A KAISER WILHELM II THIRTY-TWO POINT RED STAG TROPHY MO...A KAISER WILHELM II THIRTY-TWO POINT RED STAG TROPHY MOUNT WITH ST. HUBERTUS CRUCIFIX, 1889, the thirty-two point rack with 53" spread, mounted on a half skull cap and centering a nickel silver pierced cypher of the Prussian crown suspending ribbons with "PATRIOTISCHER," and "KRIEGER-VEREIN" enclosing "FWR / IV," (Prussian King Frederick William IV) above a wavy ribbon centering "STETTIN," on a later silvered and parcel gilt hand carved scrolling cartouche centering acorn and oak leaf branches on a salmon pink textured ground, total antler and cartouche height: 55", width: 53", depth: 19"; surmounted by a nicely carved and white lacquered St. Hubertus Christo Morto crucifix, above the half skull suspending a silver metal mounted natural bull's horn hunting horn centering a brass heraldry stag's bust over a berried laurel wreath enclosing a metal panel engraved "E," (possibly for the Habsburg family's Eckartsau Castle, Austria) suspended from an enlisted style chain, length: 13 3/4"; together with an 18th/19th century silver metal mounted stag horn and steel hirschfänger, with an oval metal pommel on a horn handle beautifully detailed and depicting a hunter on rearing horse with raised arm, before another hunter kneeling and aiming towards deer being chased by hounds, above fleeing wild bear and fox being attacked by same hounds, in relief on a textured background and within "C" scrolled rocaille borders, over a bulbous neck with repoussé fox reversing to deer in a landscape flanked by a tapering quadrangular quillons crossguard, above a curling rockwork and foliage detailed open guard over a single edged steel blade, length: 21", with handle: 28"; enclosed by a silver plate mounted black leather scabbard with small pocket containing an associated horn handled Meridian steel blade skinning knife. Note: The Frederick William IV cipher wappen suspending ribbons that translate to; "Patriotic War Veteran's Association" above "STETTIN," a city located in the region of Stettin, a former Prussian Province of Pomerania, Germany, after 1945 ceded to Poland and renamed Szczecin. St. Hubertus, patron saint of hunters.
Condition:
The antlers are in good condition with expected darkening, a few tips worn, and one with old small chipped tip. The skull is in good condition with a few small edge chips, expected seam splits, and normal surface buildup throughout. The hunting horn has normal wear and the metal mounts have the same with some oxidized/tarnished spots, small dings, slightly bent areas from use, and surface buildup. The 18th/19th century hunting sword has normal wear on horn handle, tarnish, dings, small scratches, minor wear on silver metal parts, and the blade has tiny oxidized spots scattered throughout, and general wear from use. The scabbard's leather has cracked and been restored several times over many years, and metal parts are worn to base metal along some edges, have expected scratches, dings, and wear. The crucifix is in good restored condition with some light splits along joined segments and darkening of varnish. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
Acorn One Cent Ten Column Counter Top Tab Gum Dispensor Acorn One Cent Ten Column Counter Top Tab Gum Dispenser. Culver City, California: Oak Mfct. Co., ca. 1947. All columns have original tab gum including, Wrigley Spearmint, Wrigley Juicy Fruit, Wrigley Doublemint, Beech-Nut Cinnamon, Beech-Nut Peppermint and Beech-Nut Fancy Fruit. Buyer turns handle on top to select correct column of gum. Minor paint chips. No keys and not tested. 16î x 7 _î.
GROUP THREE FEDERAL MIRRORScomprising a gilt mirror with acorn mounts, a small frame mirror and an inlaid mahogany dressing mirror. Largest: 27 3/4" high, 18 3/4" wide. Age and use wear, scuffs to dressing mirror and losses, loose gesso on gilt mirror. Provenance:Property of a New York City Collector.
Two New Orleans Coin (.900) Silver Sugar Tongs, third quarter 19th century, by Jospeh Rafel (1814-aft. 1880), working New Orleans 1850-1866, one with acorn bowls and canted and beveled bow monogrammed "A", l. 5-1/4", the other with ovoid bowls and bright-cut bow monogrammed "MB", l. 5-7/8", 2.51 total t. oz. Joseph Rafel was born in Bonn, Germany on January 28, 1814. The circumstances of his arrival in the United States are not known, but he married in New York, on September 10, 1848, to Sarah Ruden, daughter of Moses A. Ruden and Rebecca S. Gomperts, both Sephardic Jews from Suriname. Rafel's marriage strongly suggests that he, too, was of Jewish descent. He had established himself in New Orleans by 1850, where he appears in the 1850 census with his wife, child, and mother- and sister-in-law. He is listed in the 1851 New Orleans Directory with a loan office under the St. Charles Hotel; a newspaper report of the following year records its destruction by fire. The contents included jewelry, guns and musical instruments, indicating that Rafel was also working as a dealer in fancy goods. He is next listed in the 1861 city directory as a jeweler at 56 Camp Street, the address listed on a surviving invoice of 1862 (to the notorious Benjamin Butler!) and a New Orleans Daily Delta advertisement of 1866. Rafel left New Orleans - and the fancy goods trade - by 1870, when he appears back in New York City working as a stockbroker. The date of his death has not yet been discovered, but it was sometime after 1880 and before 1900, when his widow, Sarah, appears as a head of household in the New York census; she died on August 21, 1913.
TIFFANY & CO. PEWTER TROPHY TO GENERAL POWELL, LEGEND IN LEADERSHIP, FROM YALE SCHOOL OF MANAGEMENT, CHIEF EXECUTIVE LEADERSHIP INSTITUTE, 2019 13 X 10 1/4 IN. (33.02 X 26.04 CM.)TIFFANY & CO. PEWTER TROPHY TO GENERAL POWELL, LEGEND IN LEADERSHIP, FROM YALE SCHOOL OF MANAGEMENT, CHIEF EXECUTIVE LEADERSHIP INSTITUTE, 2019, trophy form with lid, acorn finial, rococo handles, circular base, marked to underside, front etched "YALE School of Management/Chief Executive Leadership Institute/Legend in Leadership/September 2019/Colin L. Powell' Catalogue note: General Powell received this award at at a ceremony at the Yale CEO Caucus in Washington, D.C. in 2019. The Legend in Leadership Award uniquely celebrates established CEOs and leaders who offer inspiring legacies of contributing creativity, character, and commercial impact across cultures, industries, countries, and continents. Nominees are offered by peers and confirmed by Yale academicians. Public Domain photo not included in lot. Dimensions: 13 x 10 1/4 in. (33.02 x 26.04 cm.) Provenance: Estate of General Colin L. Powell, to benefit America's Promise Alliance and the Colin Powell School at City College of New York.
SILVER. John W. Forbes Coin Silver Teapot. : John W. Forbes coin silver teapot with bird form spout, and replaced lid with acorn finial. Accompanied by the a copy of text stating, "Email I received from John D. Ward, SVP, Head of Dept. Silver, Vertu, Sotheby's, New York: Dear Fred - this is a very unusual piece. The double-bodied shape of the pot, the spout and wood handle, everything except the cover, strongly suggests a piece of the 1760s. It also seems to have firescale on the surface, which you do not expect to see after the very early 19th century. Given this, I would expect that this is probably a Colonial piece that lost its cover, and John W. Forbes merely replaced the cover with the present one - which is completely the wrong shape and proportionm and has c. 1820 detailing - and stamped the base with his stamp, possibly over an original maker's mark. If he had made it new in 1820, I would also expect a silver handle with insulators, which had become standard by then. From the letter, this was owned by Mark Bortman, one of the great collectors of American silver in the mid 20th century; his collection was split up and sold off in various directions. Given the replaced cover, though, I would estimate this only about $3000-4000 so below Sotheby's minimum. ". Also accompanied by a small photograph from the Bortom Plastics Company dated June 6, 1947 stating, "Dear Annete & Joe: Aunt Llore Jane and I are pleased that you are happy with the tray. I am forwarding you to-day a coffee pot, which is the second part of our gift, and enclosed is the collation of this piece, which has been exhibited at the New York Museum. You will note that this piece was made by John W. Forbes, who worked in New York from 1808-1838. It is custom of collectors to leave the pieces in their original condition to check with the description of the peice when it has been catalogues, therefor, I have not repaired or touched anything on this piece since I acquired it. I would ask you to be very careful in cleaning the bottom of the coffee pot as you will notice there the museum number in red ink, covered with cellophane. This means that this piece is recorded in the Museum of the City of New York and should it ever by stolen it can be checked there and its description verified should it be recovered. Museum of the City of New York = L-2118. 43?". Stamped twice to underside of base, "I. W. Forbes" with additional stamp of, "I. W. F" with 3 additional pictorial marks representing John Wesley Forbes, New York, active c. 1808-1838. Total approx. weight is 38. 69 troy oz. From a Queens, NY estate. Dimensions: 15. 5" high. Condition Good, with light surface scratches and minor dings/dents. Probably replaced lid with finial. Split to handle.
Rococo-revival carved rosewood "Fountain Elms" settee john henry belter ( 1804- 1863) new york, 1850-1860 Deeply carved with roses, grapes, acorns and cornucopia. H: 48 1/2 L: 77 D: 39 in PROVENANCE: This settee is part of a suite of furniture that descended in the family of original owner, Samuel and Sofia Catherine Littlewood Milbank of New York City to Elizabeth and William A. Burtis Cauldwell to Caroline Cauldwell Foote to Priscilla Foote Dickson to the present owner. Correspondence from Joseph Downs, Alice Winchester and many others as well as drafts, research notes and photocopy of an article published in The Christian Science Monitor August 19, 1933, by Caroline Cauldwell Foote, regarding the life andwork of Belter and showing 1850's studio photograph of original owner, accompanies lot. Exhibition: This settee and an armchair from this suite was exhibited in Loan Exhibition of New York State Furniture, Metropolitan Museum of Art, February 5 - April 22, 1934. Literature: Joseph Downs, John Henry Belter and Company, The Magazine Antiques, September, 1948, pg. 166-168. In the article, Downs suggested that " perhaps the most valuable collection of Belter furniture now in existence is owned by Mrs. Edward M. Foote." ,000-
FINE ENGLISH FLINTLOCK PISTOL WIITH BRASS MOUNTS, KETLAND AND COMPANY, CIRCA 1785.
The finely carved walnut stock with scalloped carved wrist, the brass trigger guard with floral engraving and acorns, the plate engraved "Ketland and Co.," the barrel marked "London" with two city stamps. Fitted with wooden ramrod. Length 14 ½ inches. Ketland maintained an office in Philadelphia to handle pistol sales in the Colonies and later, the fledgling United States.
Literature:
Jack Tar, p. 220.
Rare Aesthetic movement sterling trophy pitcher, Kirk & Son circa 1897gently sweeping trumpet form with exuberantly chased scene of intricately detailed dragonflies, bees, butterflies and birds, intermingled amongst extraordinary display of flora; flanked by leaf-bound acanthus C-scroll handle with pear finial, presented as a trophy with underside bearing inscription: Washington Golf Club Cup, April 9th, 1897, Won By J. Wilmer Biddle; and marked: S. Kirk & Son, 925/1000, pattern number 320. H10 3/4", and 30.3oz
Provenance : Washington Post article of April 10, 1897 announcing the winners: "WON BY VISITING GOLFERS: Mr. Biddle, of Philadelphia, and Mr. Cabot, of Boston, Captured the Cups. The finals in the golf tournament at the Washington Golf Club were played yesterday and resulted in the '97 club cup and the cup offered as a consolation prize being won by two visitors. The club cup by Mr. J. W. Bilddle, of the Philadelphia Country Club, and the consolation by Mr. Cabot, of the Brooklyne Club of Boston..."James Wilmer Biddle (1861-1927) was the fourth child of Alexander and Julia Biddle. J. Wilmer received his early education in Philadelphia and in Ossining, NY. In 1884, he entered the Philadelphia firm of Thomas A. Biddle, where he remained until 1891. He was an active sportsman and Philadelphia socialite. He was elected to the First Troop Philadelphia City Calvary in 1889 and served during the Homestead riots near Pittsburgh in July 1892. He was a member of the Philadelphia Cricket Club, the Philadelphia Club, the Radnor Hunting Club, the Philadelphia Country Club, the Rittenhouse Club, and the Acorn Club. Traveling extensively, he spent numerous winters in Cannes, France. He was a denominational Episcopalian and politically, a Republican. J. Wilmer married twice, first to Cora Rowland (d. 1920), daughter of the Philadelphia manufacturer Howard Rowland, and with whom he had two children, Marianne (b. 1893) and Harriet (b. 1896). After Cora's death, he married Elizabeth Southall Gordon on September 21, 1921. She was the daughter of realtor John Eldridge Clarke and widow of the Baltimore financier Douglas Huntly Gordon. J. Wilmer Biddle died in Baltimore on November 22, 1927. [Archives University of Delaware Library]
Good overall condition, wear consistent with age.
ROMAN MARBLE SARCOPHAGUS PANEL W/ THEATER MASK**First Time At Auction**
Roman, Imperial period, probably Phrygia (modern Turkey), ca. 2nd to 3rd century CE. A breathtaking marble sarcophagus panel, festooned with garlands of oak leaves supported by 2 nude putti with the theater mask of tragedy featured at the center. A tongued pattern, perhaps intended as acorns, adorns the top periphery, as scrolling ribbons fly out from the garland. The lush foliage of the garlands was intended to represent actual swags of leaves and fruit that would decorate altars and tombs, and also to symbolize a promise for eternal bountiful fruition and abundance. Similarly, the theater mask alluded to Bacchus - Greek Dionysus - the patron god of the theater who was associated with rebirth. Although this piece possesses some age wear as shown, it is remarkable that it survived the onslaught of the early Christian campaigns that destroyed so many exceptional examples of so-called pagan art! Size: 28.9" L x 7.1" W x 14.1" H (73.4 cm x 18 cm x 35.8 cm)
As in Greece, masks played an important role in Roman theatre. An actor's entire head and hair would be covered by a large mask of simple design, made from linen or cork, with holes for the mouth and eyes. These masks allowed audience members seated in all areas of the theatre to understand what was happening, while also amplifying the actor's voice. Romans appreciated all forms of entertainment and there were hundreds of playwrights in ancient Rome. Plays were performed to honor the gods during religious ceremonies, and since Rome had over 200 religious days of commemoration each year, plays were performed many days of the year.
The word sarcophagus literally means "flesh-eater" in Greek. Sarcophagi were coffins used throughout the Roman Empire beginning in the second century CE when inhumation burials became more popular than cremation practices of the Republican and early Imperial periods. The rise in sarcophagi usage was inspired by earlier Etruscan and Greek models. This example came from a particularly luxurious sarcophagus as it was made from marble. Less elite examples were made from other stones, wood, and lead. Roman sarcophagi featuring garlands were also quite popular in ancient Rome, with many being made in Phrygia (modern-day Turkey) and shipped throughout the empire. A wonderful section of a marble sarcophagus intended for an elite individual of ancient Rome.
For similar marble sarcophagi panels, please see the Metropolitan Museum of Art (70.1), Walters Art Museum (23.29), and Getty Institute (72.AA.152).
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Provenance: East Coast collection, New York Gallery, New York City, New York, USA, acquired before 2010
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#177231
Condition:
Fragment of a larger piece with expected chipping and losses to peripheries and face of putto on side. Otherwise, excellent with impressive preservation of detail.
EARLY TURNED WOOD & WROUGHT IRON CHANDELIERinverted acorn form, three lights with serpentine arms. 8" high, 13" diameter. Wear and oxidation. Provenance: Property of a New York City Collector.
A Regency sterling kettle on stand, by Paul Storr. A Regency sterling kettle on stand, by Paul Storr, 1812, London, with maker?s mark ??PS??, the navette-form spout with anthemion spray and hinged lid with acorn finial, over a down-scrolled twin-tailed serpent handle above a stout, tapering body decorated with layered lappet band over a circular pierced stand with burner cylinder decorated with ruffled shells and floral buds, on foliate-headed paw feet. 11.5'' H x 6'' W x 6'' D, 47 oz gross weight. Provenance: Property from an Estate, Studio City, CA. Condition: Decoration very nicely executed. General marks, scratches, rubbing and tarnishing to surface commensurate with age and use. With some typical cracking and yellowing to ivory handle- does not affect stability. With a small dent to front of body. Polish residue in crevices. All elements appropriately marked.
Fine American Classical Coin Silver Sugar Bowl , Anthony Rasch (1778/80-1858), act. Philadelphia 1804-1820, New Orleans 1820-1858, marked "ANTY.RASCH", in rectangle, squared form with acorn finial, palmette border, ball feet, h. 6 1/8 in., w. 7 7/8 in., wt. 16.90 troy ozs . Ref.: Hollan, Catherine M. Philadelphia Silversmiths, p. 164; escent City Silver, pp. 76-81; Keyser "Fashionable Goods from a Credible Source: Anthony Rasch, Silversmith and Merchant", University of Delaware, 2007 .
(lot) Group of pewter and metalware items, 20thc., having various makers marks, highlights include: (1) hunt cup with the head of a stag; (1) lidded pitcher with acorn accents; (1) cup with figural city scenes; (1) plate with ceramic figural scene to center, depicting men and a dog in a tavern; largest - approx 2.5"h, 16"w, 10"d; 33.4lbs total
SILVER. (2) English Silver Mounted Claret Jugs. : Includes an English silver mounted and cut glass claret jug - Sheffield city stamps, maker's mark of James Dixon & Sons, date letter of 1912. Accompanied by an English silver mounted claret jug with spout depicting a gentleman, acorn finial, and applied upright Pegasus carrying a shield to handle; etched floral decoration to shaft of silver mounting - London city stamps, maker's mark of BP Co. , and date letter of 1968. From an E 86th St, Manhattan estate. Dimensions: James Dixon & Sons claret jug measures approx. 11. 75" h. Condition Good, with light surface scratches and minor dings/dents. MInor nicks/dings/fleabites to glass/crystal.
An American Classical Giltwood Pier Mirror, early 19th c., labeled "Muhlenberg & Schmidt, New York", the projecting molded cornice with acorn pendants above a recessed frieze flanked by paterae, paired colonnettes with spiral fillets, the divided mirror plate over a cove plinth and corner blocks, retaining original gilt surface, mirror plates and backing, height 59 1/4 in., width 33 1/2 in. $2500/3500 Note: Three mirrors labeled by Muhlenberg & Schmidt, New York City looking glass retailers active from c. 1809-1817, are archived in the Decorative Arts Photographic Collection of the Winterthur Museum.
Brevet Brigadier General James M. Ruggles 1st & 3rd Illinois Cavalry Civil War Archive 69 letters and documents; 1 diary; 2 presidential appointments; Veteran's hat; 2 shoulder straps; and coin purse with 19 coins. 1855-1900. An early and well-connected activist in the antebellum Republican Party and a strong supporter of Abraham Lincoln James Ruggles was born in Mansfield Ohio in 1818. Seeking a place in life he apprenticed as a printer and moved to Ogle County Illinois at 19 but went on to study law before finally settling into business in Bath Ill. An antislavery man from early on Ruggles was intensely interested in politics. An admirer of Daniel Webster and an ardent anti-Democrat he was elected to the state senate in 1852 and became a friend and supporter of Lincoln in the elections of 1856 through 1860. With the Civil War erupting he volunteered for service in July 1861 and after some wrangling secured a commission as Major in the 3rd Illinois Cavalry. His distinguished service under arduous conditions at Pea Ridge earned him a promotion to Lt. Col. after which he distinguished himself at Haines Bluff Arkansas Post and the siege of Vicksburg. After mustering out of the service at the expiration of his enlistment on Sept. 5 1864 he was brevetted Brig. Gen. for faithful and meritorious services. The Ruggles collection contains both pre-war political letters and war-time documents providing glimpses into Ruggles' world of power and influence the earliest days of the Republican Party and Ruggles??T relationship with Lincoln and Governor Richard Yates of Illinois. On Jan. 9 1860 for example Yates then a potential candidate for governor wrote Ruggles about whether he should run for office: The opinion is entertained by some friends of mine that I would run better in the center & south and as well in the north as any candidate yet named -- I confess that I feel conscious of some strength once before the people and have rather concluded to be a candidate before the convention unless advised differently by some friends... There is a second ALS from Yates dated Sept. 16 1855; and a printed flier issued under Yates??T name To the Voters of Morgan County May 31 1855 clarifying where he stands on temperance legislation (he was soberly in favor). In these early days the Party faithful were filled with optimism. As the election of 1856 approached William Kellogg (soon to be congressman) advised Ruggles on no count [to] connect yourself with the Filmore movement there is death it in to any man who espouses that faction at this juncture... but added: The Democracy are getting up Filmore Meeting as a last hope. We shall rout them all the true old Whigs will come back and the Pro-Slavery men will go to Buchanan. The Republican State Central Committee sounded almost millenarian: The day for the battle of freedom and freemen is close at hand and if the friends of Lincoln work until the night of the day of the election a triumph is sure and certain. An unscrupulous party is attempting by its imported hordes of traveling voting machines ?to subdue? and over-ride the fair expression of the legal voters of this state... Much more on illegal non-resident voters trying to sway the vote in the state (the letter is fragile separated at the folds and worn but a highly important relic of early Republican Party history). Rounding out the political content are two rare election tickets for the Republican slate headed by Gen. John A. Logan. Ruggles' war-time service is represented by eight fine letters that give a sense of then range of conflicting issues and emotions Ruggles was forced to confront. The earliest is a letter written after the first Battle of Bull Run describing the heroism of the famous 1st Minnesota Infantry Regiment: C. Hazlett wrote to Col. James Raguet to inform him that Samuel Raguet had been wounded by buckshot and had been operated on. Saml stood it manfully he is doing very well the shot entered the right side of his neck about 3/4 of an inch below the ear passing by the Jaw Bone without injuring it on around until it struck the bone in the back part of the neck. It made a very deep and severe-looking wound.... We have quite a number of patriotic northern Ladies who have come here as nurses. They are very kind... Saml. walked nearly the whole distance from the Battle to this city [Washington]... he was wounded in the second fire of the Traitors bur remained on the field and fought manfully all day. His sword was broken in the first of the fight. He has a sword that he took from a ?Secesh? cavalry man he held his revolver toward the above named Traitor and he fell Saml. having relieved him of the trouble of doing any more damage... I was on the ground during the whole of the Battle on the look out for my friends... Saml wishes you to tell Wm Wolf that Eugene Wilmer was shot through the head dead on the first fire.... It should not be surprising to find that Ruggles remained a political animal while under arms and the collection includes a fascinating letter from July 1 1862 rallying Ruggles??T support to get Illinois soldiers to defeat Democratic-inspired proposed changes to the Illinois constitution. Other war-date items include three superior letters from Henry G. Thomas an ambitious young officer (apparently a Brevet Colonel) looking to use family influence to advance in the army a printed copy of War Dept. General Order 126 Sept. 6 1862 specifying the composition of regiments in each line of service; half a dozen documents; an undated manuscript signed Maj. John Campbell regarding drafting men; a printed letter of transmittal accompanying Ruggles' Brevet to Brig. General Oct. 6 1866; and an interesting a manuscript circular Jan. 3 1862 declaring Pickets are not to go into houses nor tell Secessionists exactly where they are stationed where they are moved &c. and that they are not to be so careless as to allow persons to ride in among them before they know it... and much more to be learned by green recruits. Of special note are two Confederate items and two relating to some spectacularly poor discipline in the 3rd Illinois Cavalry almost amounting to mutiny. The Confederate pieces include a very rare manuscript oath of allegiance issued for a soldier from Nathan Bedford Forrest??Ts cavalry datelined La Grange Tenn. and reading in part I George H. Bennett a citizen of Fayette Co. Tenn. and conscript soldier of Forrest??Ts command having returned to my home where I wish to remain and take no farther part in the Rebellion... (marked duplicate at bottom left of document). Joining this is a particularly handsome and large printed Confederate States Loan certificate for $1 000 (very good condition and finely printed) issued Aug. 20 1862 slated to come due in July 1874. No warranties are made for exchange. The Ruggles' command was no Shangri-la appears in four documents beginning with a manuscript transcript of charges and specifications leveled against officers in the 3rd. The first a 7pp cites Captain Charles Dunbaugh for cowardice among many other things. The incidents detailed include Dunbaugh running away to the rear of the Battalion after a picket was fired upon leaving shamefully abandoning his post as commander of the company to which he did not return until some time after firing commenced); breaking down in tears when separated from his son and cried and bellowed shamefully saying ?My Georgy is lost ? ??" ?we are I an enemy??Ts country? ??" ?it will kill his mother?...; and shameful behavior at the Battle of Pea Ridge where he was so much under the influence of fear from the fire of the enemy that he repeatedly called upon the commander of the Battalion to move the command out of the range of the enemy??Ts guns... The charges go on to include malingering with an allegedly injured foot neglect of duty conspiracy and disrespect against his superiors drunkenness conduct unbecoming (falsely reporting himself wounded visiting a house of ill fame occupied by degraded and abandoned prostitutes repeatedly) and more. As might be expected the list of witnesses to the charges is nearly a page long (and a long page at that). As if that were not enough paired with Dunbaugh??Ts charges are charges against Capt. James Nichols for violating military orders and discipline leaving his command without authority in Nov. 1861 going AWOL insubordination conspiring with Dunbaugh to undercut Ruggles??T authority and conduct unbecoming an officer. Perhaps as evidence the collection also includes a fascinating letter written to send to Gen. Siegel but apparently not sent relating to an expedition under Dunbaugh that tore down a secession flag at a court house near Springfield Mo. that was appropriated by the Major in charge and not returned to the men who took it down. More ill discipline is documented in a letter from Col. L.F. McCrillis Jan. 30 1863 citing Capt. R.H. Carnahan for disrespectful and insolent language used while attempting to tender his resignation for want of confidence in his Colonel and Lt. Colonel and then corruptly and feloniously abstracting the paper from its proper place and requesting his dismissal from the service. Notably the dockets on the verso include signatures of Gen. John A. McClernand and U.S. Grant. Finally among the gems in the collection is a noteworthy closely-written 7pp detailed Historical Memoranda of the 3d Ills. Cav. Vols. possibly written by Capt. A.B. Kirkbride of the regiment in about 1864 describing the regiment's formation and service its battle record but also the controversies over its officers and political machinations. It ends Notwithstanding these efforts to break up and destroy the Regiment by intermeddling and malicious officers the remaining 83 men of the 3d Ill. Cavalry are as brave patriotic and well-disciplined men as are in the service and will again make their marks upon the enemy when opportunity affords. The lot also includes the following: 1860 newspaper clipping outlining delegates that attended the Republican Convention in Illinois making reference to J.M. Ruggles a Secretary at the Convention; two Presidential Appointments for Ruggles both for the rank of Colonel by Brevet one dated 3 July 1866 the other dated 3 August 1866. Each with Andrew Jackson??Ts stamped signature; Society of the Army of the Tennessee certificate recognizing Brvt. Brig. Genl. J.M. Ruggles as a member dated 15 October 1874 signed by President W. T. Sherman; Civil War veteran??Ts hat with braided cord with acorn drop and wreath and star insignia; Colonel??Ts and Lieutenant Colonel??Ts shoulder straps; and small coin purse containing 19 19th and early 20th century coins. With its balance of pre-war politics and wartime dramatics the Ruggles collection offers a marvelous opportunity for research into the personalities and events of a critical period in American history centered on an individual in the inner circles of power. Condition: Good condition throughout with expected signs of wear and age.
AMON GILES CARTER SR. COLLECTION OF US WWII HIGH RANKING GENERAL AND ADMIRAL’S HATS. Amon Giles Carter, Sr. was born in 1879 of humble means in a one-room log cabin in Crafton, Texas. By 1923 he had risen to president and publisher of the Fort Worth Star-Telegram, and five years later he was the director and part owner of the Aviation Corporation, later to be a major part of American Airlines. He was highly influential in the development of the discovery of oil in North Texas and persuaded many oilmen to move to his home city of Fort Worth. By 1935 his first successful oil well was drilled in New Mexico. Carter was an avid collector of Western art, among other things, and in 1961 the Amon Carter Museum was opened in Fort Worth. One of his most unusual collections, officer’s hats of prominent generals and admirals of World War II, is now offered by James D. Julia Auction Company. This collection grew to 24 examples from Carter’s habit of exchanging fine quality Stetson hats for the uniform caps of the various commanders, his friends and visitors to his famous “Shady Oaks” ranch and estate near Fort Worth. 1) EISENHOWER, DWIGHT D., FIVE-STAR GENERAL, U.S. ARMY. Olive-drab visor cap labeled “Extra quality Ayres & Smith, London. On label in ink “Eisenhower Gen of A”. Included is a piece of personal notepaper bearing five stars and the initials DDE with the inscription “14 Dec 1945. Here’s my Hat! And proud I am that you will put it with the pile in your Club. Ike Eisenhower.” CONDITION: Slightly crumpled, but generally fine. 2) KENNEY, GEORGE C., GENERAL, U.S. AIR FORCE. Summer-weight gabardine 50-mission-style crush visor cap by Brooks Bros., New York. Initialed “G.C.K.” on sweatband. Signed “Gen. George C. Kenney U.S. Air Force” on the underside of the visor. Kenney commanded the 4th Air Force, the 5th Air Force, and the 5th and 13th Air Forces called the Far East Air Force, or FEAF. CONDITION: Cap is crumpled and stained in places caused by the bleeding of the sweat lining. 3) RICHARDSON, ROBERT E., GENERAL, U.S. ARMY. Summer-weight khaki covered visor cap “Fly-weighter by Lewis”, English manufacture. CONDITION: Excellent, like new. 4) NIMITZ, CHESTER W., FLEET ADMIRAL, U.S. NAVY. Fine quality cap of silk-like material, sterling silver and gold wash insignia with bullion oak leaves and acorns over felt-covered brim. Cap is a “Bancroft Zypher Navy” from the Haas Tailoring Co., Baltimore, MD. Nimitz’s calling card under the sweatshield is signed “Honolulu-Texas Bound, July 1943. To Amon Carter, Greetings to a fellow Texan. C. W. Nimitz, Fleet Admiral, USN, 7 Dec 46”. Nimitz was the overall commander of the combined U.S. and Allied Forces of the Central Pacific area. CONDITION: In fine condition with minor storage staining. 5) ARNOLD, HENRY H. (HAP), GENERAL OF THE AIR FORCE. Summer-weight khaki visor cap by an unknown manufacturer. Signed on the underside of the visor “H. H. Arnold 1942” and on the inside crown “To Amon Carter from H. H. Arnold 1942”. Arnold, 1886-1950, was the commander of the U.S. Army Air Forces in World War II and the only air commander to hold the five-star rank of “General of the Army”. CONDITION: Leather sweatband is partially detached and the top bears some staining from the protective liner; otherwise in very good condition. 6) HALSEY, WILLIAM FREDERICK “BULL”, FLEET ADMIRAL, U.S. NAVY. Summer-weight tan visor cap by N. S. Meyer, Inc., New York. Embroidered Naval cap device, with acorns and oak leaves on a felt visor. The inscription on the inside of the sweat protector reads “To Amon Carter. Thanks for your hospitality. My hat’s off to you. W. F. Halsey – Admiral, U.S. Navy”. Dated “5-26-44”. Halsey commanded the South Pacific area in 1942. Promoted to Commander and Chief of the Third Fleet and Five-Star Admiral in Dec. 1945. CONDITION: Fine condition indicating moderate wear. 7) HIS ROYAL HIGHNESS PRINCE BERNHARD OF THE NETHERLANDS. British-style General’s visor cap, red band and cloth covered visor. Embroidered Netherlands royal lion with legend below “Nederland”. Cap was made by “Walter Barnard & Son, 97 Jermeyn St., St. James’s, London”. A slip of wrapping paper containing a return address states “From H.R.H. The Prince of the Netherlands, c/o Netherlands Embassy, Washington, DC”. The Prince, a staunch anti-Nazi, was a pilot with the RAF from 1942 – 1944. In 1944 he became commander of the Dutch armed forces. CONDITION: Some damage to the left front of the brim either by abrasion or mothing; otherwise in good condition. 8) BROWN, R. GORDON, GENERAL, ROYAL PARACHUTE REGIMENT. Maroon Parachute Regiment beret marked “Kangol Wear Limited 1944”. A post-war, 19 April 48 note in Brown’s handwriting accompanies the beret stating “To Amon Carter of Fort Worth. This beret from North Africa, Normandy, Arnheim and the Rhine – the only respectable hat I have. Gordon Brown”. CONDITION: Moderate moth damage along the edge of the leather binding. 9) ROYCE, RALPH, MAJOR GENERAL, U.S. ARMY AIR CORPS. Crusher-style tan gabardine visor cap, made in Karachi, India. Originally ordered by General Pat Hurley and then given to General Royce in Cairo, Egypt. Royce claims it was his “favorite hat” as indicated in a note pinned to the inside of the hat. The front eagle ornament is woven with gold thread into the cloth. General Royce commanded the 1st Aero Squadron in World War I, all U.S. forces in the Middle East, was Deputy Commander 9th Air Force and Senior Air Officer afloat during the Normandy Invasion. CONDITION: Quite good with one moth nip and some wrinkling from storage. 10) YOUNT, BARTON KYLE, SR., LT. GENERAL, U.S. ARMY AIR CORPS. Summer-weight gabardine 50-mission-style visor cap by Superior Uniform Cap Co., Chicago, Illinois. Signed inside the visor “To Mr. Amon Carter. Good Luck. Barton K. Young, 8 May '46.” General Yount, commander of various Air Corps training centers, became Commanding General, Army Air Forces Training Command in July 1943. CONDITION: In very good condition with a small moth nip on the right front and slight rumpling from storage. 11) EAKER, IRA CLARENCE, LT. GENERAL, U.S. ARMY AIR CORPS. Olive-drab visor cap made by Bancroft Uniform Headwear, Inc. of imported English fur felt. Titled on the headband “The Wales” and Bancroft pak-cap. Written inside the visor “To Amon Carter with every good and admiration for a great Texan. Ira Eaker, Lt. Gen USA. 10-29-45”. General Eaker commanded the 8th Air Force, commanded the Mediterranean Allied Air Forces, and in 1945, was named deputy commander of the Army Air Forces and Chief of the Air Staff. CONDITION: High-grade cap in fine condition with the exception of one moth hole and minor tracking. 12) SPAATZ, CARL “TOOEY”, MAJOR GENERAL, U.S. ARMY AIR CORPS. Summer-weight tan gabardine visor cap. Unidentified maker. Signed on the underside of the visor “To Amon Carter. Forwarded with reluctance since it is my last really good cap. Tooey Spaatz”. Inside the cap is noted: “This belongs to Tooey Spaatz. If lost, return to Amon Carter”. General Spaatz, as a Captain in World War I, commanded the 31st Aero Squadron. In World War II, he was given command of the U.S. Strategic Air Forces – Europe from before the invasion until final victory. CONDITION: Fine with the exception of a hair oil stain in the center of the crown. 13) VANDENBERG, HOYT SANFORD, GENERAL, U.S. AIR FORCE. U.S. Air Force blue general officer’s visor cap. This cap is decorated with clouds and lightning bolts both on the visor and band. The cap was manufactured by Superior Uniform Cap Company, and bears a silk label “Vandenberg USAF”. Holds a signed ink label “To Amon Carter, staunch supporter of Air Power from his friend, Hoyt S. Vandenberg – Aug. 17, 1953”. In World War II, Vandenberg was first assigned to the United Kingdom and assisted in the organization of the Air Forces in North Africa. He commanded the 9th Air Force, and was made assistant chief of air staff. In 1945 he was made Director of the CIA. Back to the Air Force in 1947, Vandenberg became Chief of Staff, U.S. Air Force in April 1948. CONDITION: Excellent in all respects. 14) DOOLITTLE, JAMES HAROLD “JIMMY”, LIEUTENANT GENERAL, U.S. ARMY AIR FORCE. Olive-drab overseas cap with general officer’s gold piping and three embroidered rank stars of Lt. General. The high quality cap was made by Woodrow, Piccadilly, London. Doolittle is well-known for his air racing and his raid with 16 B25 bombers on Japan. He commanded the 12th Air Force, the 15th Air Force, and the 8th Air Force in March 1944. CONDITION: Excellent. 15) ANDREWS, ADOLPHUS, VICE ADMIRAL, U.S. NAVY. A WHITE SUMMER LINER NAVAL VISOR CAP WITH AN EMBROIDERED BADGE AND COPIOUS “SCRAMBLED EGGS” ON THE VISOR. Made by the H. V. Allien Company of New York. A card attached to the inside of the cap indicates “Vice Admiral Adolphus Andrews, U.S. Navy, Commanding Scouting Force, United States Fleet”. CONDITION: Shows use and some storage and wear stains. 16) CLEMENT, WILLIAM TARDY, MAJOR GENERAL, U.S. MARINE CORPS. Summer-weight khaki visor cap with the Marine officer’s quatrafoil design on the cover. Made by Kuenzel Bros, Philadelphia, Pa. The insignia is a fine example of the Eagle, Globe and Anchor design. The inscription states: “To Amon G. Carter with regards of Wm T Clement, Major General of Marines”. Clement was evacuated from Bataan on board the U.S. submarine Snapper in April 1942. He served as assistant division commander at Okinawa and commanding general of the 3rd Marine Brigade. CONDITION: Very fine. 17) HARMON, HUBERT REILLY, LT. GENERAL, U.S. AIR FORCE. Blue U.S. Air Force visor cap made by Christenson, New York. The felt-covered visor is decorated with lightning bolts and clouds. General Harmon’s calling card is attached with the typed message “To Amon Carter in appreciation of much kindness and many courtesies. My first Air Force (rather than U.S. Army Air Force) cap and one of the first made”. General Harmon commanded the 6th Air Force and was promoted to Lt. Gen. on February 19, 1943. In November 1943 he was appointed deputy commander Air Forces South Pacific, then in June 1944, commander Caribbean Air Command. CONDITION: Good, lightly worn condition. 18) STARK, HAROLD RAYNSFORD, ADMIRAL, U.S. NAVY. Navy blue winter service visor cap. High quality cap device with a silver eagle and gold wash anchors, fine embroidered oak leaves and acorns in gold wire on the visor. Manufactured by H. V. Allien & Co., New York. Sweatshield contains Stark’s calling card naming him “Commander, United Stated Naval Forces in Europe”. Stark served as Chief of Naval Operations with the rank of admiral in 1939 and in April he went to England as Commander U.S. Naval Forces Europe. He was commander of the 12th Fleet and supervised the U.S.N. participation in the Normandy landings. CONDITION: Exceptionally fine. 19) HARTLE, RUSSELL. P. (SCRAPPY), MAJOR GENERAL. An overseas cap in olive-drab. General’s gold braid and major general’s rank stars are attached to the cap. It is not maker-marked, but it is named “Gen. Hartle L.R.T.C.” on the silk lining. On the leather sweatband is written “To Amon Carter, a remnant of our United Kingdom Campaign together. R. P. (Scrappy) Hartle”. Commander of the 34th Infantry Division, and a commander of all Army forces in Northern Ireland and responsible for the creation of the U. S. Army Ranger Battalion. CONDITION: Worn with a few snags in the material. 20) WAINWRIGHT, JONATHAN MAYHEW, IV, GENERAL, U.S. ARMY. Most unusual visor cap of soft felt with large gold embroidered eagle as well as oak leaves and acorns on the headband and felt-covered visor. The cap was manufactured by Luxemberg Military and Civilian Tailors, New York. The underside of the visor is printed “To Amon G. Carter, Sincerely, J. M. Wainwright, General U.S.A., 1945”. Additionally, “Wainwright” is written in ink on the tailor’s label. Wainwright was the senior field commander under MacArthur, and was pushed back by the Japanese to the Bataan Peninsula, and ultimately to the fortress of Corregidor where he was forced to surrender. In August 1945 he was liberated by the Russians in Manchuria. CONDITION: There are two moth holes and some separating of the felt, but they are not terribly detracting from the dazzling effect of this cap. 21) WILBY, FRANCIS BOWDITCH, MAJOR GENERAL, U.S. ARMY. Light khaki Model 1942 tropical helmet with officer’s style insignia attached to the front. Handwritten under the brim is “To Amon Carter, in memory of many pleasant visits to Fort Worth. F. B. Wilby, 6-17-43”. Also: “Maj. Gen. F. B. Wilby, Supt., U.S.M.A.”. General Wilby served as Superintendent of West Point from 1942-1945. CONDITION: Headband is loose, but otherwise in good condition. 22) SMITH, CYRUS ROWLET (C.R.), MAJOR GENERAL, U.S. AIR FORCE. Olive-drab gabardine overseas cap with gold general’s braid and two silver general’s rank stars. The cap is marked “The Lee Flight, A Berkshire Product”. Marked in ink on the lining “To Amon, CR Smith, Maj Gen USA, 2/24/45”. General Smith was president of American Airlines, elected to that position in 1934. In World War II Smith joined the Army Air Force as a Colonel assisting in the organization of the Air Transport Command. Promoted to Major General, he served as deputy commander of the Air Transport Command at the end of the war. CONDITION: Fine. 23) FELDWAY, HERMAN, MAJOR GENERAL, QUARTERMASTER GENERAL, U.S. ARMY. Overseas cap in olive-drab wool with the gold braid of a general and two embroidered rank stars. The interior of the cap is pinkish silk lining with a label embroidered with the quartermaster insignia and “Custom Tailored Frankfurt Main”. Professionally printed on the sweatband “To: - Amon Carter for his unusual and outstanding cordiality and hospitality”. Then signed by Herman Feldway, The Quartermaster General. CONDITION: Excellent. 24) LUTES, LEROY, LT. GENERAL, U.S. ARMY. Overseas cap of gabardine wool with gold general’s braid and three general’s rank stars. Attached to the cap is a black leather patch embossed in gold letters “To Amon Carter, the most courteous of hosts. From Roy Lutes, Lieut. General U.S.A. This cap flew 17 overseas flights and 360,000 miles”. General Lutes was Director of Operations, Headquarters, Services of Supply and also Acting Chief of Staff, Headquarters Services of Supply. CONDITION: Excellent, but with no maker’s identification. 4-59025 CW24 (38,000-45,000)
ANTIQUE NICHOLAS HAYDEN PAINTED PORTRAIT BOXDESCRIPTION: An antique Nicholas Hayden box composed of a gilt brass body, decorated along the hinged lid with ornate enveloping patterns with acorn finials, centered by a hand painted portrait of a Regal Persian figure. The box stands atop four lion feet, and stamped along the underside "Nicholas Hayden New York City". CIRCA: Late 19th to Early 20th Cent. ORIGIN: USA DIMENSIONS: H: 2" L: 4.25" Depth: 3.25" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
GEORGE III IRISH STERLING SILVER COFFEE POT George III Irish sterling silver coffee pot, the rim struck with hallmarks of the George III head of 1785, Irish sterling standard, and the city of Dublin, maker unknown, the marks effaced from underside, but with scratch mark "X 102", of tall tapering form with an acorn finial top and scrolling acanthus cast spout with shaped wooden handle, with repousse work of rocailles centering the later engraved arms and motto "Fortes Fortuna Juvat" [Fortune Favors the Bold] of John Arthur Douglas Bloomfield, 2nd Baron Bloomfield of Ciamhaltha (1802?1879). Weight 28.45 ozt. (inclusive of handle). 10" H. Note: Lord Bloomfield, son of the 1st Baron Bloomfield had a long and illustrious diplomatic career in Britain, and on his retirement in 1871, he was created Baron Bloomfield, of Ciamaltha in the County of Tipperary, this time in the Peerage of the United Kingdom, which entitled him to a seat in the House of Lords. He died in 1879 without heirs.
A Fine Louisiana Classical Carved Walnut Campeche Chair, mid-19th c., trilobed arched crest flanked by acorn finials, incurvate arms on turned supports, curule base with concentric boss, turned stretchers, continuous back and seat upholstered in black leather with nailhead trim, height 47 in. $8000/12000 Note: With origins in the “Butac” chair known in Campeche, a port city of the Yucatan Peninsula, scholars Cybele Gontar and Francis Puig posit that this Central American chair form evolved in the Lower Mississippi River Valley during Spanish rule of the late eighteenth century. Notably, the design was further adapted by Thomas Jefferson for the “Campeachy” chair at Monticello. The distinctive three-lobe scallop on the arched crest of this chair echoes several documented case pieces, including the skirt returns of an inlaid cherry and cypress armoire descended in the Claiborne family (illustrated in Poesch. Early Furniture of Louisiana, p. 57, fig. 41) and a mahogany armoire sold as lot 276 in these salesrooms February 22, 1997. Also notable, the three-lobe crest of this Campeche chair is derivative of the “melon” cresting on headboards of Lower Mississippi River Valley beds. Louisiana campeche chairs of similar form to this lot have been offered in these salesrooms as lot 529, November 1988, lot 433 March 1988 and lot 659 October 1993. Reference: Puig. “The Early Furniture of the Mississippi River Valley,” The American Craftsman and the European Tradition, p. 165; Gontar, “The Campeche Chair in the Metropolitan Museum of Art” Metropolitan Museum Journal, 2003, p. 202, p. 38; Gontar, The Louisiana ‘Campeche’ Chair: Origin, History, and Transference Parson’s School for Design Master of Art Thesis, 2000
RARE IRISH GEORGE III STERLING SILVER SUGAR BOWL AND MILK JUG, DUBLIN, WYLY FAMILY CREST, BY CARDEN TERRY & JANE WILLIAMS, DUBLIN, DATED 1817/1818 Rectangular sterling sugar bowl with two "S" scroll handles, fluted corners, on four paw feet, 4 ?" x 8 ?" x4 ?"; and a milk jug of similar design, 4 ?" x 6 ?" x 3 ½". Both pieces finely hand chased with foliate scroll and acorn design, monogrammed, Wyly family crest hand chased in a reserve on both pieces. Both marked with Carden Terry & Jane Williams hallmark, Lyre under crown sterling standard, sitting figure of Hibernia for city of Dublin and date letters for 1817 and 1818 on the side. Total weight 13.74 toz.
Provenance: old private collection since late 18th/early 19th c., Sewickley, PA, Lenehan family (family dating back to the 13th c) from Wyly family lineage (Scottish family dating back to the 14th c.) by descent in the family to the current owner.
Group Three Federal Mirrors: comprising a gilt mirror with acorn mounts, a small frame mirror and an inlaid mahogany dressing mirror. Largest: 27 3/4" high, 18 3/4" wide. Age and use wear, scuffs to dressing mirror and losses, loose gesso on gilt mirror. Provenance:Property of a New York City Collector.
ANTHONY RASCH CLASSICAL COIN SILVER SUGAR BOWLFine American Classical Coin Silver Sugar Bowl , Anthony Rasch (1778/80-1858), act. Philadelphia 1804-1820, New Orleans 1820-1858, marked "ANTY.RASCH", in rectangle, squared form with acorn finial, palmette border, ball feet, h. 6 1/8 in., w. 7 7/8 in., wt. 16.90 troy ozs . Ref.: Hollan, Catherine M. Philadelphia Silversmiths, p. 164; escent City Silver, pp. 76-81; Keyser "Fashionable Goods from a Credible Source: Anthony Rasch, Silversmith and Merchant", University of Delaware, 2007 .
Carved Applewood and 14kt Gold Jewelry Suite, Browne & Spaulding, Jewelers, New York City, 1865, comprised of a brooch and a pair of earrings depicting acorns and oak leaves with black enamel accents set in 14kt yellow gold, in original fitted box marked Browne & Spaulding, together with an 1865 letter addressed to the original owner William Cullen Bryant, a period Brown & Spaulding trade card showing a similar suite, and a 1908 Anderson Auction Company catalog of "A Portion of The Library of William Cullen Bryant" listing the suite as lot 407. Note: According to a number of contemporary accounts, including their own, Browne and Spaulding made a suite of jewelry for General Ulysses S. Grant's wife using wood from an apple tree at Appomattox, Virginia, under which General Robert E. Lee was sitting when he was asked to discuss the terms of surrender which would end the Civil War. The Grant set, which is apparently featured on the trade card included in the present lot, also consists of a larger piece, in addition to the earrings and brooch which are identical to the ones here. Thinking that William Cullen Bryant - the American romantic poet, staunch supporter of President Lincoln, and long-time (and current) editor-in-chief of the New-York Evening Post - or presumably, his wife, would also enjoy having such a suite, Browne & Spaulding sent one, unsolicited, to Mr. Bryant along with a letter dated November 27, 1865, which reads: "Dear Sir, Accompanying, please find a trifling specimen of our art as constructors of jewelry, which it will afford us much pleasure, if you will kindly accept. It is in itself trifling but embodying as it does a little memorial of the closing scenes of the war, it will probably be looked upon as an object of interest. The wood employed we can guarantee to be portions of the tree at Appomattox, under which Gen. Lee commenced the negociations [sic] that terminated in his surrender. With great respect We are Dr. [dear] Sir, Yours Obliged, Browne & Spaulding." Bryant clearly accepted the gift and cherished it, since it was sold at auction intact with the original jewelers' letter in 1908. Estimate $5,000-7,000 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. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
SILVER. Assorted American and Continental Silver. : Includes a monogrammed Art Nouveau Whiting sterling bowl, no. 7000; a Tiffany & Co. sterling leaf form nut dish; an early German silver beaker with gold wash - pictorial hallmark to underside, stamp of "N" in a circular cartouche representing Nuremburg, and an unidentified maker's mark? of IC in a scalloped cartouche; a possibly silver cigarette case with monogram and handhammered finish, stamped, "LW" to closure; a Leonore Doskow sterling monogram pendant - repurposed from a brooch; a Russian silver kiddush cup - with an assay masters mark of AP over a partial 19th century date, "84", city stamp of Moscow, and maker's mark of M. E3; a Russian silver cordial cup - stamped, "84" with a maker's mark of, "OP"; an Esco sterling repousse kiddush cup; and a rectangular antique Austro-Hungarian pill box with acorn design and gold wash to interior - partial date mark to interior and unidentified maker's mark of, "JB?". Total approx. weight of all items is 16. 67 troy oz, excluding the possibly silver cigarette case. From a Queens, NY estate. Dimensions: Whiting bowl measures approx. 8. 75" diameter x 1. 675" h. Condition Light surface scratches, and minor dings/dents. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
An Important New Orleans Coin Silver Presentation Coffee and Tea Service, c. 1860, Terfloth & Kuchler (Bernard Terfloth & Christopf Christian Kuchler, wc. 1858-1866), including a tray, coffeepot, two teapots, a covered sugar basin, a waste bowl and a cream pitcher, each inscribed "Presented to F.H. Hatch / Collector of the Port of New Orleans / By his Friends in the Custom House / May 1st 1861," and each decorated with a repoussé and chased vignette illustrating the commerce of the port of New Orleans (except the creamer which is engraved only with the presentation inscription), each finial a different example of Louisiana fruits and nuts, including a fig, orange, pecan and acorns, coffee pot height 11 1/8 in., tray 29 in. x 18 1.8 in., combined weight 295.75 troy ozs. $140,000/180,000 Provenance: Descended in the family of Francis Hanson Hatch. Sold Neal Alford Company, November 5, 1988 Auction Lot #138. Private Collection. Exhibited Queen of the South: New Orleans in the Age of Thomas K. Wharton, 1853- 1862, Historic New Orleans Collection, Nov. 9, 1999-Apr. 8, 2000, illustrated in Queen of the South: New Orleans, 1853-1862, The Journal of Thomas K. Wharton, p. 249, and in The Historic New Orleans Collection Quarterly, Fall 2000, pgs. 8 & 9. Note: In "Reflections in Silver: The Hatch Presentation Coffee and Tea Service", H. Parrott Bacot and Carey T. Mackie pronounce the service to be "… the most sumptuous in design and decoration, as well as the most lavish in iconography, of all the known examples of New Orleans-made presentation silver." The details are truly exceptional. The coffeepot vignette features an allegorical figure of Commerce surrounded by cotton bales, barrels and crates. One teapot includes a view of the port taken from the 1852 lithograph New Orleans from the Lower Cotton Press; the other teapot shows an allegorical figure of the Father of the Waters with a steamboat, palm and alligator. The sugar basin is decorated with a vignette of Belle Grove Plantation taken from Norman's Chart of the Lower Mississippi delineated by Adrien Persac. Perhaps most remarkable is the tray, which is centered with a view of the Custom House. In his journal entry of May 12, 1861, T.K. Wharton writes "The large salver of solid silver is enriched with a beautiful chased copy of the first perspective drawing I made for the New Custom House in 1848…"."Reflections in Silver: The Hatch Presentation Coffee and Tea Service" is fascinating and we recommend a complete reading of the article. Bacot and Mackie posit that the service was made in whole or in part while Louisiana was a sovereign nation and an early member of the Confederacy. They point out that the Custom House is shown flying the banner of the republic of Louisiana and the first Confederate flag. Another outstanding example of Terfloth & Kuchler presentation silver is the tray and goblet set presented to Colonel James B. Walton by the Washington Artillery and illustrated in Crescent City Silver, p. 38. References: Crescent City Silver. The Historic New Orleans Collection, New Orleans, 1980. Queen of the South: New Orleans, 1853-1862, The Journal of Thomas K. Wharton. The Historic New Orleans Collection, 1999. Bacot, H. Parrott and Carey Turner Mackie. "Reflections in Silver: The Hatch Presentation Coffee and Tea Service." The Historic New Orleans Collection Quarterly. Vol. XVIII, No. 4 (Fall 2000), pp. 8-10. https://www.hnoc.org/publications/pdf/HNOC_Q4_2k.pdf
Early Turned Wood & Wrought Iron Chandelier: inverted acorn form, three lights with serpentine arms. 8" high, 13" diameter. Wear and oxidation. Provenance: Property of a New York City Collector.
CONNECTICUT QUEEN ANNE SHELL CARVED CHERRY HIGH CHESTWoodbury, Connecticut, 1760-1770, with two deeply carved shell drawers, poplar, pine, and chestnut secondary, set on scroll carved cabriole legs and pad feet, acorn skirt drops, appears to retain original bat wing brasses, 79-1/4 x 41 x 21-1/2 in., Provenance: Descended in the Hurlbut family of Woodbury, Connecticut; Walton Antiques, Jewett City, Connecticut, 1988; The Ann and Joel Finn Collection; Note: Illustrated in the Jeffrey Tillou Antiques catalog,ÿThe Ann and Joel Finn Collection, pg. 20-21 (lot accompanied by copy of catalog).Illustrated in Edward S. Cooke, Making Furniture in Pre-Industrial America: The Social Economy of Woodbury, Connecticut, 1996, pg. 172, fig. 42.
Condition:
very good condition overall, bottom of upper case once fitted with casters, but there is no evidence the upper and lower cases are a marriage, typical minor flaws at drawer lips, some roughness at legs (most likely as made), skirt drops and some knee returns replaced, very minor sun fading at one side, some very minor cracks and roughness at moldings, other scattered very minor flaws consistent with age and useÿ
SILVER: Georgian Old Sheffield plate globe inkstand, early 19th C., circular crest with acorn finial holds two globe form hinged sides which open to reveal a quadra-lobe divider for four bottles, two ink, one pounce, and one un-pierced, scrolled supports to base, raised on ringed and weighted pedestal base, without hallmarks, some areas of heavy rubbing to fused silver on copper base, loss to finial, small damages including chips, dents, etc., 8 1/4" h. [PROVENANCE: Part of the Gillmor Silver Collection and owned by descent.] [EXHIBITED: Part of the Gillmor Silver Collection, of which many pieces were in the following exhibits: "English Silver from the Gillmor Collection", Dec. 19th, 1986 - Feb. 6th, 1987, Fine Arts Gallery, The Federal Reserve Bank of Kansas City, Missouri; "English Silver from the Gillmor Collection", March 19th -31st , 1988, The Winston Churchill Memorial and Library, Westminster College, Fulton, Missouri; "Halls British Event", Nov. 9th - Dec. 1st , 1983, Halls Plaza, Kansas City, Missouri; "Antique Silver", June 12th, 1969, Spiva Art Center, Joplin, Missouri.]
A SWISS CYLINDER MUSIC BOX, BY PAILLARD, CIRCA 1880, : A SWISS CYLINDER MUSIC BOX, BY PAILLARD, CIRCA 1880, of rectangular form and a hinged lid centering an exotic woods inlaid marquetry musical trophy of a ribbon tied lute over a flute, horn, pipes, and castanets amidst acorn and oak leaf branches, within a conforming rosewood panel and boxwood string inlay, enclosed by a tulipwood border inlaid à quatre face and framed by ebonized wood trim,  opening to an interior with hinged glass panel covering a nickel-plated bronze cylinder music mechanism with engraved details, flanked by two wells with left well incasing a hand ratchet winding cogwheel, opposite right well with "REPEAT / CHANGE" lever, over the "PLAY / STOP" lever, enclosed by a conforming case with front matching rosewood, boxwood and tulipwood inlay centering a painted love trophy of Cupid's bow and quiver of arrows with tambourine and flute on a bed of flowering stems, flanked on sides by foliate cast bronze handles and verso black stenciled "IE" monogram, and "PAILLARD'S / PATENT / FEB. 11 1878, " and hand inscribed "CPC 10489. " Height: 10" Width: 41" Depth: 13 1/2" Note: Probably Charles Paillard et Cie, later Paillard, Vaucher & Fils, of St. Croix Switzerland. This firm was well known for its' quality cylinder music boxes and retailed in the U. S. A. in New York City as well as Chicago during the second half of the 19th century. Condition Some apparent losses, small tips of comb lacking, one small wheel is separated and in left side winding well, small chips, losses, worn areas of nickel plating, rubbing, a few oxidized spot, dust buildup, oiled, overall in fair to good working condition. Simpson Galleries does not guarantee working condition. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS. "
SILVER: GEORGIAN OLD SHEFFIELD PLATE GLOBE INKSTAND, EARLY 19TH C., CIRCULAR CREST WITH ACORN FINIAL HOLDS TWO GLOBE FORM HINGED SID...SILVER: Georgian Old Sheffield plate globe inkstand, early 19th C., circular crest with acorn finial holds two globe form hinged sides which open to reveal a quadra-lobe divider for four bottles, two ink, one pounce, and one un-pierced, scrolled supports to base, raised on ringed and weighted pedestal base, without hallmarks, some areas of heavy rubbing to fused silver on copper base, loss to finial, small damages including chips, dents, etc., 8 1/4" h. [PROVENANCE: Part of the Gillmor Silver Collection and owned by descent.] [EXHIBITED: Part of the Gillmor Silver Collection, of which many pieces were in the following exhibits: "English Silver from the Gillmor Collection", Dec. 19th, 1986 - Feb. 6th, 1987, Fine Arts Gallery, The Federal Reserve Bank of Kansas City, Missouri; "English Silver from the Gillmor Collection", March 19th -31st , 1988, The Winston Churchill Memorial and Library, Westminster College, Fulton, Missouri; "Halls British Event", Nov. 9th - Dec. 1st , 1983, Halls Plaza, Kansas City, Missouri; "Antique Silver", June 12th, 1969, Spiva Art Center, Joplin, Missouri.]
*BEAUTIFUL CASED SIDELOCK FRANK E. MALIN & SON DBL BBL SHOTGUN. Cal. 20 ga. SN 80028. Spectacular sidelock English dbl with 26" bbls choked IMP-CYL/IMP-CYL with smooth concave tapered rib, sgl bead with hidden third fastener, dbl chopper lump with ejectors & dbl triggers, front articulated. Right bbl is engraved "FINEST PRESSED FLUID STEEL" & left engraved "GUN MAKERS TO THE NOBILITY & GENTRY. Rib is engraved with maker's name & address with cities "MELBOURNE" & "LONDON". Receiver & lockplates are spectacularly relief engraved by Collins with lockplates having simple but elegant foliate arabesque patterns with maker's name on each side in a flowing ribbon. It has cocked indicators. Receiver is also relief engraved with feather patterns around edges & oak leaf & acorn patterns on fences. There is a large rosette around each end of hinge pin. Opening lever, top tang, safety, trigger guard & forend iron are beautifully engraved to match. All engraving has a very fine stippled background. Engraving extends about 2" up rib with feather border patterns around chamber ends of bbl. Mounted with highly figured shell grain pattern walnut with full checkered forearm & straight stock with raised teardrop side panels, 14-1/2" over an incredibly fine checkered butt. Checkering on stock & forearm are about 32-lines & on butt at least 36-lines per inch. Accompanied by its orig maker's brown leather, red felt lined trunk case with maker's label in lid, compartmented in bottom for shotgun, a Malin & Heimbecker square oil bottle, a pair of snap caps & a 2-pc wood & brass cleaning rod with bits. Drop at heel: 2", drop at comb: 1-3/8". Bore restrictions: left - .005, right - .006. Wall thickness: left - .027, right - .024. Bore diameter: left - .616, right - .617. Weight: 6 lbs. .64 oz. CONDITION: Exceptionally fine, as new. Retains virtually all of its brilliant orig finish to both metal & wood. There are a few very light handling & storage marks in wood, a small scratch or two on bbls & no other discernible flaws. Case colors are brilliant. Blue is brilliant & wood is beautiful. Mechanics are crisp, brilliant shiny bores. Case has a few handling & storage scratches on lid with some slight fading to interior & minor wear in lid lining, otherwise is fine. 4-56664 JR633 (7,500-10,000)
Fine Gothic Revival Carved Rosewood Marble Top Table 29 x 44 x 44 in.Note: The above offered "table is one of several hexagonal marble-topped examples squarely in the refined Louis Philippe style. These tables almost certainly were made in the shop of a French cabinetmaker like Alexander Roux. No table of this form is labeled or associated with a bill of sale. The principal motifs associated with the Louis Philippe style, often wrongly identified as Charles X, are magnificently arrayed in the offered table. The flat base with three trefoil feet is seen in many examples of American furniture and was a recognized hallmark of the Gothic style, although it sometimes supported tables, stands, and screens with Elizabethan or classical detailing. The six cluster columns with floral bud bases and capitals are somewhat ambiguous in style but certainly suggest medieval carving. Hanging inside the columns in a sort of clerestory area is a tracery lantern that had to be assembled and installed before the table was assembled. Both the columns and the lantern enter a large block which in turn supports two horizontal rails from which the six frieze rails are suspended. The frieze is worked in another characteristic Louis Philippe motif that was much copied in England and America, the clipped ogival arcade with turned pendants and corner turrets. Other fine details of the table include reel and arch moldings. Not all New York Gothic furniture with Louis Philippe traits was made by French cabinet makers. English and German competitors incorporated some of the ornamental vocabulary of French furniture in their production models by mid-1840's, but these makers rarely achieved the sophisticated effects seen here, nor did they lavish as much fine workmanship on their products. This table represents a high point in New York City production between the waning of late classical and early mannerist (pillar and scroll) style and the triumph of the rococo revival in the 1850s." - Robert F. Trent.An identical table sold in these galleries on April 2, 2016, Lot 2, The Collection of Judith Hollander, for $25,000 hammer price.Condition:In good restored condition. The replaced marble top with minor staining, pitting and scuffing. Formerly had a wooden top, now lacking. Minor chips to the edges. Some repairs to the pendants. Scattered staining to the center of the pedestal base. One, possibly two feet facings replaced. Larger acorn finial and several smaller ones replaced. In generally good condition and refinished. Structurally sound. Very fine quality.Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
Connecticut Queen Anne Shell Carved Cherry High Chest: Woodbury, Connecticut, 1760-1770, with two deeply carved shell drawers, poplar, pine, and chestnut secondary, set on scroll carved cabriole legs and pad feet, acorn skirt drops, appears to retain original bat wing brasses, 79-1/4 x 41 x 21-1/2 in. , Provenance: Descended in the Hurlbut family of Woodbury, Connecticut; Walton Antiques, Jewett City, Connecticut, 1988; The Ann and Joel Finn Collection; Note: Illustrated in the Jeffrey Tillou Antiques catalog, ÿThe Ann and Joel Finn Collection, pg. 20-21 (lot accompanied by copy of catalog). Illustrated in Edward S. Cooke, Making Furniture in Pre-Industrial America: The Social Economy of Woodbury, Connecticut, 1996, pg. 172, fig. 42. Dimension Condition very good condition overall, bottom of upper case once fitted with casters, but there is no evidence the upper and lower cases are a marriage, typical minor flaws at drawer lips, some roughness at legs (most likely as made), skirt drops and some knee returns replaced, very minor sun fading at one side, some very minor cracks and roughness at moldings, other scattered very minor flaws consistent with age and useÿ
STERLING: American assembled three piece tea set by F. B Rogers and M. Fred Hirsch, pieces include teapot, sugar and creamer, all pieces with bulbous form on round pedestal foot and hallmarked on base, details include: teapot by M. Fred Hirsch Co., Jersey City, N.J., c. 1920 - 1945, hinged lid with dented acorn finial, two ivory insulators to handle, interior with strainer, "407" stamped on base, minor dents to finial, handle, etc., 8" h., [Weight: 19.46 ozt.]; and matching sugar and creamer by F. B. Rogers Silver, Co., Tauton, Mass, 1883 - present, neither with lid, stamped "400" to foot along with "sterling" and maker's mark, small dents and scratches, etc., larger: 5" h. [Total Weight of all three pieces: 31.7 ozt.]
CITY HOTEL, NEW YORK: ACORN AND OAK LEAVES BORDER DARK-BLUE STAFFORDSHIRE PLATE, RALPH STEVENSON & WILLIAMS, CIRCA 1810-32.
Printed title in underglaze-blue. Diameter 8 ½ inches.
SILVER: HESTER BATEMAN (ENGLISH, 1708 - 1794) GEORGE III STERLING PEPPER CASTOR, 1785, BALUSTER FORM WITH ACORN FINIAL AND CHASED CR...SILVER: Hester Bateman (English, 1708 - 1794) George III sterling pepper castor, 1785, baluster form with acorn finial and chased cross-hatch design to cover, raised on ringed pedestal foot, hallmarks to base include lion passant, Leopard's head crowned, "k" mark (London date letter for 1785), and "H B" in script (maker's mark for Hester Bateman, entered 1761), wear consistent with age and use including several dents to bulbous waist, slight tilt to finial, nicks to edges, etc., 5 3/4" h. (weight 2.8 ozt.) [PROVENANCE: Purchased from Charles Shapland, 207, High Holborn, London, W.C.1, on April 11, 1949] [EXHIBITED: Part of the Gillmor Silver Collection, of which many pieces were in the following exhibits: "English Silver from the Gillmor Collection", Dec. 19th, 1986 - Feb. 6th, 1987, Fine Arts Gallery, The Federal Reserve Bank of Kansas City, Missouri; "English Silver from the Gillmor Collection", March 19th -31st , 1988, The Winston Churchill Memorial and Library, Westminster College, Fulton, Missouri; "Halls British Event", Nov. 9th - Dec. 1st , 1983, Halls Plaza, Kansas City, Missouri; "Antique Silver", June 12th, 1969, Spiva Art Center, Joplin, Missouri.]
GROUP OF PEWTER & METALWARE TABLEWARE, 20THC.(lot) Group of pewter and metalware items, 20thc., having various makers marks, highlights include: (1) hunt cup with the head of a stag; (1) lidded pitcher with acorn accents; (1) cup with figural city scenes; (1) plate with ceramic figural scene to center, depicting men and a dog in a tavern; largest - approx 2.5"h, 16"w, 10"d; 33.4lbs total
SILVER: HESTER BATEMAN (ENGLISH, 1708 - 1794) GEORGE III STERLING CRUET STAND WITH WILLIAM BATEMAN CUT CRYSTAL BOTTLES (TWO WITH STE...SILVER: Hester Bateman (English, 1708 - 1794) George III sterling cruet stand with William Bateman cut crystal bottles (two with sterling covers), and four silver labels hallmarked "JK" four bottles, details include: Hester Bateman sterling cruet stand, 1785, ovoid shape with scrolled ends and pierced gallery, raised on four acorn form feet, mounted sterling divider with four ringed openings hallmarked with lion passant, base with lion passant, Leopard's head crowned, "k" mark (London date letter for 1785), and "H B" in script (maker's mark for Hester Bateman, entered 1761), wear consistent with age and use, measurements for stand only: 2 3/4" h. x 6" w. x 3 3/4" d. (weight: 5.9 ozt.); four matching cut crystal bottles by William Bateman, two with sterling covers with hallmarks including the lion passant, leopard, "S" (either 1793 or 1813), and "WB" in script, one crystal top with attached spoon (not hallmarked), scattered chips, and minor imperfections, largest: 4 1/2" h.; and three oval form labels "Cayenne", "Elder" and "Soy", hallmarked "JK" or "JM", tested silver, (weight: .2 ozt. tw.), all pieces with wear consistent with age and use including minor damages, etc. [PROVENANCE: Part of the Gillmor Silver Collection and owned by descent.] [EXHIBITED: Part of the Gillmor Silver Collection, of which many pieces were in the following exhibits: "English Silver from the Gillmor Collection", Dec. 19th, 1986 - Feb. 6th, 1987, Fine Arts Gallery, The Federal Reserve Bank of Kansas City, Missouri; "English Silver from the Gillmor Collection", March 19th -31st , 1988, The Winston Churchill Memorial and Library, Westminster College, Fulton, Missouri; "Halls British Event", Nov. 9th - Dec. 1st , 1983, Halls Plaza, Kansas City, Missouri; "Antique Silver", June 12th, 1969, Spiva Art Center, Joplin, Missouri.]
Needlework Band Pattern Sampler, "Sarah Baker 1664," worked in polychrome silk threads in predominantly green, blue, yellow, red, and pink in a range of stitches incorporating intricate bands of delicately embroidered flowers, leaves, and acorns, over two bands of alphabets and upper case inscription "SARAH BAKER 1664" on a natural linen ground, 31 3/4 x 7 1/4 in. mounted in a later molded wood frame.
Note: This sampler is believed to have been stitched by Sarah Baker who was born April 24, 1650, in Roxbury, Massachusetts. She was the daughter of Thomas (1608-1684) and Elizabeth Baker. Sarah married Sebas Jackson on April 16, 1671. Sebas was born in 1642 at sea to Edward and Frances Jackson on their way to America from England. Sebas' father amassed a substantial fortune as a nail maker, and over some time became the largest landowner in Newton, Massachusetts. He gave his son Sebas 150 acres in Newton and built him a house. Sebas and Sarah had six children and when Sebas died at the age of 48 in 1690, Sarah remained in the homestead with five of her six children. Sarah died in 1726. Over the years the homestead remained in the family until it was donated to the City of Newton and is now the home of the Newton History Museum.
Literature: A similar sampler is portrayed in Betty Ring's book Girlhood Embroidery: American Samplers, Pictorial Needlework 1650-1850, Alfred A. Knopf, Inc., 1993, Vol. 1, p. 29. The sampler was stitched by Mary Hollingsworth (1652-1694) of Salem, Massachusetts. Ring writes that Mary "was the only child of a wealthy Salem merchant, and she is said to have studied with 'Madame Piedmonte...a celebrated instructress of that day in Boston.'" Because of the similarities between these samplers it is possible that Sarah Baker studied with the same schoolmistress.
Toning, light stains, some fading of silk threads.
SILVER: Hester Bateman (English, 1708 - 1794) George III sterling cruet stand with William Bateman cut crystal bottles (two with sterling covers), and four silver labels hallmarked "JK" four bottles, details include: Hester Bateman sterling cruet stand, 1785, ovoid shape with scrolled ends and pierced gallery, raised on four acorn form feet, mounted sterling divider with four ringed openings hallmarked with lion passant, base with lion passant, Leopard's head crowned, "k" mark (London date letter for 1785), and "H B" in script (maker's mark for Hester Bateman, entered 1761), wear consistent with age and use, measurements for stand only: 2 3/4" h. x 6" w. x 3 3/4" d. (weight: 5.9 ozt.); four matching cut crystal bottles by William Bateman, two with sterling covers with hallmarks including the lion passant, leopard, "S" (either 1793 or 1813), and "WB" in script, one crystal top with attached spoon (not hallmarked), scattered chips, and minor imperfections, largest: 4 1/2" h.; and three oval form labels "Cayenne", "Elder" and "Soy", hallmarked "JK" or "JM", tested silver, (weight: .2 ozt. tw.), all pieces with wear consistent with age and use including minor damages, etc. [PROVENANCE: Part of the Gillmor Silver Collection and owned by descent.] [EXHIBITED: Part of the Gillmor Silver Collection, of which many pieces were in the following exhibits: "English Silver from the Gillmor Collection", Dec. 19th, 1986 - Feb. 6th, 1987, Fine Arts Gallery, The Federal Reserve Bank of Kansas City, Missouri; "English Silver from the Gillmor Collection", March 19th -31st , 1988, The Winston Churchill Memorial and Library, Westminster College, Fulton, Missouri; "Halls British Event", Nov. 9th - Dec. 1st , 1983, Halls Plaza, Kansas City, Missouri; "Antique Silver", June 12th, 1969, Spiva Art Center, Joplin, Missouri.]
EXCEPTIONAL & EXTRAORDINARY EXHIBITION QUALITY GEORGE WOSTENHOLM & SONS LARGE BOWIE KNIFE. This wonderful knife is 17-1/2" overall with an 11-3/4" spear point blade that has a 5-7/8" back grind. Blade is 1-5/8" at the ricasso and has a 1/2" wide full length fuller on each side. Left side is decorated with dbl cornucopia, one having fruits, nuts & grains and the other flowers, with both ends having foliate arabesque patterns with leaves on one end and leaves & acorns on the other end. Top left side of the blade is marked "GEO WOSTENHOLM & SONS WASHINGTON WORKS / CELEBRATED HUNTING KNIFE SHEFFIELD" around a large "I*XL". It has tortoise shell covered wooden grip panels with serrated 2-pc ferrule and large left & right hand leaf pattern quillion hand guard with serrated edge center. Accompanied by its orig, red leather, gold embossed sheath with German silver throat & tip. Also accompanying is a copy of p. 22 of "I*XL MEANS I EXCEL" by W. Williamson. This exact knife appears as item 9 and he states that it was probably made for exhibition display. It was most likely the 1852 New York City Expo at the Crystal Palace. This is one of Wostenholm's finest examples of the Gold Rush Period. CONDITION: Very fine. Blade cleaned a long time ago but retains its complete orig full shape. Hand guard is slightly loose and the left tortoise shell panel has a couple of cracks. Right panel has a crack, is missing a small chip near the ferrule & a large piece at the pommel end. Sheath was broken through the middle & is now repaired. Throat is missing the two screws & stud with a few minor dents. Tip has a dent on each side, otherwise colors are bright with moderate wear and a stain near the top. Altogether a most rare Bowie in fine condition that would make a fine addition to anyone's collection. 4-56976 JR633 (20,000-30,000)
A George III silver two handled presentation vase and cover'To The Right Honourable Lord Grenville from the Roman Catholics of the City of Glasgow. As a testimony of their appreciation of the liberal, upright and distinguished policy of his Lordships Administration 1807', with a laurel wreath and beneath an acorn finial domed cover with key pattern above a band of foliate swags and on a spreading foot, maker JF, Edinburgh 1806, 50oz, 38cm highNote: WILLIAM GRENVILLE (LORD GRENVILLE) 1759-1834. In 1807 Lord Grenville introduced an important bill that would help bring about the abolition of slavery to the British Colonies on the grounds of 'Justice, Humanity and Sound Policy'. In the same year he supported Catholic Emancipation. George III, however rejected his attempt to end 'Catholic disabilities' in March 1807. This situation made Grenville resign from office. From the back benches Lord Grenville argued against the Corn Laws in 1815. However he did support the introduction of the Six Acts proposal by Lord Liverpool. This would open a door and a return to office if Grenville wished. He declined. In 1835 Lord Grenville died. His political career of 35 years outlasted his contempories Pitt, Fox and Grey, with whom he was associated with. Regarded as having a brilliant intellect Grenville had been able to see the connection between different aspects of policy and formal arguments in favour of specific policies.
Three porcelain & pewter beer steins. Includes a deep cobalt blue barley relief pattern mug with silver tone lid (marked on base ''Z'') a Budweiser ''Endangered Species'' stein and a German city scene stein marked on base with stylized ''AK'' with crown mark (pewter lid with acorn finial). Condition: good see images. Budweiser & German stein measure 7.5'' tall each (to finial) and mug measures 5'' tall. Shipping weight 4.6 lbs.
Smith and Goodrich Wall Acorn Clock, Bristol, Connecticut, c. 1850, the stylized mahogany veneered case with ebonized and glazed dial door over the painted zinc Roman numeral dial signed Smith & Goodrich/Bristol, CT. U.S. and moon hands, the lower with reverse-painting on glass depicting an exotic lake with primitive buildings on the shore, inside a green dust cover and business card of a Lowell, Massachusetts, repairman, thirty-hour time and strike movement with attached fusees, ht. 28 1/4 in. Provenance: Terry and Karen Brotherton. Literature: Horological Rarities of Space City '99, p. 10. Estimate $5,000-7,000 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. Condition requests can be obtained via email (lot inquiry button) or by telephone to the appropriate gallery location (Boston/617.350.5400 or Marlborough/508.970.3000). Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Skinner Inc. shall have no responsibility for any error or omission.
A Spanish Colonial silver mounted and etched tortoiseshell casketGuadalajara, Mexico dated 1797
The panelled domed cover over rectangular case, decorated with figural hasp, double-headed eagle escutcheon, arched banding and engraved with floral roundels with inscription on reverse reading Se acubae n la Siuda de guadalajara Año de 1797 (sic) (made in the city of Guadalajara year of 1797) all on acorn feet.
height 6 1/2in (16.5cm); width 9 1/4in (23.5cm); depth 4 1/2in (11.5cm)
An American Classical Painted, Ebonized and Gilt Stenciled Center Table, c. 1825, New York, the circular tilt top with large medallion of fruit, flowers and leafage, and a wide band of oak leaves and acorns, the skirt with classical motifs including swan and lyre roundels, acanthus stenciled pedestal, the circular plinth with arched saber legs ending in gilt paw feet, height 30 in., diameter 35 in. $4000/6000 Note: The contrast of fine grotesque, large fruiting, and bold foliate stenciling on this table is very similar to that on a well-known desk at the Metropolitan Museum of Art (acc. 60.29.ia, b) Reference: Voorsanger and Howat. Art and the Empire City, New York 1825-1861, p. 514, fig. 223.
HUGO D'ALESI OIL ON CANVAS LANDSCAPE PLUS CDVHugo D'Alesi (Romania/France, 1849-1906) oil on canvas landscape painting depicting a road winding through a grove of trees, under a partly cloudy sky. Signed "F. Hugo d'Alesi" lower right. Maison Cornier stamp, en verso of canvas. Housed in a period, possibly original giltwood frame with acorns and berries in relief, with original label for P. Hombert Fils, Paris, en verso. Sight: 17" H x 10" W. Framed: 22 3/4" H x 15 1/4" W. Note: this painting descended to the current consignor from Vicki Meche, granddaughter of the writer and mysticist J. Camille Chaigneau. The painting is accompanied by a circa 1880 carte-de-visite photograph of the painter, Hugo D'Alesi, who was a personal friend of J. Camille Chaigneau. An album containing another image of D'Alesi, along with one of his wife, is also included in this auction. Artist biography: "The painter and graphic artist known as Hugo d'Alesi was born Frederic Alexianu in Romania, but took French citizenship and worked mainly in Paris. He produced many tourism posters, for railways and travel companies, around the turn of the century." (Source: the Delaware Art Museum).
The collection of Dr. Andrew Wilkerson, by descent from the estate of Vernon and Vicki Meche, Iron City, Tennessee.
Condition:
Both painting and frame in overall very good condition. 3/4" area of buckling to canvas in upper left corner and a few scattered spots of light grime. 1/2" area of loss to lowermost sight edge of frame; a few scattered tiny losses to frame's outer edges.
STERLING: AMERICAN ASSEMBLED THREE PIECE TEA SET BY F. B ROGERS AND M. FRED HIRSCH, PIECES INCLUDE TEAPOT, SUGAR AND CREAMER, ALL PI...STERLING: American assembled three piece tea set by F. B Rogers and M. Fred Hirsch, pieces include teapot, sugar and creamer, all pieces with bulbous form on round pedestal foot and hallmarked on base, details include: teapot by M. Fred Hirsch Co., Jersey City, N.J., c. 1920 - 1945, hinged lid with dented acorn finial, two ivory insulators to handle, interior with strainer, "407" stamped on base, minor dents to finial, handle, etc., 8" h., [Weight: 19.46 ozt.]; and matching sugar and creamer by F. B. Rogers Silver, Co., Tauton, Mass, 1883 - present, neither with lid, stamped "400" to foot along with "sterling" and maker's mark, small dents and scratches, etc., larger: 5" h. [Total Weight of all three pieces: 31.7 ozt.]