ASSORTMENT OF BOOKS, INCLUDING MARYLANDIAASSORTMENT OF BOOKS, INCLUDING MARYLANDIA Comprising approx. 30 volumes, including John S. Williams, HISTORY OF THE INVASION AND CAPTURE OF WASHINGTON (NY: Harper, 1857) 12mo, cloth; Anon., BALTIMORE HAND BOOK OF COLLEGES, SCHOOLS, LIBRARIES, MUSEUMS, HALLS, ETC.: 1876 (Baltimore: Cushings & Bailey, 1876) leading with a description of the newly-founded Johns Hopkins University, 12mo, cloth, binding worn but text Very Good or Fine; and John Shannahan, STEAMBOAT'N' DAYS & THE HAMMOND LOT: AN EASTERN SHORE ROMANCE (Baltimore: Norman, 1930) 12mo, cloth, corner of p.111-112 torn off, just affecting text.
BOUND OFFPRINTS ON SYPHILIS & 9-11 MEMORABILIABOUND OFFPRINTS ON SYPHILIS & 9-11 MEMORABILIA Comprising a collection of about 45 offprint of journal articles produced by staff at the Johns Hopkins Syphilis Department, 1931-'35; large 8vo, cloth. Together with issues of the New Yorker, Sept. 21, 2001, Sept. 13, 2021, and the NY Times Magazine, Sept. 23, 2001.
HERMAN MARIL. “APPROACH,” INK WASHHERMAN MARIL. “APPROACH,” INK WASH (American, 1908-1986). Ink wash on paper, signed "Herman Maril" ll, inscriptioni on verso states: "Acquired May 1965 at special Maril exhib[it] at Johns Hopkins Library - arranged at instance of her and Mrs. Mason Lord. 1/3 of proceeds went to City Hospital Geriatric Fund," sight size: 10 1/2 x 13 1/4 in., framed size: 19 1/4 x 21 x 1 inches.
A PAIR OF ANTIQUE SIDE CHAIRS & A JOHNSA PAIR OF ANTIQUE SIDE CHAIRS & A JOHNS HOPKINS CHAIR Comprising a pair of fret-splat fruitwood side chairs, possibly Italian, late 18th century; and a Johns Hopkins commemorative Windsor armchair.
VERY RARE PAIR OF GRAEME PARK PHILADELPHIAVERY RARE PAIR OF GRAEME PARK PHILADELPHIA QUEEN ANNE C...1740-1760, each with scrolled and shell carved crest over a figured splat with four scrolled volutes, set on shell carved legs with trifid feet, upholstered compass seats, one retaining early and probably original needlework upholstery and under upholstery marked with "IV" and matching slip seat marked "IV", 42-1/2 x 21 x 22-1/2 in.
Provenance:
Probable line of descent, needlework upholstered example:
Dr. Thomas Graeme (1688-1772), Graeme Park, Horsham, Pennsylvania;
Elizabeth Graeme Fergusson (1737-1801), Graeme Park, daughter;
Dr. William Smith (1746-1822), Graeme Park, by transfer from above, husband of niece;
Samuel Penrose (1748-1833), Graeme Park, by purchase from above;
William Penrose (1782-1863), Graeme Park, by purchase from above in 1821, son;
Ann (Penrose) Iredell (1811-c.1881), Graeme Park and Davis Grove Road, Horsham, daughter;
Hannah (Iredell) Twining (b. 1839), Davis Grove Road, Horsham, Pennsylvania, daughter;
Ida (Twining) Jones (c.1873-1968), Green Meadows Farm, Warrington, Pennsylvania, daughter;
Thence by descent;
Sold, Sotheby's, New York, 22 October 1983, lot 254;
Private Collection, purchased from above;
Sold, Sotheby's, New York, 17 and 19 January, 1997, lot 778 for $118,000;
Leigh Keno, Inc., New York;
Property of Eric Martin Wunsch;
Sold Christie's New York, September 25, 2013 lot 8 for $40,000 hammer
Pink upholstered example:
Probably made for Dr. Thomas Graeme (1688-1772), Graeme Park, Horsham, Pennsylvania
Mrs. J. Insley Blair (Natalie Knowlton) (1883-1951), Manhattan and Tuxedo Park, New York
Natica (Blair) Lorillard (1913-1955), daughter
Screven Lorillard (1909-1979), husband
Alice (Whitney) Lorillard (1919-2015), wife
Thence by descent in the family
Collection of Mrs. J. Insley Blair, sold Christie's, New York, January 20, 2017, lot 542 for $50,000
Important Private Virginia Estate
Note: The Christie's catalog entry for the needlework upholstered example records that "With its original needlework upholstery cover and a notable provenance, this side chair is an important and rare survival from mid-eighteenth century Philadelphia. As indicated by the Roman numerals on its frame and slip-seat, the chair was originally part of a larger set of at least nine chairs of which two or three others are known. These comprise a chair at Colonial Williamsburg, a single example advertised in 1956, and a third, which may or may not duplicate the previous example, published in 1960 and sold in 1998 (David Stockwell, advertisement, The Magazine Antiques (September 1956), p. 173; Barbara Snow, "Living with Antiques: The Home of Mr. and Mrs. J. Stanley Lee, Newtown, Pennsylvania," The Magazine Antiques (September 1960), p. 240; Wechsler's Auction House, Washington D.C., 17 January 1998, lot 185). The first three are illustrated with needlework seat covers that are virtually identical to that made for the chair offered here. With green grounds and stylized leaves and flowers worked in shades of red, yellow, blue and green threads, these covers represent the original coverings. As discussed by Morrison H. Heckscher, this set is distinguished by the broad width of its splats. A side chair now at the Metropolitan Museum of Art with slightly variant shell carving but an identical splat was most likely made in the same shop and, with a similar historical association as the set represented by the chair offered here, may have furnished the same eighteenth-century household (Morrison H. Heckscher, American Furniture: The Queen Anne and Chippendale Styles (New York, 1985), pp. 82-83, cat. 38).
This chair descended to the twentieth century with a history of being part of the furnishings of Graeme Park in Horsham, Pennsylvania, a provenance that is supported by the other known chairs from the same set, all of which were also associated with the historic house by their later owners. Originally called Fountain Low and probably constructed for utilitarian purposes, Graeme Park was built in 1722 for Lieutenant-Governor Sir William Keith (1669-1749) on his 1,735 acre estate about twenty five miles north of Philadelphia. Keith returned to England in 1728 and, while the chairs were later thought to have been owned by Keith himself, they date to the period following the house's purchase by Keith's son-in-law, Dr. Thomas Graeme (1688-1772) in 1739. Graeme had accompanied Keith to Philadelphia in 1717 and two years later married Keith's step-daughter, Ann Diggs (d. 1765). After purchasing the house, Graeme re-named the estate and began its transformation into a Georgian summer mansion by re-planting the gardens and retrofitting the house with interior panelling. For almost a hundred years after Dr. Graeme's death in 1772, this set of chairs appears to have remained intact on the estate and owned by successive proprietors of Graeme Park. Graeme bequeathed the estate to his daughter, Elizabeth Graeme Fergusson (1737-1801), a respected poet and scholar who hosted America's first salon, attended by Philadelphia's leading intellectual figures such as Dr. Benjamin Rush and Francis Hopkinson. Elizabeth has been credited with working the floral needlework covers on the chairs, but it is also possible that they were stitched by her mother, Ann Diggs Graeme, especially if the chairs were made closer to 1740 than 1760. Evidence of the latter's proficiency in the needlework arts is suggested by "the Crocadile [sic] in Needle Work by Mrs. Graeme," which was in a bed chamber in 1778; interestingly, the same room had "6 chairs with the old Arm chair," possibly a reference to some of the set represented by this chair. During the Revolutionary War, Elizabeth's husband, Hugh Fergusson, was a Loyalist and deserted not only the country, but his wife. In 1791, Elizabeth transferred ownership of the estate to Dr. William Smith (1746-1822), her niece's husband, and in exhchange, he managed her finances. In 1801, Smith sold the parcel of land that contained the mansion house to Samuel Penrose (1748-1833), a prominent local Quaker farmer, and, in 1821 Samuel sold it to his son, William Penrose (1782-1863), who had been living on the estate with his wife in a separate house since their marriage in 1810. For much of the nineteenth century, Graeme Park was largely uninhabited and looked after by the Penrose family, a circumstance that probably contributed to the survival of the chairs' needlework seat covers ("Addendum to Graeme Park," Historic American Buildings Survey , HABS no. PA-579, pp. 1-29; Thomas Allen Glenn, Some Colonial Mansions and Those Who Lived in Them (Philadelphia, 1899), pp. 367-398; Theodore Webber Bean, History of Montgomery County, Pennsylvania (Philadelphia, 1884), pp. 880-883, 888-896; Simon Gratz, "Some Material for a Biography of Mrs. Fergusson, nee Graeme," Pennsylvania Magazine of History and Biography , vol. 39, no. 3 (1915), p. 295; "People" [biographies], www.graemepark.org ).
The set of chairs appears to have been separated upon the settlement of William Penrose's estate in 1865. This chair and the example now at Colonial Williamsburg descended through William's daughter, Ann J. (Penrose) Iredell (1811-c.1881) and remained in the Horsham area until sold out of the family. Colonial Williamsburg purchased their chair from Iredell Twining (1879-1971); his sister, Ida (Twining) Jones (c.1873-1968), was the last family owner identified at the time of this chair's sale at auction in 1983. The chair illustrated in The Magazine Antiques in 1960 (see above) descended to William Penrose's younger daughter, Hannah (1820-1894), who at Graeme Park in 1857, married Isaac Worstall Hicks (1809-1898), son of the celebrated artist, Edward Hicks (1780-1849)."
(see https://www.christies.com/lot/lot-5717013)
Condition:
needlework upholstered example with minor patch at one crest volute, minor brakes and repairs at joint of crest rail to rear stiles and at joint of splat to crest rail (strip patch), old crack/checking at one rear leg, some finish distress at splat, small patch at top of one crest volute, very minor chip at one splat volute, rich color with dry varnished surface with some minor finish distress
Needlework example: Christie's catalog entry notes "Retains the original needlework slip seat marked VIIII. Seat frame marked VIII. Crack, repair and surface patch to base of crest just above splat. Crack repairs and minor patches to back of crest at juncture with stiles. Patch to portion of left scrolled volute on crest. Some scratches bruising and wear to legs and feet. Chip to inside of left front leg near ankle. Comes with replaced slip seat. Minor chip to lower scrolled volute on left side of splat. Otherwise good condition."
Pink upholstered example: Christie's notes "Underside of front seat rail bears pencil inscription "M Davis". Majority of knee returns appear to be original Crack to left front and right side returns. right returns. Right rear side return possibly replaced. Surface patch to left scrolled volute of crest. Inside of right seat rail bears sticker numbered "25". Some imperfections to dry surface, primarily on backside of chair. Crest re-pinned. Some shrinkage cracks to left front leg. Minor wear and abrasions to legs and feet. Otherwise good condition."
FRANCIS HOPKINSON SMITH(American, 1838-1915)
Venice,FRANCIS HOPKINSON SMITH(American, 1838-1915)
Venice, signed lower left "F. Hopkinson Smith", mixed media on paper, 18 x 25-1/2 in.; gilt wood frame, 23 x 30-1/2 in.
Provenance: The Laura Davidson Sears Gallery of Fine Art, Elgin Academy, Elgin, Illinois
Condition:
laid on board, wear at edges, surface cut/trim lines at left edge, slight toning and areas of slight smudging
FRANCIS HOPKINSON SMITH, WATERCOLORFRANCIS HOPKINSON SMITH, WATERCOLOR AND GOUACHEFrancis Hopkinson Smith (American 1838-1915) , watercolor and gouache titled The Old and the New , signed lower right, 26" x 17 1/2". Provenance: A Delaware estate.
NO in-house shipping for this lot.
Condition:
Light toning.
William Osler autographed signed postcardWilliam Osler autographed signed postcard & print, Regius Professor of Medicine Oxford, described as the Father of Modern Medicine, one of the "Big Four" founding professors of Johns Hopkins Hospital, postcard reads "1.IV.18, Dear Dr Craig, I cannot imagine a greater pleasure than to be with you at the next session - but it is impossible. I am tied here with too many things. My greetings to the members of the council, and thanks for their kind invitation. Yours sincerely, Wm Osler, framed with a portrait print, 18-1/4" x 12-1/4" overall, both postcard & print laminated
EXCEPTIONAL MERGANSERFred M. NicholsEXCEPTIONAL MERGANSERFred M. Nichols (1854-1924)
Lynn, MA, c. 1890
17 in. long
Ongoing research has identified this decoy and its two rigmates as the work of Massachusetts master carver Fred Nichols. This hollow merganser is among the finest decoys discovered in decades. 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 is topped with a serpentine neck on a raised neck seat topped by a highly refined head. The delicate bill is constructed with a hardwood mortise-and-tenon fit and is trimmed with precise 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 hollow body has slight shoulder separation and a thin paddle tail. A thin bottom board completes 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.
Obvious comparisons have been made to the merganser rig of Captain Samuel A. Fabens, while a deeper review focuses on the grand willet attributed to Fred Nichols. While more fluid and detailed than a Fabens merganser, the form and construction show a common origin with Nichols. 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).
Original paint with even gunning wear. Neck seam is 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.
Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, pp. 150-151, lost Fabens merganser illustrated and Massachusetts discussed.
THE SAFFORD SLEEPING GOOSECharles A.THE SAFFORD SLEEPING GOOSECharles A. Safford (1877-1957)
Newburyport, MA, c. 1920
24 ½ in. long
“It leaps into the pantheon of the greatest American goose decoys ever made, sculpture and function in perfect marriage.”
— Gwladys “Gigi” Hopkins, “Massachusetts Masterpieces,” 2016, discussing The Safford Sleeping Goose
Safford's carvings have found their place as some of America's most iconic geese, alongside the Dovetailed maker’s, Captain Charles Osgood's (1820-1886), Nathan Cobb Jr.'s (1825-1905), and A. Elmer Crowell’s (1862-1952) carvings. Robert Shaw notes that “Safford's superbly crafted goose decoys, which for many years were mistakenly attributed to Lothrop Holmes [1824-1899], were designed to be mounted on large, flat, iron triangles and left out all year in the Plum Island marshes where he hunted.” Due to these extreme hunting conditions, finding any Safford geese in good original paint is challenging.
Beginning in 2009, a flurry of exhibitions and publications celebrated the public debut of this decoy and its previously unknown form after it was acquired privately by Cap and Paige Vinal. Curator and historian Gigi Hopkins was among the first to publish her thoughts in a 2009 feature on Safford in which she described this lot as “... a drop-to-your-knees bird” and announced ”It leaps into the pantheon of the greatest American goose decoys ever made, sculpture and function in perfect marriage.”
Hopkins would go on to select this goose for the Massachusetts Masterpieces exhibition at the Museum of American Bird Art in 2013. In her 2016 follow-up “Massachusetts Masterpieces” book, she observes, “It’s a cabinetmaker’s masterpiece, constructed from [over 20] pieces of cross-laminated wood. The feathered edges of the exterior boards have been held snug by tiny, evenly spaced nails, which have done their job flawlessly. The bird’s slightly abstracted form has small surprises all around: the quiet head and neck, the chest treatment, and the raised wing at the beak tip. The accompanying paint is elegant, but so muted it remains almost invisible.”
Original paint with even gunning wear, check in underside from lower breast to under tail, and laminated construction is visible.
Provenance: Private Collection, New England
Cap and Paige Vinal Collection
Thomas M. Evans Jr. Collection
Literature: Robert Shaw, "Bird Decoys of North America," New York, NY, 2010, p. 158, exact decoy illustrated.
Gwladys Hopkins, "Massachusetts Masterpieces," Lincoln, MA, 2016, pp. 20-22 and 78-79, exact decoy illustrated and Safford discussed.
John Clayton, “Massachusetts Masters: Decoys, Shorebirds, and Decorative Carvings,” The Ward Museum of Wildfowl Art, Salisbury University, 2010, pp. 18-19, exact decoy illustrated.
Gwladys Hopkins, "Charles A. Safford and His Canada Goose Decoys," Decoy Magazine, May/June 2009, front cover and pp. 24-29, exact decoy illustrated.
Exhibited: Salisbury, Maryland, “Massachusetts Masters: Decoys, Shorebirds and Decorative Carvings,” Ward Museum of Wildfowl Art, Salisbury University, LeMay Gallery, October 1, 2010-January 23, 2011.
Canton, MA, “Massachusetts Masterpieces: The Decoy as Art,” The Museum of American Bird Art, May 5-September 15, 2013
RED-BREASTED MERGANSERMarblehead, MA,RED-BREASTED MERGANSERMarblehead, MA, c. 1860
15 in. long
A pert sheldrake with refined articulation and stylish paint. The uplifted head retains its thin original crest. The body has a pinched breast, defined wing carving, and an uplifted tail.
The quality of craftsmanship as well as the attitude of this decoy are reminiscent of fellow North Shore Massachusetts mergansers from the rigs of Captains Samuel Augustus Fabens (1814-1899) and Charles C. Osgood (1820-1886). Diverting from the aforementioned North Shore masterworks, this bird has more articulated carving detail.
Original paint with moderate gunning wear, including rub to top of crest and reset hairline crack in bill.
Provenance: Private Collection, Midwest
Literature: Gwladys Hopkins, "Massachusetts Masterpieces: The Decoy As Art," Lincoln, MA, 2016, p. 76, Osgood merganser drake illustrated.
Copley Fine Art Auctions, "The Sporting Sale 2012," Plymouth, MA, July 13, 2012, lot 366, Fabens merganser illustrated.
EXCEPTIONAL SWIMMING MERGANSERNorthEXCEPTIONAL 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.
DOULTON BURSLEM CHARLES HOPKINS HOLBEINDOULTON BURSLEM CHARLES HOPKINS HOLBEIN WARE VASE, CATT...Large ovoid body, flared lip. Hand painted pastoral scene depicts cattle in landscape.
Exquisite piece with stunning warm color palette; green, yellow and brown glazed ground. Signed C B Hopkins. Doulton backstamp.
Artist: Charles B Hopkins
Issued: c. 1895
Dimensions: 8"W x 16.75"H
Manufacturer: Doulton Burslem
Country of Origin: England
RARE CONNECTICUT QUEEN ANNE STEPPEDRARE CONNECTICUT QUEEN ANNE STEPPED CORNICE HIGH CHESTprobably Woodbury, Connecticut, 1760-1780, two case construction with unusual stepped cornice, fan and shell carved drawers, cabriole legs with pad feet, dovetailed and rosehead nail construction, 80 x 41-1/2 x 21 in., Provenance: Descended in the Sherman family of Woodbury, Connecticut; Kenneth Hammitt, Woodbury, Connecticut; The Ann and Joel Finn Collection; Note: Illustrated in Edward S. Cooke, Making Furniture in Pre-Industrial America: The Social Economy of Newtown and Woodbury, Connecticut, Johns Hopkins University Press, 1996, pg. 156, fig. 31.Illustrated in the Jeffrey Tillou Antiques catalog,ÿThe Ann and Joel Finn Collection, pg. 22-23 (lot accompanied by copy of catalog).
Condition:
good overall with scattered patches and repairs at drawer lips and facings (well disguised, with some finish work), minor patch at one case side and minor crack at one case side corner, break and repair at one front foot (appears to be original material), original bat wing brasses and escutcheons, edge patch at one rear foot, possible restoration at some knee returns, other scattered typical minor repairs and surface flaws
THE STILES FAMILY CONNECTICUT CHIPPENDALETHE STILES FAMILY CONNECTICUT CHIPPENDALE BONNET TOP HI...Woodbury, Connecticut, 1770-1780, an exceptional example in fine condition and probably retaining its original surface, upper case with closed bonnet with scrolled finial plinth, probably original flame finials, central shell carved drawer, drawers flanked by fluted pilasters, probably original bat wing brasses, lower case with central shell carved drawer, C-scroll carved cabriole legs with ball and claw front feet, dovetailed and rosehead nail construction, poplar secondary throughout, pad rear feet, 94 x 43 x 22 in., Provenance: Descended in the Stiles family of Woodbury, Connecticut; Acquired in the 1980s from Avis Hicock, who was living in the Main Street home that had belonged to her great-grandfather David J. Stiles. The highchest descended from his father, David Stiles, or his grandfather Benjamin Stiles, who lived across the street at Ragland Farm; The Ann and Joel Finn Collection; Note: Illustrated inÿMaking Furniture in Pre-Industrial America: The Social Economy of Newtown and Woodbury, Connecticut,ÿJohns Hopkins University Press, 1996, pg. 139, fig. 24.Illustrated in the Jeffery Tillou Antiques catalog,ÿThe Ann and Joel Finn Collection, pg. 10-11 (lot accompanied by copy of catalog).
Condition:
in fine largely original condition throughout, early dry surface and probably original brasses, right skirt drop probably restored (patches at skirt caps for pendants), bottom right drawer with area of possible surface restoration (slight discrepancy under blacklight), lower right drawer with minor repair at drawer lip, scattered minor patches at drawer lips, typical age, cracks, and other scattered minor flaws
DENNIS LYALL (B. 1946) "JOHNS HOPKINS"DENNIS LYALL (B. 1946) "JOHNS HOPKINS" ORIGINALDennis Lyall (American, B. 1946) "Johns Hopkins" Signed lower left. Original Oil painting on Canvasboard.
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 U.S. $1 Johns Hopkins stamp issued June 7, 1989.
Even though he had little education, Johns Hopkins managed to become a successful entrepreneur. Hopkins, known to his friends as Johnsie, began his lucrative career working for his uncle as a humble grocery merchant. During the recession of 1819, he recognized the advantages of taking whiskey as payment for groceries from people who otherwise could not afford to eat. Both sides benefited from this arrangement -- his grateful patrons turned whiskey into food and he turned whiskey into profit, reselling it under the brand name, "Hopkins' Best."Hopkins uncle disapproved of this business practice. The two men parted ways and Hopkins' business success continued. He feathered his nest with wise investments, and became the largest private stockholder in the fledgling Baltimore & Ohio Railroad. Upon his death in 1873, Hopkins was able to provide generously for his relatives and still bequeath a sizable sum to create The Johns Hopkins University and The Johns Hopkins Hospital. The University, a foundation for research and advanced studies, opened formally in 1876. The medical facility began to operate in 1883, and the Hospital and School of Nursing opened its doors in 1889. The School of Medicine, from the beginning closely linked with the Hospital, opened in 1893. All this thanks to Johns Hopkins, who, though lacking in education himself, left his riches to be used in founding a prestigious institution for higher education.
Image Size: 16.75 x 14.5 in.
Overall Size: 17.25 x 14.75 in.
Unframed.
(B12003)
Condition:
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TRANSLATED ROMAN LIMESTONE FUNERARYTRANSLATED ROMAN LIMESTONE FUNERARY STELE OF COUPLERoman, Imperial period, Eastern Empire, ca. 2nd to 3rd century CE. A captivating limestone stele of a massive, rectangular form, skillfully hand-carved to display the relief image of a husband and wife standing in an aedicula or petite shrine comprised of a pediment supported by a pair of columns to form a niche. The endearing couple gazes forward, the man wears a tunic beneath a toga, indicative of his status as a Roman citizen, while the woman is draped in a long veil and a floor-length stola, the traditional garment of married citizen women, that belts just below her bust and cascades down her slender body in billowing folds of sumptuous fabric. The area below the figures presents liberal remains of an Ancient Greek funerary inscription stating that the stele is from the husband, who commissioned the piece, to his recently departed wife. Though difficult to decipher, based on the legible letters and funerary inscriptions contemporary with this piece, the epitaph likely translates to, "Farewell, honored and virtuous lady (or wife), indeed farewell." Size: 5.5" L x 12.6" W x 32" H (14 cm x 32 cm x 81.3 cm)
An anthemion or palmette adorns the top-most point of the pediment, which contains a rosette and is flanked by 2 more, as well as 2 half anthemia at the peripheries of the stele. Stepping towards his dearly beloved with his right foot, the husband reaches out his right hand to grasp that of his wife in a stance known as the handshake motif or dextarum iunctio - a pose used commonly throughout Classical funerary art. A pair of Doric columns flank the sweet couple, upholding a triangular pediment that balances above them forming the aedicula. A pair of piercings and remains of rust can be seen above the couple, suggesting a metal plaque bearing an engraved message was once held here. A touching example that simultaneously highlights the transience of life, the ephemerality of relationships, and, yet also, the everlasting nature of both love and art.
Truly a marvel; this piece is rife with symbolism of life's largest and ultimate transition: death. The couple is shown not just standing together, but shaking hands - a traditional symbol of harmony, affinity, friendship, and loyalty. In the funerary context, however, this gesture bears an even greater meaning: this simple embrace between 2 lovers alludes to their parting at death, their reunion in the afterlife, and the idea that the strength of their feeling for one another can cross the barrier of death itself. Similarly, their placement in an aedicula may be read as passing through a gateway, possibly a tomb or Hades, indicating their positioning on the threshold between this world and the next. The anthemia serve as an additional symbol as they habitually represent rebirth, while the rosettes are commonly associated with mourning and death as the depicting of these flowers as perpetually ageless serves as an expression of the Roman belief the soul's continued existence. Romans also thought of the bones or ashes of the deceased of generating flowers, as another Roman epitaph reads: "Here lies Optatus, a child ennobled by devotion: I pray that his ashes may be violets and roses, and I ask that the Earth, who is his mother now, be light upon him, for the boy's life was a burden to no one." (J.M.C. Toynbee, Death and Burial in the Roman World [Johns Hopkins University Press, 1971, 1996], pp. 37)
Prior to the 2nd century, Romans cremated their dead; around that time, inspired by the Greek and Etruscan practice of using sarcophagi, they began to place their dead in sarcophagi. This trend spread rapidly throughout the Roman Empire. In the western part of the Empire, sarcophagi were placed inside a mausoleum against a wall or in a niche, so the only decorated panels were on the front and the short sides. This stele probably came from the grave of a high-status Roman citizen.
Cf. Grave altar of Ti. Claudius Dionysius, Museo Gregoriano Profano, Vatican, Ash chest of Vestricius Hyginus and Vestricia Hetera, Galleria delle Statue, Vatican, and the British Museum, 1856,1103.1, 1856,0710.26, and 1856,0710.25.
Provenance: private Cody, Wyoming, USA collection, acquired in 1991; ex-Alan Cherry, Bournemouth, UK, imported into the USA in 1993
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.
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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.
#170372
Condition:
Losses to bottom left corner, as well as chipping with minor losses to peripheries. Softening of some details, especially to the faces of the figures and the inscription, though overall composition is still very clear. Nicks, pitting, and abrasions throughout, commensurate with age. Loss of metal plaque with some patina left behind. Otherwise, excellent.
EXHIBITED ROMAN GLASS DIPPER CUP W/EXHIBITED ROMAN GLASS DIPPER CUP W/ IRIDESCENCERoman, Imperial period, ca. 1st to 2nd century CE. A dazzling dipper cup or pan known as a trulla, made from translucent blue green glass to present a deep, ribbed bowl and a folded rim with an extending flared handle, all sitting upon a low, ring-shaped foot. Pressed onto the rim, the flat, ribbon-form handle draws out diagonally with a trailed off back along its underside and additional trailing along the rim. The word "trulla" can be defined as "ladle" or "dipper." They were widely used in the Roman Empire, serving as ritual objects in religious ceremonies for libations or for drinking or pouring purposes and even in bathing activities, though are not commonly made from glass like this example. The ribbed bowl of this trulla is incredibly rare and beautifully complemented by the lustrous, rainbow iridescence of the glass. Size: 4.2" L x 2.8" W x 1.8" H (10.7 cm x 7.1 cm x 4.6 cm)
Exhibited in “Ancient Glass: Selections from the Richard Brockway Collection” at the Hallie Ford Museum of Art at Willamette University, Salem from March 10 to May 19, 2007 and “Glass of the Ancient World” at the Vero Beach Museum of Art, Florida from October 11 to December 28, 2008. Cf. Johns Hopkins Archaeological Museum (JHAM HT 228), Corning Museum of Glass (66.1.224), and Metropolitan Museum of Art (81.10.95).
Provenance: private Vero Beach, Florida, USA collection, acquired before 2003. Exhibited Vero Beach Museum, Vero Beach, Florida.
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.
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#177753
Condition:
Two minor nicks along trailing by rim. Weathering film and surface wear commensurate with age, as shown, but otherwise intact and excellent with beautiful iridescence.
EGYPTIAN LATE PERIOD LAPIS LAZULI SCARABEGYPTIAN LATE PERIOD LAPIS LAZULI SCARAB AMULET**First Time At Auction**
Egypt, Late Dynastic Period, 26th to 31st Dynasty, ca. 664 to 332 BCE. A fine scarab hand-carved from rich blue lapis lazuli to present striped wings and fully articulated legs on its underside. A suspension hole laterally pierces the legs allowing the pendant to be strung on a necklace or bracelet and worn as a pendant. The regenerative powers of scarabs carved naturalistically in the round, like this example, could be used by either the living or the dead for healing and protection during quotidian activities or during a deceased person’s passage into the afterlife. Size: 0.8" L x 0.6" W (2 cm x 1.5 cm)
A similar scarab can be found in the Johns Hopkins Archaeological Museum under accession number 4791.
Provenance: East Coast collection, New York Gallery, New York City, New York, USA, 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.
We ship worldwide and handle all shipping in-house for your convenience.
#177840
Condition:
Some light surface wear as shown, but otherwise intact and excellent with nice remaining detail and earthen deposits in recessed areas. Wearable as a pendant or bead.
PUBLISHED / EXHIBITED ROMAN GLASS JARPUBLISHED / EXHIBITED ROMAN GLASS JAR W/ ZIGZAG TRAILRoman, Imperial period, Eastern Mediterranean, ca. 3rd to 4th century CE. A gorgeous jar free-blown from light green glass to present a thick trailing that zigzags between the shoulder and rim to form an openwork collar. The vessel displays a piriform body rising to a short cylindrical neck that gently flares to a folded rim. Finally, as the piece de resistance, thick undulating trails run from rim to the shoulder and marvelous silver and blue violet iridescence kisses the surface! Size: 2.8" Diameter x 3.3" H (7.1 cm x 8.4 cm)
Similar glass vessels can be found at the Corning Museum of Glass (74.1.26 and 53.1.6), Johns Hopkins Archaeological Museum (JHAM HT 127), and the Science Museum London (A54786).
Exhibited in “Ancient Glass: Selections from the Richard Brockway Collection” at the Hallie Ford Museum of Art at Willamette University, Salem from March 10 to May 19, 2007 and “Glass of the Ancient World” at the Vero Beach Museum of Art, Florida from October 11 to December 28, 2008.
Published in “Ancient Glass: Selections from the Richard Brockway Collection.” Hallie Ford Museum of Art at Willamette University, Salem, 2007; and “Glass of the Ancient World.” Vero Beach Museum of Art, Florida
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.
#177403
Condition:
Intact and excellent with rich weathering film, slight iridescence, and earthen deposits in areas. Pontil mark on underside of base. A pontil scar or mark indicates that a vessel was free-blown, while the absence of such a mark suggests that the work was either mold-blown or that the mark was intentionally smoothed away or wore away over time.
A. AUBREY BODINE. "JOHNS HOPKINS," PHOTOGRAPHA. AUBREY BODINE. "JOHNS HOPKINS," PHOTOGRAPH (American, 1906-1970). Gelatin silver print, signed "A. Aubrey Bodine" lr, titled ll, photographer stamps on verso, 11 x 14 in., unframed.
HARRY A. EVANS. "JOHNS HOPKINS," GOUACHEHARRY A. EVANS. "JOHNS HOPKINS," GOUACHE (American, 1926-1995). Gouache on paper, signed lr, sight size: 12 1/2 x 8 in., framed.
EASTON PRESS (8) VOLS, REFERENCE Includes:EASTON PRESS (8) VOLS, REFERENCE Includes: The Official Scrabble Players Dictionary, The Ultimate Visual Dictionary; The Oxford Dictionary of World Religions; The Complete Book of U.S. Presidents; Timelines of World History; The Johns Hopkins Complete Guide to Symptoms and Remedies; Mayo Clinic Family Health Book; and Anatomica the Complete Home Medical Reference; smallest: 9.5"h x 6.5"w, largest: 12"h x 9.25"w
FRANCIS HOPKINSON SMITH, IMPRESSIONISTFRANCIS HOPKINSON SMITH, IMPRESSIONIST WATERCOLOR Francis Hopkinson Smith (American/Maryland/New York, 1838-1915). "Inn of William the Conqueror, Dives-sur-mer, Normandy" -c 1905, watercolor, gouache and mixed media. Signed lower right. Note: A favorite subject of Smith's, this work closelyrelates to another view added to the collection of the Philadelphia Museum of Art in 2016. Approx. 38.75" x 51.5" (frame), 22.25" x 35" (sight). Provenance: From the Estate of Jack Warner / The Warner Foundation, Tuscaloosa, AL.
FRANCIS HOPKINSON SMITH (NEW YORK/MARYLAND,FRANCIS HOPKINSON SMITH (NEW YORK/MARYLAND, 1838-1915), "THE INN OF WILLIAM THE CONQUEROR"., WATERCOLOR AND GOUACHE, 25" X 17" SIGHT. FRAMED 33" X 24".FRANCIS HOPKINSON SMITH, New York/Maryland, 1838-1915, "The Inn of William the Conqueror". Signed lower left "F. Hopkinson Smith". Housed in a Newcomb-Macklin frame. Dimensions: Watercolor and gouache, 25" x 17" sight. Framed 33" x 24". Provenance: Knoedler & Co., New York.Private Collection, California.
FRANCIS HOPKINSON SMITH (NEW YORK/MARYLAND,FRANCIS HOPKINSON SMITH (NEW YORK/MARYLAND, 1838-1915), WINTER LANDSCAPE WITH STREAM., CHARCOAL ON PAPER, 19.5" X 28.5". FRAMED 21.5" X 31.5".FRANCIS HOPKINSON SMITH New York/Maryland, 1838-1915 Winter landscape with stream. Signed lower left "F. Hopkinson Smith". Charcoal on paper, 19.5" x 28.5". Framed 21.5" x 31.5". Dimensions: Charcoal on paper, 19.5" x 28.5". Framed 21.5" x 31.5".
TWO 19TH CENTURY BOOK SETS, ONE OF HISTORICALTWO 19TH CENTURY BOOK SETS, ONE OF HISTORICAL ENGRAVINGS AND THE SECOND OF GREEK PLAYS To include: Payne's Universum, or Pictorial World (London: Brain and Payne, n. d., circa 1840s), 4to (11 in.), three-quarter leather over printed boards, numerous fine engravings with text covering topics of general interest and genteel attainment (wear and some scuffs to boards; tight binding; toned leaves; good condition); Six Volumes of Euripides in Greek (Leipzig, 1899), three-quarter leather over marbled boards, 8vo (9in.), with blank leaves for notes. Front endpapers stamped in red "Disposed of by the J. H. U. Library," presumably Johns Hopkins University (very good condition).
AMERICAN SCHOOL (19TH CENTURY), TWOAMERICAN SCHOOL (19TH CENTURY), TWO IDENTIFIED SILHOUETTES OF VIRGINIANS 19th century, hollow-cut paper silhouettes, both sitters identified via inscriptions on the back as Dr. Charles Hopkins and Susan Hopkins of Northampton County, Virginia, both presented behind glass in matching wood frames.
GOLD AND TAHITIAN PEARL PENDANT ANDGOLD AND TAHITIAN PEARL PENDANT AND EARRINGS, CHARLES HOPKINS The pendant set with a round Tahitian pearl (13mm) and with curved bar bail, testing 14KT (1 1/16 in.) (gold with marring to each side); earrings prong set with round Tahitian pearls (10.6mm and 10.9mm) and completed with posts, testing 14KT (one with replaced gold filled post; without original push backs).
HANS FIGURA."JOHNS HOPKINS HOSPITAL,"HANS FIGURA."JOHNS HOPKINS HOSPITAL," ETCHING Etching, signed lr, sight size: 10 1/2 x 8 1/2 in., framed.
GABRIELLE DEVAUX CLEMENTS."JOHNS HOPKINSGABRIELLE DEVAUX CLEMENTS."JOHNS HOPKINS HOSPITAL," ETCHING Etching, signed lr, plate size: 12 3/4 x 15 3/4 in., framed.
FOUR JOHNS HOPKINS CLUB MENUS .FOUR JOHNS HOPKINS CLUB MENUS .
FIVE JOHNS HOPKINS CLUB WINE MENUS .FIVE JOHNS HOPKINS CLUB WINE MENUS .
THE JOHNS HOPKINS CLUB DESERT & WINETHE JOHNS HOPKINS CLUB DESERT & WINE MENUS 6 total.
THE JOHNS HOPKINS CLUB MENUS 5 total.THE JOHNS HOPKINS CLUB MENUS 5 total.
SEVEN JOHNS HOPKINS CLUB LUNCH MENUSSEVEN JOHNS HOPKINS CLUB LUNCH MENUS .