains of glue around the reverse of the sheet edges. Otherwise in very good condition.Not withstanding 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.
OGDEN M. PLEISSNER (1905-1983): UMNAK,OGDEN M. PLEISSNER (1905-1983): UMNAK, ALEUTIANSWatercolor on paper mounted on board, 1943, signed 'Pleissner' lower right, with label from Coe Kerr Gallery, NY.
16 x 22 in. (sheet), 25 1/4 x 30 1/2 in. (frame).
Condition
Sheet mounted on paperboard. Otherwise in very good condition.Not withstanding 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.
OGDEN M. PLEISSNER (1905-1983): FIGHTEROGDEN M. PLEISSNER (1905-1983): FIGHTER BOMBER, P-47Watercolor on paper, 1944, signed 'Ogden M. Pleissner' lower right, dated and inscribed 'D plus One' lower left, inscribed 'Fighter bomber draped with camouflage net. D Day markings. All planes were marked this way for the big show. Kent' on the reverse.
12 x 18 in. (sheet), 21 x 26 3/4 in. (frame).
Condition
Old clear tape and remains of glue at places on the reverse of the sheet edges. Otherwise in very good condition.Not withstanding 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.
THREE VINTAGE TABLETOP EQUESTRIAN THEMEDTHREE VINTAGE TABLETOP EQUESTRIAN THEMED OBJECTS 20th century, the first a painted metal jockey figure on ebonized base, with plaque reading Ogden M. Phipps, for the well-known thoroughbred racehorse industry executive, financier, and horse breeder (13 1/2 x 4 x 4 in.); A bamboo desk box, lid with brass metal relief work of Andre Mahon's "Race Horses" (1 3/4 x 9 x 5 in.); the third an early 20th century horseshoe form table top mirror, carved wood with brass studs (9 1/2 x 4 x 6 1/2 in.)
4PC ASSORTED AMERICAN ARTIST ILLUSTRATIONS4PC ASSORTED AMERICAN ARTIST ILLUSTRATIONS United States,20th CenturyIncludes a depiction of two cowboys tying up a hoofed animal and a depiction of a court jester each by Carl J. Pugliese (1918-1982), a depiction of a man being shot from the back by Henry Ogden (1856-1936), and a depiction of an artist painting George Washington by Edward A. Wilson (1886-1970).
Smoking. A Barling wooden tobacco pipe,Smoking. A Barling wooden tobacco pipe, 15cm l, another two similar, Ogdens and Winfield, (3) More Information The Barlings mouthpiece nibbled, otherwise good.
LOT OF BOOKSCurrents and Eddies by WilliamLOT OF BOOKSCurrents and Eddies by William Schaldach, 1944. Currents and Eddies by William Schaldach, 1944. Schaldach Etchings: The Sporting Art of William J. Schaldach, Selections by DeCourcy Taylor, edition 343/1000. Coverts & Casts by William J. Schaldach, 1945. The Wind on Your Cheek by William J. Schaldach. William J. Schaldach: Artist, Author, Sportsman by John T. Ordeman, edition 343/1150. William J. Schaldach: Artist, Author, Sportsman by John T. Ordeman, edition 88/1150. Uplaid Gunning by William J. Schaldach. Converts and Casts by W.J. Schaldach, limited edition 26/160. Converts and Casts by W.J. Schaldach, second printing. To Keep A Tryst With The Dawn: An Appreciation of Roland Clark by John T. Ordeman, edition 1075/1000. A. Lassell Ripley Paintings, text by Edward Weeks. Artists of the North American Wilderness: George & Belmore Browne by John T. Ordeman and Michael M. Schreiber. Bishop's Wildfowl by Earl Prestrud and Russ Williams. The Art of Ogden M. Pleissner by Peter Bergh. The Paintings of Eldridge Hardie–Art of a Life in Sport by Nick Lyons and George Reiger. Wild Harvest: The Animal Art of Bob Kuhn by Tom Davis. The A.B. Frost Book by Henry M. Reed. Frank W. Benson– Etchings, Drypoints and Lithographs by John T. Ordeman. As found.
OGDEN M. PLEISSNER (1905-1983)CountryOGDEN M. PLEISSNER (1905-1983)Country Road
signed "Pleissner" lower right
watercolor, 6 1/2 by 9 1/2 in.
Provenance: Estate of Charles Eichel, Esq.
Private Collection, Nevada
OGDEN M. PLEISSNER (1905-1983)EarlyOGDEN M. PLEISSNER (1905-1983)Early Spring Fishing
watercolor, 6 3/4 by 9 3/4 in.
Charles “Buzz” Eichel was Ogden Pleissner’s attorney, friend, and neighbor for many years. Born in Brooklyn, he attended Williams College and New York University School of Law. Like Pleissner, he was an avid fisherman. His obituary notes, “He enjoyed the Florida Keys for the beauty of tarpon and bonefish, the Goodnews in Alaska for giant salmon and steelhead, and his back yard on the Battenkill, where he fished for lunch. He was a founding member of "Fly Fishing Magazine," and is a Trustee Emeriti of the American Museum of Fly Fishing.” Eichel loved to ski at Bromley, serving as the oldest active ski patrol member in the country in 2013. He also collected and sold antiques, co-owning an antiques store with his wife, Annaick.
Provenance: Estate of Charles Eichel, Esq.
Private Collection, Nevada
Literature: "Charles Eichel, Esq.," The Manchester Journal, January 9-30, 2015.
AIDEN LASSELL RIPLEY (1896-1969)GobblerAIDEN LASSELL RIPLEY (1896-1969)Gobbler and Hen Turkey, c. 1950
signed "A. Lassell Ripley (c)" lower left and upper left
watercolor, 25 by 21 in.
Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country's top artists, including Philip Leslie Hale (1865-1934) and Frank W. Benson (1862-1951).
Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors "en plein air" in North Africa, France, and Holland. Upon his return in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works. Following a successful one-man show of his sporting art in 1930, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects.
Along with his contemporary Ogden Pleissner (1905-1983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art.
Provenance: The Sporting Gallery, New York, c. 1950s
Private Collection, Arizona
Private Collection, Florida, acquired from The Sporting Sale 2016, lot 61
AIDEN LASSELL RIPLEY (1896-1969)WoodcockAIDEN LASSELL RIPLEY (1896-1969)Woodcock Cover
signed "A. Lassell Ripley (c)" lower left
watercolor, 19 1/2 by 29 in.
signed and titled "Woodcock Cover" and "(c) A. Lassell Ripley" on back
Guild of Boston Artists label on back
Born in Wakefield, Massachusetts, Aiden Lassell Ripley was the son of a Boston Symphony Orchestra musician. From an early age he excelled at music, but he soon discovered a deeper interest in painting. By his mid-teens, Ripley was committed to a career in art, commuting into Boston to take classes. After returning from service in World War I, he attended the Boston Museum School where he studied with the country's top artists, including Philip Leslie Hale (1865-1934) and Frank W. Benson (1862-1951).
Ripley was awarded a Paige Traveling Fellowship to study in Europe. While abroad, he painted watercolors "en plein air" in North Africa, France, and Holland. Upon his return in 1925, he was elected to the prestigious Guild of Boston Artists. His work focused on the New England countryside as well as depictions of city life and railroad commuting scenes. The Great Depression, however, limited the sales potential for these works. Following a successful one-man show of his sporting art in 1930, Ripley decided to change tack and specialize in hunting, fishing, and outdoor scenes as subjects.
Along with his contemporary Ogden Pleissner (1905-1983), Ripley exemplified the life of a successful sporting artist. Collectors of Ripley’s sporting art endorsed his numerous trips to the salmon rivers of New Brunswick and the quail plantations of Georgia, where the artist indulged his passion for hunting and fishing while recording material he would use in his art.
Provenance: John E. Lennon Collection
Private Collection, Greenwich, Connecticut, acquired from Copley Fine Art Auctions, The Sporting Sale 2011, lot 105
Exhibited: Boston, Massachusetts, "Aiden Lassell Ripley Retrospective," Guild of Boston Artists, Sept. 10-28, 1996.
OGDEN M. PLEISSNER (1905-1983)RisingOGDEN M. PLEISSNER (1905-1983)Rising Mist, 1983
lithograph, 16 3/4 by 25 1/2 in.
Provenance:
Peter Bergh, "The Art of Ogden M. Pleissner," Boston, MA, 1984, p. 110, illustrated.
OGDEN M. PLEISSNER (1905-1983)The BattenkillOGDEN M. PLEISSNER (1905-1983)The Battenkill at Benedict's Crossing, 1978
signed "Ogden M Pleissner" lower right
color print, 17 1/2 by 23 in.
published and copyrighted by the Crossroads of Sport and Orvis in an edition of 290
Provenance: Peter Bergh, "The Art of Ogden M. Pleissner," Boston, MA, 1984, p. 109, illustrated.
OGDEN M. PLEISSNER (1905-1983)OctoberOGDEN M. PLEISSNER (1905-1983)October Snow, 1959
signed "Ogden M Pleissner N.A." lower right
color print, 16 3/4 by 24 1/2 in.
published and copyrighted by the Anglers' Club of New York in an edition of 350
Provenance: Peter M. Bergh, "The Art of Ogden M. Pleissner," Boston, MA, 1984, p. 108, illustrated.
OGDEN M. PLEISSNER (1905-1983)Blue BoatOGDEN M. PLEISSNER (1905-1983)Blue Boat on the St. Anne, 1959
signed "Ogden Pleissner N.A." lower right
color print, 16 1/2 by 24 1/2 in.
published and copyrighted by the Anglers' Club of New York in an edition of 300
Considered by many to be the most desirable of Pleissner's prints, the original "Blue Boat on the St. Anne" resides at the Shelburne Museum in Vermont.
Provenance: Literature: Peter Bergh, "The Art of Ogden M. Pleissner," Boston, MA, 1984, p. 108, illustrated.
OGDEN M. PLEISSNER (1905-1983)WoodcockOGDEN M. PLEISSNER (1905-1983)Woodcock Cover, 1977
signed "Ogden M. Pleissner" lower right
color print, 15 by 24 in.
published and copyrighted by the Crossroads of Sport, New York, NY, in an edition of 270
WILLIAM J. SCHALDACH (1896-1982)TheWILLIAM J. SCHALDACH (1896-1982)The Covey Flush, 1928
signed "W J Schaldach" lower right
drypoint, 8 3/4 by 12 in.
edition of 50
"It is impossible to show a covey of birds with all the detail of their color pattern right up in front of you, and the dog--finely modeled and standing like a statue--a few feet away...But artistic license is a fine thing now and then, and in this case it came to our aid nobly." —William J. Schaldach
Provenance: Peter Bergh, "The Art of Ogden M. Pleissner," Boston, MA, 1984, p. 108, illustrated
OGDEN M. PLEISSNER (1905-1983)Down'sOGDEN M. PLEISSNER (1905-1983)Down's Gulch, 1957
signed "Ogden Pleissner N.A." lower right
color print, 20 1/2 by 24 1/4 in.
published and copyrighted by the Anglers' Club of New York in an edition of 300
embossed with Anglers' Club stamp lower right
Provenance: Peter Bergh, "The Art of Ogden M. Pleissner," Boston, MA, 1984, p. 108, illustrated
GRAND CURLEWCharles Sumner Bunn (1865-1952)
Shinnecock,GRAND CURLEWCharles Sumner Bunn (1865-1952)
Shinnecock, NY, c. 1900
17 1/2 in. long
In 1971 Milton Weiler’s “Classic Shorebird Decoys” portfolio was published with text by William J. Mackey Jr. Across from Weiler’s Plate No. 3, illustrating a closely related curlew, Mackey writes, “In hand [the maker's] decoys have the feel of real birds. His knowledge and study of the live bird and his skill with a knife transferred the feel of the wishbone, the unfolded wings, and the modeling of the bone structure to blocks of wood. His was a unique talent not given to any other decoy maker.” Mackey also states, “Nothing finer has been found ever since.”
This newly discovered and exceptionally rare Long Island shorebird now joins a small and elite group of curlew by this celebrated carver and guide. It has been passed down through a prominent New York family who lived in the city and escaped to Long Island and specifically the Hamptons. The family had a strong sporting heritage dating back to at least the 19th century and played host to figures, including Ogden M. Pleissner. This decoy, along with one rigmate, was retired from gunning to be displayed in their Upper East Side apartment. The bird is now making its debut to the decoy community on the heels of its mate, capping one of the greatest shorebird decoy discoveries in recent memory.
Very few decoys of this coveted model have surfaced, with fewer still held in private collections. One example from the William J. Mackey Collection was acquired by Dr. James McCleery in the 1970s, setting a record price for any decoy at the time. After that bird traded again in the McCleery auction decades later, it rejoined the ranks of the top decoys ever sold. The second comparable in private hands recently reached the market from the estate of Dr. Lloyd Griffith. And, lastly, this decoy’s rigmate reached the auction block in the Sporting Sale 2022. Condition reports provided for the aforementioned private collection examples suggest that all four have survived in fairly comparable condition.
Rounding out his monumental curlew model, two related examples from the rig of T.F. Norton have been held in the Long Island Museum at Stony Brook since they were gifted in 1966. One of these two appears to be the model for Weiler’s illustration. This survey makes this lot the sixth of this model to surface publicly, and only the fourth to come to auction.
The grand body is larger than some waterfowl and accordingly was made with two-piece construction, held together by wooden pegs. "The shorebirds are ‘sui generis,’” writes historian and curator Bob Shaw, “carved to suggest nuances of body forms and underlying bone and muscle that no other carver even attempted.” Regarding his best works, Shaw states, “[They] transcend the decoy genre to rank among the finest bird portraits created by an American artist.”
Original paint with moderate gunning wear and a replaced bill. Shallow flat area around stick hole has been restored.
Provenance: Private Collection, by descent in a prominent New York City family
Literature: Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, pp. 180-181, related example illustrated.
Robert Shaw, "Call to the Sky: The Decoy Collection of James M. McCleery, M.D.," Houston, TX, 1992, back cover and pp. 36-37, related example illustrated.
Milton C. Weiler and William J. Mackey Jr., "Classic Shorebird Decoys: A Portfolio of Paintings," New York, NY, 1971, pl. 3, related example illustrated and discussed.
Timothy Sieger, "The Decoys of Long Island," Water Mills, NY, 2010, front dust-jacket cover, frontispiece, and pp. 38-39, related example illustrated.
E. Jane Townsend, “Gunners Paradise: Wildfowling and Decoys on Long Island,” Stony Brook, NY, 1979, p. 106, Norton rig pair illustrated.
Sotheby's and Guyette and Schmidt, "American Waterfowl Decoys: The Distinguished Collection of Dr. James M. McCleery," New York, NY, January 22–23, 2000, lot 207, related example illustrated.
Quintina Colio, "American Decoys," Ephrata, PA, 1972, p. 69, related examples illustrated (image reversed).
Ogden Pleissner print, “Atlantic SalmonOgden Pleissner print, “Atlantic Salmon Fishing”, pencil signed lower right, Ogden M. Pleissner, blind stamp lower left, with J. Assenheim & Son label on reverse with info. Print 14” x 24” Overall 33.5” x 24.5” Condition; good CT Transfer Fee $20
BIRGER SANDZEN 'THE GUARDIAN POPLAR'BIRGER SANDZEN 'THE GUARDIAN POPLAR' SIGNED LITHOGRAPHBirger Sandzen (Swedish-American, 1871-1954) The Guardian Poplar, 1929 Lithograph on paper Edition of 100 7 1/2" x 10 1/8" A pencil-signed and titled depiction of a mountain cabin surrounded by tall poplars, a scene from Ogden, Utah, executed on tan wove paper. In a painted wooden frame that measures 17 1/4" x 21 1/4". Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 125
Condition
Not removed from the frame. Some toning across the image, which is visible from a past mat which was closer to the image edge. The frame has a few scuffs.
BIRGER SANDZEN 'THE GUARDIAN POPLAR'BIRGER SANDZEN 'THE GUARDIAN POPLAR' SIGNED LITHOGRAPHBirger Sandzen (Swedish-American, 1871-1954) The Guardian Poplar, 1929 Lithograph on paper Edition of 100 7 1/2" x 10 1/8" A pencil-signed and titled depiction of a mountain cabin surrounded by tall poplars, a scene from Ogden, Utah, executed on white wove paper. Framed to archival standards in a wooden frame with an acid free mat, museum mount, and conservation glass, by the American Legacy Gallery in Kansas City, Missouri, measuring 16 1/2" x 18 1/2" in total. Literature: Charles Pelham Greenough, The Graphic Work of Birger Sandzen, Birger Sandzen Memorial Foundation, 2001, L - 125
Condition
Not removed from the frame. Appears to be in excellent condition.
VINTAGE MARINE EPHEMERATwo plastic bindersVINTAGE MARINE EPHEMERATwo plastic binders containing an assortment of vintage marine memorabilia consisting of a series of 50 'Life in The Royal Navy' collector's cards by Willis Cigarettes (Imperial Tobacco Company), circa 1939 - together with a series of 'Ships of the World' collector's cards by Reddings Tea Company, and a series of 50 'Flags & Funnels of Leading Steamship Lines' issued by Ogdens in Liverpool, together with an assortment of vintage ocean liner passenger lists.
TWO-GALLON STONEWARE JUG, W. HART, LATETWO-GALLON STONEWARE JUG, W. HART, LATE 19TH C.A stoneware two-gallon jug with cobalt decoration marked "W. Hart, Ogdensburg". Deep dimpled texture and heavy ridged shoulder. Chip on lip. Late 19th century. Dimensions, 13" x 8.5". FRANCAIS: Cruche de deux gallons en grès avec une décoration au cobalt marquée "W. Hart, Ogdensburg". Texture profonde et épaulement franc. Éclat sur la lèvre. Fin du 19e siècle.
PHOTOGRAPH, JIM MARSHALL Jim MarshallPHOTOGRAPH, JIM MARSHALL Jim Marshall (American, 1936-2010), "Ogden Nash at his Apt for Sat Eve Post," gelatin silver print, signed lower right, titled and stamped verso, image: 16.75"h x 11.25"w, sheet (unframed): 20"h x 16"w
TWO SHELVES OF STONEWARE CROCKS ANDTWO SHELVES OF STONEWARE CROCKS AND BOTTLES Two shelves of stoneware crocks and bottles, including Tamplin & Co. Liverpool, Ryott's Birmingham and Bournemouth, a W. Hart & Co. Ogdensburgh 2 gallon jar, a 2 gallon pitcher, a 5 quart jar, etc., largest: 12.5"h
(LOT OF 145) OGDEN'S FOOTBALL CARD SETS(LOT OF 145) OGDEN'S FOOTBALL CARD SETS FOR 1906, 1908 AND 1926 (lot of 145) Three sets of Ogden's Footballer soccer card 1906 1908 1926, comprising (44) Captain of Association Football Clubs & Colors, 1926; (51) Football Club Colours, 1906 and (50) Famous Footballers, 1908.