- William Noah ?? (1943-2020), Qamani’tuaq
William Noah ?? (1943-2020), Qamani’tuaq (Baker Lake) SURVIVAL OF THE FITTEST, 1977 titled, dated and numbered 13/50; artist's and printer's name in Roman and syllabics; unframed sheet 25 x 37 in — 63.5 x 94 cm
- SCIENTOLOGY BOOK WITH TOM CRUISE SIGNATURE
SCIENTOLOGY BOOK WITH TOM CRUISE SIGNATURE Science of Survival by L. Ron Hubbard, published 1989 by Bridge Publications, with inscription on half-title page reading, To Joel, All the Best, Tom Cruise; book is bound in marbled red boards with gilt titling on the spine. 580pp., 8vo. Approximate Dimensions:h. 9.5", w. 6.5"
- VERY RARE PAIR OF GRAEME PARK PHILADELPHIA
VERY 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."
- JENNY HOLZER SURVIVAL SERIES LED & STEEL
JENNY HOLZER SURVIVAL SERIES LED & STEEL SCULPTURE Jenny Holzer (American, b. 1950), LED sculpture from the Survival Series, 1983-85, LED sign with colored (yellow and orange) diodes, text crawl displaying loop of Holzerian "Truisms" and phrases including "MEN DONT PROTECT YOU ANYMORE," "THE FUTURE IS STUPID" AND "SPIT ALL OVER SOMEONE WITH A MOUTHFUL OF MILK IF YOU WANT TO FIND OUT SOMETHING ABOUT THEIR PERSONALITY FAST," back of screen bearing artist's label, edition 57 / 100, mounted within steel frame depicting simplified figure with arms crossed, the steel frame reverse marked at bottom: "Markus." Overall: 66" H x 47.5" W x 5.75" D. Provenance: Property from a 460 East 79th Street estate.
- (3) US BAYONETS, SOCKET & M4, USN SURVIVAL
(3) US BAYONETS, SOCKET & M4, USN SURVIVAL KNIFE(lot of 3) U.S. socket bayonet, the 18.5" blade unmarked,
a metal scabbard with leather and brass belt hanger marked R.I.A. (Rock Island Arsenal), overall with scabbard: 22"l; (1) U.S. M4 bayonet, unmarked 6.5" blade, the guard marked U.S. M4, Utica, flamingbomb, overall: 11.25"l; (1) U.S. Navy folding survival knife, a
4.75" cutting blade Colonial, Prov. R.I., and 5.5" saw blade, the handle in black checkered plastic with steel bolsters, housed in U.S. canvas sheath
- (5) Straight knives, c/o antler handle
(5) Straight knives, c/o antler handle with leather sheath (6-1/4" blade), Lifetime Cutlery with leather sheath (5-3/4" blade), miniature with cloth sheath (2-7/8" blade), Wilderness K-10 Filet Knife with leather sheath (6" blade), Pierre Bonee "Survival" in metal sheath (5-1/4" blade)
- BOB KUHN (1920-2007)Close but No Cigar,
BOB KUHN (1920-2007)Close but No Cigar, 2003
signed and dated "Kuhn 03" lower left
acrylic on board, 13 3/4 by 23 1/4 in.
Born and raised in Buffalo, New York, Bob Kuhn enjoyed visiting the Buffalo Zoo and sketching its inhabitants as a child. After studying design, anatomy, and life drawing at the Pratt Institute in New York City, Kuhn made his living working as an illustrator for various wildlife and outdoor magazines. In the early 1970s, Kuhn switched to painting full time. Kuhn’s work is featured in the permanent collections of the National Museum of Wildlife Art in Jackson, Wyoming; the National Cowboy Hall of Fame in Oklahoma City, Oklahoma; and the John L. Wehle Gallery of Sporting Art at the Genesee Country Village and Museum in Mumford, New York.
Kuhn's most notable works capture the twisting and turning of predators in pursuit of their prey. In this painting, a pouncing bobcat attempts to seize a flying grouse in a snowy, winter landscape. It relates closely to his famous and widely published work "Survival Tactics," depicting the same species.
Provenance: Private Collection, Bozeman, Montana
Literature: "Wild Harvest: The Animal Art of Bob Kuhn," 1997, p. 85.
- A US ARMY SURVIVAL EVASION AND ESCAPE
A US ARMY SURVIVAL EVASION AND ESCAPE MANUAL for the Vietnam War, dated March 1969
- 75 ECLIPSE COMICS MIRACLEMAN ALAN MOOREEclipse
75 ECLIPSE COMICS MIRACLEMAN ALAN MOOREEclipse Comics. Miracleman issues 1, 10-12 and 14. Doubles of issue 10. Destroyer Duck issue 3. Alien Encounters issue1. Fusion issue 1. Scorpio Rose issues 1 and 2. New Wave 1 and 2. Airboy issue 1. Crossfire issue 1. John Law Detective issue 1. Elf-Thing issue 1. I am Legend issues 1-3. Killer issue 1. Scout issues 5-14, 16-22. Doubles issue 13. Scout Swords of Texas issues 3 and 4. Scout War Shaman issues 2, 4-6, 8-13. Doubles issue 13. Scout Handbook An Atlas To Survival In New America. Scout New America issue 3. Eclipse International. The Legend of Kamui issues 5-17, 19-22, 24 and 25. Comics are in as found condition. Please see photos.
- HUTTERITE FOLDING CHILD'S BED, MANITOBA,
HUTTERITE FOLDING CHILD'S BED, MANITOBA, 20TH C.A Hutterite folding child's bed illustrated in "Folk Furniture of Canada's Doukhobors, Hutterites, Mennonites and Ukrainians" by Michael Rowan and John Fleming, page 55. Crackled chrome yellow paint over blue, original leather retaining straps. Manitoba, early 20th century. A rare survival piece of Western Canada history. H: 24.5"; W/L: 25.5"; D/P: 44". FRANCAIS: Lit d'enfant pliant Huttérite illustré dans "Folk Furniture of Canada's Doukhobors, Hutterites, Mennnonites and Ukrainians" par Michael Rowan et John Fleming, page 55. Peinture jaune craquelée sur bleu, sangles de retenue en cuir d'origine. Manitoba, début du 20e siècle. Une rare pièce de l'histoire de l'Ouest canadien qui a survécu.
- MACHINE, MARK PAULINE Mark Pauline (American,
MACHINE, MARK PAULINE Mark Pauline (American, b. 1953), "Dead Cat," assembled motorized machine, unsigned, overall: 27"h x 19"w x 16"d. Note: Pauline is an American performance artist and inventor, best known as founder and director of Survival Research Laboratories.
- MIXED MEDIA, ZACH HAMS Zach Hams (American,
MIXED MEDIA, ZACH HAMS Zach Hams (American, 20th century), "Summer Survival," 2010-2013, oil linen, masonite and wood, signed, titled and dated verso, gallery label (Zach Fever, NY, NY) affixed verso, overall: 24"h x 34"w
- CIVIL WAR AND RELATED DOCUMENTSGrouping
CIVIL WAR AND RELATED DOCUMENTSGrouping of Civil War and other historical documents, 9 items. 1st Item: Civil War Soldier Letter from Col. H. L. Potter (New York 71st Infantry, wounded at Bristol Station, VA on Aug 27th 1862) to Col. B (Possibly Maine, May 4th 1864); writes about a horse being lost that wasn't paid for while on Pickett Duty, and losing a horse (the same horse?) in the Battle of Gettysburg, along with his regrets about his survival of said battle due to being disgraced after being dismissed from the service for losing a horse that wasn't accounted for (due to Belger's actions?); three large pages in ink; sleeved; includes summary of letter and original envelope. 2nd item: Letter from Civil War Soldier Col. H. L. Potter to other in his brigade, including Col. B. (April 9th, 1864); details the horse killed by Belger (?) and how that could lead to the dismissal of Col. Potter unless Col. B helps him; 3 pages in ink; sleeved. 3rd item: 1863 Letter from Civil War soldier to his sister Hallie Walker in Maine updating her on his current condition as a soldier (1863); sleeved. 4th item: Letter from Col. H. L. Potter to "Gen. K. Harvey Esq." concerning the expectancy of his regiment to come home, and how the horse that [Belger] Killed was not the one that he had borrowed (Feb 21 1864); sleeved. 5th item: Advance Month's Pay voucher with the names of military recruits who were part of company 7 in regiment 30 (1863). 6th item: Clipping from old newspaper which details the assassination of President Lincoln, along with the survival of Secretary Seward and the President's funeral (1865); matted and sleeved. 7th item: Front page of The Evening Bulletin of Providence, RI which discusses the progression of the Civil War conflict, which has led to Brigadier Gen. William P. Sanders dying in Knoxville as a result of being wounded in the battle of Campbell's Station, as well as other occurrences dealing with Knoxville's role in the Civil War (1863). 8th Item: Territory of Hawaii Warrant of Arrest, dated as March 1917, for Rachel Naoho of Honolulu who had been charged with embezzlement on account of Oahu Officer William "Alkims". 9th Item: Puget Sound Daily Courier (Olympia, Washington Territory, July 14, 1874); various miscellanious advertisements, including excerpts from stories such as Some Women's Hearts; pencil initials "LRR"in upper right corner along with a slash through the number five in the edition number 165 to make it 166; sleeved.
Condition:
1st item: good condition with minor wear to pages. 2nd item: very good condition, minor aging to letter and envelope. 3rd item: very good condition with minor staining from wax seal. 4th item: very good condition with minor wear to the paper. 5th item: very good condition with minor tearing to two of four binding holes which were laced with metal, minor folding tear in center due to age, and minor surface grime from tape in bottom right quadrant. 6th item: good condition with minor losses to the edges of ads adjacent to the main article. 7th item: good condition with minor aging to paper 8th item: very good condition, moderate liquid staining to document. 9th item: good condition, page separated into a few even sections due to tearing from age, pencil initials "LRR" in upper right corner along with a slash through the number five in the edition number.
- SURVIVAL OF THE FITTEST AUTOMATON.Survival
SURVIVAL OF THE FITTEST AUTOMATON.Survival of the Fittest Automaton. England: Neil Hardy, 2004. Electrical automaton with rotating informational displays on four different animals (whale, cheetah, alligator, and gorilla) some with moving heads, jaw, and limbs; at the conclusion, the lighted compartment underneath opens to reveal another animal, the “couch potato” – a man at a recliner drinking from a can. Wooden base. Working condition, with handwritten sheet detailing repairs by another party performed in 2009. Approx. 19 x 19 x 21”.
- RARE AND IMPORTANT AMERICAN PILGRIM
RARE AND IMPORTANT AMERICAN PILGRIM CENTURY CHESTattributed to the Mason-Messenger shop tradition, Boston, Massachusetts, circa 1680, walnut with white pine secondary, constructed in two sections, molded top, five paneled, dovetailed, and side hung drawers, rosehead nails, double paneled sides and back, set on original bun feet, 36 x 39 x 22-3/4 in., Provenance: by descent in the Weare family of York, Maine, likely from Peter Weare (1691-92); Note: Peter Weare was in America by about 1638 when he and Thomas Brooks bought John Wilcox's land at the Great Works on the Asbenbedick River. By the 1640s, Peter had settled in York, Maine, and was living near the meetinghouse on ten acres purchased from John Alcock in 1644. For more, see: https://sites.rootsweb.com/~mainegenie/WEARE.htm#PETER(1)WEAREÿ
Condition:
Accompanied by extensive treatment and condition report from Alan Miller, antiques consultant. The chest survives with fine integrity, including its original undisturbed top and turned feet - a rare survival from this period. Many of the small applied moldings on the drawer facings are restored, as are the brasses. Finish work was undertaken by Keith Lackman, conservator in Pennsylvania. The chest exhibits typical minor shrinkage separations, bumps, and wear including some minor losses at lower right molding and at turned feet.
- FINE RARE CHARLESTON MAHOGANY DRESSING
FINE RARE CHARLESTON MAHOGANY DRESSING TABLESouth Carolina, 1735-1750, composed of extremely dense figured mahogany, single board top with molded edges, above three dovetailed drawers set with batwing brasses, turned legs with carved stylized leaf form knees and pad feet,ÿappears to retain original brasses and locks, cypress secondary by microanalysis, 29 x 30 x 19 in.; Note: Dressing tables of closely related form are illustrated in Rauschenberg and Bivins Jr., The Furniture of Charleston, 1680-1820, vol. I, pg. 240-243. The example offered here is a unique survival in that the drawer arrangement differs from its known counterparts.
Condition:
excellent condition throughout, minor chip at one rear foot, crack and small area of loss at top of one front stile at joint with top, patch and repair at skirt, minor cracks and losses to thin mahogany boards at knee hole, minor stains and finish wear with some scratches at top, one lock is missing, top reset with one later brace at underside, face patch at left side of long drawer
- BYZANTINE FIRE GRENADE, CIRCA 11TH-16TH
BYZANTINE FIRE GRENADE, CIRCA 11TH-16TH CENTURY ADFor your consideration is an ancient Byzantine Fire Grenade, circa 11th-16th century AD, Provenance: Private collection Big Sky, Montana. Greek fire, also referred to as liquid fire, Roman fire and fire of war, was the most famous weapon of the Byzantine arsenal. An incendiary device successfully used in both attack and defensive situations, the powerful weapon played a crucial role in the defense of the Byzantine Empire, ensuring its long survival. The precise composition of Greek fire remains unknown to this day, though research suggests that petroleum was a vital ingredient making the liquid impervious to water. Byzantine grenades appeared around the reign of Leo III (717-741 AD) as an alternative method to utilize Greek fire in battle. These ceramic explosive jars became popular during the crusades (11th-13th century AD) and were used until the Mamluk era (13th-16th century AD). Their average size and the presence of a grip on some examples suggest that the vessels were thrown by hand, thus used in short-range conflicts. These features however, do not exclude the use of Byzantine grenades in long-distance battles. The vessels were most likely hurled at the enemy by catapults or trebuchets and either ignited before release or set alight by fire arrows after the impact. Made from heavy clay, Byzantine grenades varied in both shape and size. The vessels typically feature a bulbous or piriform (pear-shape) body with a short cylindrical neck and a small aperture to the top for filling which would have accommodated a fuse to instigate the explosion. This Byzantine grenade is amazingly good overall condition, exterior has raised scale-like bosses upper section. Concentric circles decorate the lower half which culminates in a protruding knob. No obvious marring observed. Measures 4"H x 3.5" diameter approximately. Weight approximate 1lb
- RARE WINCHESTER 1873 .38-40 LEVER ACTION
RARE WINCHESTER 1873 .38-40 LEVER ACTION RIFLEWinchester 1873 EXTREMELY RARE SPECIAL ORDER EXTRA LONG 30 INCH octagon barrel rifle in desirable, large caliber .38-40 with non-standard special shotgun butt stock, serial number 106625 made during the Indian Wars/Frontier Period of 1882. Winchester made over 720,000 Model 1873 rifles and carbines. According to the standard reference: The Winchester Handbook, by George Madis, of this huge number of 1873s only 1201 rifles had barrels longer than the standard length of 24”. Madis further indicates only 1286 Model 1873s had special butt plates from the standard crescent butt plates on rifles and carbine butt plates on saddle ring carbines. Considering that Winchester offered extra long lengths all the way to 36” in round barrels, octagon barrels and half-octagon barrels, there could only be a handful of 30” length octagon barrel rifles manufactured...and of these the survival rate would have to be even smaller. Add to this the shotgun butt, this makes this rifle one of a very few in existence today. Interestingly, it seems most special order long barrel rifles were in the smaller caliber .32-20, again, making this example even more rare in the large .38-40 chambering. This is the classic “Gun That Won the West!” An early and fine condition example, this 141 year old Winchester still retains fine deep aged blue patina on the barrel and magazine. The special order long 30” octagon barrel also retains excellent and clear Winchester markings. Walnut butt stock is in very fine condition with only normal surface handling marks and shows very desirable tight wood to metal fit, indicating that this rifle’s wood has never been sanded. Like the barrel, the receiver is an uncleaned natural aged blue/plum patina. This fine 1873 rifle also retains a very tight action and strong springs. The sliding dust cover on the receiver top is intact (these are usually missing) and the loading gate retains good deep original blue. The un-polished brass lifter on the receiver bottom is correctly engraved with “38 CAL” and shows an attractive mellow patina. The lever catch is also intact. Additionally, it is fitted with a desirable Lyman tang sight, original buckhorn rear barrel sight with elevator bar intact and a small Rocky Mountain blade front sight. This superior, large caliber Model 1873 is in better condition than normally encountered on the collector market today. Even the bore is in good condition and shows strong rifling. A fine example of a rifle produced in a factory before the use of electricity that is as good and solid today as it was on the day it was made. The Model 1873 was the standard for lever actions throughout the Frontier Period in the West which, in some areas, lasted well into the twentieth century. Most surviving specimens show heavy use and often abuse with broken or missing parts making this example far better than normally encountered. This rifle, in the very rare and desirable extra long barrel length of 30 inches in the large caliber .38-40 plus special shotgun butt would be a prize for any Winchester or Old West collection. A rare opportunity to acquire a nearly unique Model 1873 special order rifle. Serial Number: 106625. This firearm qualifies as an Antique, and does not require FFL Transfer or NICS Background Check.
- GREG FIDLER, RED BOW SERIES PAIRSigned,Unknown
GREG FIDLER, RED BOW SERIES PAIRSigned,Unknown Year, Blown glass, coldworked,11h x 3.5w and 12h x 6w. · He received his Bachelor of Arts degree in Cultural Anthropology from Franklin Pierce College in New Hampshire. · Through the 1990s, he worked in many glass studios from Maine to Seattle while also attending classes at The Pilchuck Glass School, Stanwood, WA. The Haystack Mountain School of Crafts, Deer Isle., ME., and The Penland School of Crafts, Penland, NC. · In 2000, Greg received his Master of Arts degree from the University of Illinois and was awarded the Glass Residency at the Penland School of Crafts for the years 2001-2004. · “The familiar essence of glass is derived from a manufactured utilitarian need. Processes in hand forming glass undermine these attributes and in effect give my work purpose. It is my desire to produce sculpture that communicates progression while paying respect to traditional processes and their survival in the present. My ideas owe more to natural forms and my deference for the material than to consciousness obscurity.” Photo by Jeff Dimarco
Condition:
Excellent
- SATFIND 406 SURVIVAL EPIRB MODEL S-1010,
SATFIND 406 SURVIVAL EPIRB MODEL S-1010, IN ORIGINAL BO...Satfind 406 survival Epirb model S-1010, in original box.
Condition:
All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
- PAIR VIRGINIA SIGNED CLASSICAL "FANCY"
PAIR VIRGINIA SIGNED CLASSICAL "FANCY" CHAIRScirca 1840, each with stenciled signature for "C.H. Hardy & Bro. Chair Makers", each with tablet back and turned supports, over caned seat with turned legs, traces of original paint decoration, 31 in., seat height 17-1/2 in.
Provenance: Chris Jones Antiques, Alexandria, Virginia, purchased for $1,400 (accompanied by write up and invoice); Private Collection, Richmond, Virginia
Note: These chairs are very rare survivals from Hardy's Lynchburg shop. Only one other chair with Hardy's name has been recorded - a Windsor style side chair labeled "Johnson and Hardy." In MESDA's research files (S-6139), these chairs are indebted in their style to the better known chair makers of Baltimore.
Condition:
extensive wear and losses to paint decoration throughout, one chair with puncture to caning, good structural condition with minor edge wear including at tablet backs
- JENNY HOLZER(American, born 1950)
Protect
JENNY HOLZER(American, born 1950)
Protect Me From What I Want, from The Survival Series, 1986, edition 8/15, cast bronze, 4 x 8 in.
Condition:
some small abrasions, small dent on edge
- DON BALKE (B. 1933) "SNOWSHOE HARE"Don
DON BALKE (B. 1933) "SNOWSHOE HARE"Don Balke (North Carolina, B. 1933) "Snowshoe Hare and White Oak" Signed lower right. Original Watercolor on Paper.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This art was originally published in the limited edition collection of philatelic proofcards issued by Fleetwood and the National Audubon Society for the Wildlife of the 50 States.
A shy, retiring little fellow, the Snowshoe Hare frolics in Connecticut's evergreen forests. Suddenly, crisp fallen leaves from the state tree, the White Oak, rustle softly and the Snowshoe Hare freezes. Perfectly camouflaged against the snowy background, only his dark tipped ears and glistening black eyes peek out from the winter whiteness. Quivering slightly, the white hare waits patiently for suspected danger to pass and then gleefully continues his romp. The Snowshoe Hare uses the natural hair-covered overshoes on his hind feet to glide effortlessly across deep drifts without sinking into the fluffy snow. In spring, Snowshoe Hares move into thick forests where small clearings offer both food and protection. During the warm months they also "change clothes," donning basic brown as a natural camouflage. Because these furry mammals change color with the season, many refer to them as Varying Hares. Much like fictitious rabbits and haras such as the famous Peter Rabbit, Varying Hares spend most of their days fighting for survival. Extremely tasty to most carnivores, they are hunted widely by both man and beast. As if to compensate for the understandably short life spans, the Snowshoe Hares are unusually prolific. After a gestation period of about thirty-six days, the females give birth to anywhere from two to seven bunnies. Unlike their close relatives the rabbits, hares are bigger, have longer legs, taller ears and their young are born already covered with fur and with their eyes open.
Image Size: 12 x 13.75 in.
Overall Size: 20.25 x 23 in.
Unframed.
(B05746)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
- Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview.
- All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted.
- All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances.
- All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings.
- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
- Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com
- We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly.
- Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
- CHRIS CALLE (B. 1961) "ROWING"Chris
CHRIS CALLE (B. 1961) "ROWING"Chris Calle (American, B. 1961) "Olympic Centennial Games - Rowing" Signed lower right. Original Mixed Media on Illustration Board painting.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This painting appeared on the Fleetwood First Day Cover for the 32c Rowing Classic Collection Series stamp issued May 2, 1996.
The ancient Greeks recognized rowing as a means of survival for oarsmen whose job it was to maneuver massive warships in the midst of battle. Centuries later, rowing contests became popular among the lower classes. The sport gained even more popularity when English public schools became interested in it. During the 19th century, competitive rowing garnered support in both England and the United States. In 1892, the international governing body for rowing was established by the national associations of the Adriatic, France, Italy, Belgium and Switzerland, and remains the sport's controlling international body. Rowing was scheduled into the program of the first modern Olympic Games at Athens in 1896. Unfortunately, the event was cancelled due to inclement weather and did not become an official sport until 1900.
Image Size: 15.25 x 10.25 in.
Overall Size: 23.25 x 14.25 in.
Unframed.
(B15519)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
- Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview.
- All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted.
- All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances.
- All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings.
- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
- Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com
- We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly.
- Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
- SARGENT FAMILY FEDERAL INLAID BURLWOOD
SARGENT FAMILY FEDERAL INLAID BURLWOOD AND SATINWOOD WO...Boston, attributed to John and Thomas Seymour, 1800-1810, top in finely grained burlwood veneer surrounded by Greek key banding, rich, exuberant satinwood drawer facings and case sides, dovetailed drawers with tropical exotic hardwood secondary, one side with pull out work bag, finely turned and reeded legs with brass casters, 29-3/4 x 20 x 15-3/4 in.
Literature: Robert D. Mussey Jr., The Furniture Masterworks of John and Thomas Seymour , pg. 294-295
Note: This exceptional table is arguably the best Boston Federal work table in private hands. It was discovered at the Palazzo Barbaro in Venice, having been transported there in the mid 19th century by Daniel Sargent Curtis and his wife, Ariana Randolf Wormeley Curtis, as part of the furnishings for the 60-room palazzo on the Grand Canal in Venice. Ariana was the granddaughter of Elizabeth Derby Preble, a niece of Elias Hasket Derby of Salem, thus linking this table to two of the most important families of early Boston - the Sargents and the Derbys. It is possible the table may have descended through the Derby family, as Ariana Curtis was the only surviving member of the Preble family. It is the mate to a table at the Museum of Fine Arts Boston (accession no. 1990.172). The sister table is illustrated in Vernon C. Stoneman, A Supplement to John and Thomas Seymour, Cabinetmakers in Boston , 1794-1816, catalog no. 49. Robert Mussey notes in his catalog entry for this table in The Furniture Masterworks of John and Thomas Seymour that, in addition to surviving extraordinarily well, the table is “even rarer in being one of a pair, the two being different only in their hardware pull patterns. The veneers on the tables are cut from the same flitches of veneer and placed identically on the various surfaces. The numerals “N1” and “2” (on this table) are inscribed in chalk on the matching drawer bottoms, indicating the tables were made in the Seymour shop at the same time.” The table offered here and its sister table at the Museum of Fine Arts Boston, rank among the finest surviving examples from Federal Boston.
Condition:
Robert Mussey notes in the catalog entry for this table in The Furniture Masterworks of John and Thomas Seymour that "the table has survived extraordinarily well, with virtually no repairs except refinishing." Mussey also notes the table retains its original bag slide mechanism intact, a rare survival; top with some minor abrasions with some possible color retouch and some areas of wax drip, minor warping and one edge crack to top, typical checking to figured veneers, brasses probably original (no plugged holes), small areas of dents and distress at lower center skirt
- DON BALKE (B. 1933) "MOCKINGBIRD"Don
DON BALKE (B. 1933) "MOCKINGBIRD"Don Balke (North Carolina, B. 1933) "Mockingbird and Iris" Signed lower left. Original Watercolor painting on Illustration Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This painting was originally published on the Fleetwood Commemorative cover for "Balke's Birds and Flowers" series, cover cancelled June 1, 1985.
Intensely territorial, the Mockingbird stands ready to attack any creature that invades its domain, especially fellow Mockingbirds. "Dogfights" involving six or more Mockingbirds bombing on each other are not uncommon. It is thought by some scientists that the Mockingbird's song may have survival value. This bird's continuous imitation of other sounds may be designed to better express individual differences. There is considerable evidence that song is not merely an announcement of the species, but also an individual bird's identity tag. The Mockingbird's so-called courtship dance, which involves flashing of the wings, is not that at all, but rather vying for position in fierce territorial fights. There are more than two hundred species of Irises that grow wild, and thousands of hybrids, but all have two common characteristics: sword-shaped leaves and a distinctive flower structure consisting of three usually erect petals, called standards, and three outer petals, or sepals, that hang down from the base of the blossom. The arrangement of these parts is peculiar and their duties unusual. A bee, instead of settling on the petals that arch upward from the flower's center, uses the broad sepals as a landing field. The sepals curve downward and have honey-guide markings and sometimes golden "beards." Irises come in a stunning range of colors -- hence the name Iris, after the Greek, goddess of the rainbow.
Image Size: 11.25 x 12.75 in.
Overall Size: 19.25 x 21 in.
Unframed.
(B09549)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
- Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview.
- All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted.
- All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances.
- All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings.
- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
- Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com
- We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly.
- Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
- DON BALKE (B. 1933) "HERRING GULL"Don
DON BALKE (B. 1933) "HERRING GULL"Don Balke (North Carolina, B. 1933) "Herring Gull" Signed lower left. Original Watercolor on Illustration Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
The Herring Gull, the best known of the seagulls, has had a remarkable history of survival. From antiquity, the Indians on the Maine coast had robbed the gulls of their eggs and young, but it was not until their white successors invaded the coast that egging began to exhaust the colonies. This was already evident in Audubon's day. He reported that at White Head Island in the Bay of Fundy he was surprised to see gulls nesting in fir trees. He was told by his host, Mr. Frankland, that they used to build their nests on the open ground, but as people kept collecting the eggs for winter use, the old ones began to put their nests in the trees. By 1900, because of additional pressure from the millinery trade, only about 9,000 pairs were left on the Maine coast. The Maine legislature and the National Audubon Society then initiated protection. The recovery, slow at first, accelerated after 1920. Winter survival was subsidized by the garbage dumps of growing cities. The exploding numbers of these opportunistic egg-eaters depressed the populations of terns and laughing gulls and new colonies extended inexorably down the coast. Even though the U.S. Fish and Wildlife Service, beginning in 1934, sterilized eggs to the number of a million or more, the Herring Gull now breeds as far south as Virginia and North Carolina, way beyond its former breeding range.
Image Size: 13.5 x 14.5 in.
Overall Size: 14 x 17 in.
Unframed.
(B10588)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
- Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview.
- All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted.
- All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances.
- All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings.
- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
- Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com
- We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly.
- Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
- DON BALKE (B. 1933) "GRAY SQUIRREL"Don
DON BALKE (B. 1933) "GRAY SQUIRREL"Don Balke (North Carolina, B. 1933) "Gray Squirrel" Signed lower left. Original Watercolor on Illustration Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This painting was originally published on the Fleetwood commemorative cover for Balke's Baby Wildlife of the 50 States, postmarked November 21, 1984.
Deep in the forests of North Carolina, under the dark, cool shadows of the trees, live the charming Gray Squirrels. Also called "silvertails," these amazing little creatures have warmed the hearts of men as they clamor up and down trees in search of tasty nuts and berries. Then, they absent-mindedly bury their treats, not ever remembering where. But many a carefully buried -- then forgotten -- acorn has grown into a lovely tree for the enjoyment of descendents of a long-gone Squirrel. But, these little Squirrels will do a great deal more to insure the survival of their young, for they will take on even the deadly snake and sometimes sacrifice their own lives to protect their young. At birth, the baby Squirrels are helpless. They weigh only half an ounce and have no hair on their bodies. Dedicated mothers keep them warm with their own body heat. As soft fur grows, the babies remain both blind and deaf. It takes over a month for eyes to open and the ears do not mature much sooner! By two months, the babes are about half the size of their parents and they look like Gray Squirrel miniatures with their long, bushy tails. The tail quickly becomes a life-saver and is used in many ways by these cute babies. As they leap from tree to tree, it acts as a rudder, guiding them to safety. If they should fall, it becomes a cushion for a soft landing. When it rains, this furry appendage acts as an umbrella and, in the hot sun, it becomes a shade tree.
Image Size: 11 x 12.75 in.
Overall Size: 20 x 21.75 in.
Unframed.
(B99068)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
- Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview.
- All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted.
- All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances.
- All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings.
- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
- Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com
- We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly.
- Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
- DON BALKE (B. 1933) "RINGTAIL CAT"Don
DON BALKE (B. 1933) "RINGTAIL CAT"Don Balke (North Carolina, B. 1933) "Ringtail Cat" Signed lower center. Original Watercolor on Illustration Board.
Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation.
This painting was originally published on the Fleetwood commemorative cover for Balke's Baby Wildlife of the 50 States, postmarked November 16, 1984.
Living in a series of dens, the shy, Ringtail Cat often has quite a choice when it comes time to prepare a nursery. Rock crevices, hollow trees, abandoned cabins -- almost any dark, quiet spot along the deserted plains of Oklahoma will do. And, in late May, the special place is chosen. Soon, two to four furry white cubs are born -- blind and helpless -- and dependent on their mother's love for survival. If she must move, she will carry them -- one by one, by the nape of the neck -- with her, through the summer months. For, not until September and the first gusts of fall will they be ready for independence. In the meantime, they must learn to get along in the wilderness that is their home. With long pointed snout and large, dark eyes surrounded by whitish circles, and short pointy ears, the Ringtail Cat has earned the scientific name which means "clever little fox." It indeed has a fox-like appearance, and its abilities as a climber make it seem quite clever like a fox as well. For example, it uses a technique called chimney stemming to negotiate up or down tight rock crevices. With four feet against one sheer wall and its back against the other, it inches its way as a man in a chimney might. But the long bushy tail with large bands of black is the final deciding factor which places this shy little creature of Oklahoma in the same nocturnal family as the inquisitive, lovable raccoon.
Image Size: 11.25 x 13 in.
Overall Size: 18 x 20 in.
Unframed.
(B99037)
Condition:
- By registering to bid for this auction either in-house or online and/or placing a bid in this auction the BIDDER/BUYER agrees to all the terms and conditions of Helmuth Stone Gallery Auctions.
- Due to the size of our gallery not all items are out for preview at one time. If you plan on coming to preview any lot(s) we recommend letting us know prior so we can have them collected and prepared for your preview.
- All silver, gold and/or jewelry lots or invoices containing said lots MUST be paid for via WIRE TRANSFER, no other forms of payment will be accepted.
- All items are sold as-is where-is and no guarantees are made of any kind. All sales are final; no refunds will be given under any circumstances.
- All artwork is listed and sold per section (10) of our terms and conditions, please read over all definitions of authorship prior to bidding to better understand artwork listings.
- Helmuth Stone Gallery provides condition reports as a courtesy to our clients and assumes no liability for any error or omission. Any condition statement is given as a courtesy to a client and is only an opinion and should not be treated as a statement of fact. Descriptions are our opinions and should in no way be construed as a guarantee of any kind as to age, condition, mater. The bidder assumes responsibility for ensuring that the condition of the item(s) meets with their satisfaction prior to bidding. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging.
- Online images can sometimes be low quality due to the uploading process, original high-resolution images can be requested via email at HelmuthStone@gmail.com
- We recommend looking into shipping quotes prior to bidding, shipping quotes can take up to a week or more post-sale as we host our auctions through multiple online platforms and shipping can become backlogged, if you would like a list of local shippers please email us directly.
- Our auction catalogs are hosted through multiple online platforms along with phone and in-house bidding. Bids placed on other platforms are not shown through this catalog. Because of this, even if it appears you are the only absentee bid or bidder on a lot, you may already be outbid or may have placed a bid equal to another bidder. Therefore, we always recommend bidding live.
- Unless otherwise stated in the description, all items are sold without additional documentation or COAs. If any supporting documentation is available an image will be available online via the catalog listing.
- 18TH C. JAPANESE EDO PAPER & INK LEDGER
18TH C. JAPANESE EDO PAPER & INK LEDGER BOOKEast Asia, Japan, Edo period, ca. 18th century CE. A paper ledger book known as a daifuku-cho, bound with dozens of rectangular pages and handwritten accounts for merchant use. The bold characters on the front contain the words "daifuku cho" which translates to "good fortune;" a phrase that would hopefully create prosperous business transactions within the ledger. Each page contains handwritten columns of text in black ink with some notations and stamps in red. The ledger is bound at the narrow end with a cotton thread and a hemp tassel with a loop is affixed to the binding. When completed the ledgers could be strung together into one large collection- ideal for quickly gathering up if there was a fire or other emergency. These account books were invaluable for merchants and their survival was key to the success of business. This ledger even has small tabs with labels on protruding from the edge for bookmarking important pages. Size: 15" L x 2" W (38.1 cm x 5.1 cm)
Provenance: private Newport Beach, California, USA Collection
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.
#145271
Condition:
Tearing, perforations, and creasing of pages and cover. Staining and discolorations. Fraying to hemp tassel. Tightly bound with no loose pages.
- CHINESE HAN DYNASTY POLYCHROME FUNERARY
CHINESE HAN DYNASTY POLYCHROME FUNERARY HU, TL TESTEDEast Asia, China, Han Dynasty, ca. 206 BCE to 220 CE. A beautiful funerary "hu" vessel that was used for storing offerings of wine for the deceased. The surface is painted with a swirling white and orange curvilinear motif, the pigments were applied after firing and are not protected by glaze - their survival is remarkable on this piece! These scrolling motifs may symbolize clouds - evocative of celestial and immortal realms. The shape of this wonderful piece was influenced by far older bronze wine vessels produced for the elite of ancient Chinese society from the late Shang Dynasty through to the Warring States. Wine storage and serving vessels were often included in burials to provide for the deceased in the afterlife - here the remains of earthen encrustations are a testament to its interment! Size: 7.5" Diameter x 9" H (19 cm x 22.9 cm)
Provenance: ex-John Hurter collection, Palm Springs, California, USA, prior to 1995
This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full printed and bound report will accompany the item upon purchase.
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.
#178939
Condition:
Chips to rim otherwise intact and excellent. Heavy earthen encrustations on interior and foot. TL drill holes on rim exterior and beneath foot.
- SIGNED 20TH C. INUIT SOAPSTONE OWL BY
SIGNED 20TH C. INUIT SOAPSTONE OWL BY JOE TALIRUNILINative American, Canada, northern Quebec, Nunavik, Puvirnituq, ca. 1960s to 1970s CE. Signed by Joe Talirunili (Inuit, 1893-1976) in English and syllabics. An adorable soapstone sculpture of a horned owl by renowned Inuit printmaker and sculptor Joe Talirunili. The delightful creature stands on thick legs, his plumed wings tucked as his head leans slightly forward presenting huge eyes beneath a narrowed brow and petite horns. Joe Talirunili, resident of Povungnituk, was known for his rough yet evocative descriptions of boats full of figures, as well as for owls. This owl is characteristically quite primitive in execution, yet full of spirit. Size: 2.9" W x 5.3" H (7.4 cm x 13.5 cm)
Born in either 1893, 1899, or 1906, Joe Talirunili used both sculpture and printmaking to depict the harshness of the northern climate and the survivalist lifestyle of a people dependent on a barren landscape, often crudely executed, as though emphasizing the artist’s urgency and conviction for documenting his thoughts. The rugged aesthetic Talirunili favored for his sculptures set them apart from the majority of those being produced from Puvirnituq at the time, which were increasingly being recognized for their "idealized, dreamlike quality," smooth surfaces and fine details. His sculpture "The Migration" made Talirunili one of the most sought-after Inuit artists, as it held the world record for a price paid for an Inuit artist at auction in 2012, a record that was only surpassed when "Migration Boat" (early to mid-1970s) sold for $408,000 in 2019. Both sculptures portray one of his childhood experiences, when families set sail in an umiak (large sealskin boat) to travel to better hunting grounds. This scene was repeatedly depicted in Joe's carvings, drawings, and prints. Talirunili's work has been included in over 30 exhibitions and was featured on a 14-cent Canadian stamp in 1976.
When speaking of Joe Talirunili in "Canadian Inuit Print Artist/Printer Biographies," Sandra Barz states, "He left a legacy of sculpture, prints and drawings, which were unique in the way he crafted even the most mundane subject. His owls were horned 'Joe' owls, his human figures, animals and hunting scenes were instantly distinguishable, as were the haunting 'migration' boat scenes, whether rendered as drawings, prints or sculptures. Perhaps redundant as identification, but part of his enormous charm, was the inevitable 'JOE' (sometimes backwards) carved into his stones, almost as part of the image. His contributions to editioned print collections started with the initial release in 1962 and continued without a break through the next 10 collections for a total of some 70 stonecut prints. He cut his own stones and probably tried his hand at printing, too, on occasion."
Provenance: private Greenwood Village, Colorado, USA collection
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.
#178765
Condition:
Loss to upper part of beak and one talon on proper right foot. Minor chipping to ears, as well as some nicks and scratches in areas. Otherwise, nice condition with clear form. Artist's signature in English and syllabics on underside of feet.
- SIGNED 20TH C. INUIT SOAPSTONE SQUIRREL,
SIGNED 20TH C. INUIT SOAPSTONE SQUIRREL, JOE TALIRUNILI...Native American, Canada, northern Quebec, Nunavik, Puvirnituq, ca. 1960s to 1970s CE. Signed by Joe Talirunili (Inuit, 1893-1976) in English and syllabics. A charming soapstone sculpture by renowned Inuit printmaker and sculptor Joe Talirunili depicting an arctic ground squirrel known as a siksik. The adorable animal sits on its haunches supported by long feet and leans forward as a long tail curves up from its backside. His lengthy snout displays protruding teeth or a tongue below a delineated nose, sizable, almond-shaped eyes, and petite pointed ears. Note how the tail is attached via some sort of adhesive; Talirunili would often mend broken pieces of his sculpture by simply gluing them back on. This sense of immediacy in both material selection and execution are intuitive to the scenarios they depict, highlighting themes of resilience and endurance. Size: 6" L x 2.3" W x 3.8" H (15.2 cm x 5.8 cm x 9.7 cm)
Born in either 1893, 1899, or 1906, Joe Talirunili was known for his depictions of the harshness of the northern climate and the survivalist lifestyle of a people dependent on a barren landscape, often crudely executed, as though emphasizing the artist's urgency and conviction for documenting his thoughts. The rugged aesthetic Talirunili favored for his sculptures set them apart from the majority of those being produced from Puvirnituq at the time, which were increasingly being recognized for their "idealized, dreamlike quality," smooth surfaces and fine details. His sculpture "The Migration" made Talirunili one of the most sought after Inuit artists, as it held the world record for a price paid for an Inuit artist at auction in 2012, a record that was only surpassed when Talirunili's "Migration Boat" (early to mid-1970s) sold for $408,000 in 2019. Both sculptures portray one of his childhood experiences, when families set sail in an umiak (large sealskin boat) to travel to better hunting grounds. This scene was repeatedly depicted in Joe's carvings, drawings and prints. Talirunili's work has been included in over 30 exhibitions and was featured on a 14-cent Canadian stamp in 1976.
When speaking of Joe Talirunili in "Canadian Inuit Print Artist/Printer Biographies," Sandra Barz states, "He left a legacy of sculpture, prints and drawings, which were unique in the way he crafted even the most mundane subject. His owls were horned 'Joe' owls, his human figures, animals and hunting scenes were instantly distinguishable, as were the haunting 'migration' boat scenes, whether rendered as drawings, prints or sculptures. Perhaps redundant as identification, but part of his enormous charm, was the inevitable 'JOE' (sometimes backwards) carved into his stones, almost as part of the image. His contributions to editioned print collections started with the initial release in 1962 and continued without a break through the next 10 collections for a total of some 70 stonecut prints. He cut his own stones and probably tried his hand at printing, too, on occasion."
Provenance: private Greenwood Village, Colorado, USA collection
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#179316
Condition:
Some small nicks and minor abrasions to areas with chipping to proper left front paw. Otherwise, excellent. Artist signature in English and syllabics on underside of feet.
- GREEK FIKELLURAWARE TREFOIL OINOCHOE,
GREEK FIKELLURAWARE TREFOIL OINOCHOE, EX-ROYAL ATHENAEastern Greece, Rhodes or Asia Minor, Archaic Period, ca. 6th century BCE. An elegantly constructed ceramic trefoil oinochoe with radiating crescent bands painted in an earthy burnt orange pigment on a peach-colored background in three registers around the body and a Greek key around the neck. A thick band of the same pigment covers the mouth of the vessel, which has fired in some places to a shiny black. The vessel stands on a wide, disc-shaped foot and has a widening body and curved shoulder below the short, cylindrical neck and trefoil mouth. A thin handle rises high above the flared rim and connects to the shoulder. This is a beautiful example of Fikellura ware, first found in Rhodes, but made at the site of Miletus on the coast of Asia Minor. Size: 5.45" W x 7.55" H (13.8 cm x 19.2 cm)
Fikellura ware has been found in Rhodes, Miletus, Histria, and Samos, and analysis of the clay suggests that it was manufactured in Miletus, one of the most important East Greek cities of the Archaic period. Vessels like this one were traded far and wide throughout the eastern Mediterranean. The archaeological discovery of shipwrecks with their contents intact, including some containing thousands of pieces of Archaic pottery, suggests that this oinochoe could have been a trade item available to a wider range of people in ancient society - a functional item rather than just a prestigious one. Its survival today allows us to understand the ancient economy and appreciate the beauty of even utilitarian objects for the ancients.
This piece has been tested using thermoluminescence (TL) analysis and has been found to be ancient and of the period stated. A full report will accompany purchase.
Provenance: private Superior, Colorado, USA collection; ex-private Alabama, USA collection; ex-Roy Green collection; ex-Royal-Athena Gallery, New York, New York, USA, acquired March 10, 2008; ex-private French collection
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.
#175696
Condition:
Expertly repaired and restored where the handle meets the body. Otherwise in great condition with nice remaining pigment and light deposits on surface. Interior has nice root marks. TL drill hole on underside.
- BETTIE WARD (AMERICAN, B. 1947)Bettie
BETTIE WARD (AMERICAN, B. 1947)Bettie Ward
American, b. 1947
Soul Mark #4
Mixed media on paper, signed lower right
Abstract with sgraffito against a metallic gold ground, mounted behind glass, framed and inscribed to verso.
Bettie Ward is a Santa Fe-based textile and multimedia artist, sculptor, jazz singer, co-founder of the Artists Foundation of San Antonio, and the mother of Pendleton Ward, animator and creator of the monumental and Emmy-award winning animated series Adventure Time (for which Bettie has voice acted, commentated, and designed the cover for issue #4 of the comic series). In her own words: "I am the cowgirl daughter of an old world rancher who taught me to get back up on my horse as soon as I hit the ground. During my childhood, I galloped over hundreds of rattlesnakes being careful not to let my horse get bit. I was seated next to John Wayne at the Rodeo while he was making “the Alamo” and I spent my summers in La Jolla, California where I played shuffleboard with Vincent Price. But as an adult, life became more about survival and being a painter was my route to raising three boys alone. Lucky to be the type of person who can see beauty all around me, I learned about color from the blooms of desert flowers that I found on the Texas and New Mexico prairies.
"My art tells stories about listening, growth, change, romances, fragmentation, transformation, natural phenomenon, sensations, sex, the earth as home, cycles, relationships, and nature as it relates to man. My paintings are proof that I exist; they are the evidence of my personal energy. Art teaches me about the fragility of life and the benevolence and generosity of mankind. I make art in relentless pursuit of my life creating objects based upon my belief in Human possibilities."
Sheet: 30 x 22 in. (76.2 x 55.9 cm.), frame: 44 x 36 in. (111.8 x 91.4 cm.)
Condition:
Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.
- NEOCLASSICAL TOMB OF LUCIUS CORNELIUS
NEOCLASSICAL TOMB OF LUCIUS CORNELIUS SCIPIO BARBATUSNEOCLASSICAL TOMB OF LUCIUS CORNELIUS SCIPIO BARBATUS
Italian, 19th century, carved Sienna marble. The lid with palm-scrolled ends, inscribed to the front, the body of Roman Doric entablature above the inscription.
The sarcophagus of Lucius Cornelius Scipio Barbatus, Roman consul and victor over the Etruscans at the Battle of Volterra in 298 BC, was rediscovered in 1780 as the only intact survival within the Tomb of the Scipios on the Via Appia. It gained instant fame and became an iconic emblem of the Grand Tour. The sarcophagus is now held in the Museo Pio Clementino in the Vatican.
The main epitaph recorded in the inscription has been translated as: "Lucius Cornelius Scipio Barbatus, the son of Gnaeus, a courageous and wise man, whose beauty was as great as his manliness, was consul, censor and aedile in your country. He conquered Taurasia and Cisauna, in the Samnium, and subjugated the whole of Lucania, bringing back hostages".
4 x 7 1/4 x 2 3/4 in. (10.2 x 18.4 x 7 cm.)
Ex Iowa Wesleyan University collection;
Bequeathed by the Alden Lowell Doud Estate, Washington D.C.
Condition:
Any condition statement is given as a courtesy to a client, is an opinion, and should not be treated as a statement of fact. Reference to condition written, oral or within a condition report shall not be regarded as a full account of condition and may not include all defects, alterations, or restorations. Absence of a condition report does not imply a lot is flawless or lacking imperfections or damage. Selkirk Auctioneers & Appraisers shall have no responsibility for any error or omission. Returns shall not be accepted on the basis of condition.