A few examples of appraisal values for
CALLS

• Group of Porcelain Boxes and
  Group of Porcelain Boxes and More. Group with 7 small boxes, 6 are Limoges. Largest is 2.5'' by 2.5'', there are hearts, squares, and an egg. Along with a 2.5'' dia. Gorham crystal box. Also included is a Delft shoe ashtray from Holland, has some glue residue. A 7.5'' resin wizard figurine, label on back calls him a christmas wizard 1993 June Mckenna #1474 out of 7500. A Margaret Furlong ornament still in its original box measuring 3''. All in very good condition. If you have any doubt, please ask questions! We will provide extra pictures, or can schedule an in person or video conference preview at your convenience. In house Flat Rate Shipping of $15 is a domestic shipping estimate for first lot and includes insurance. We will gladly combine multiple lots for your convenience and economy. Each additional lot we can pack in the same box is $5 each. Please feel free to contact us with any questions.
• Vintage 1960s Barbie Salmon Pink
  Vintage 1960s Barbie Salmon Pink Convertible Car with Turquoise Interior . Measures 18"x 7 1/2" marked Mattel on bottom. It is in good "played with" condition with a small crack by the screw of the windshield. The consignor recalls a bumper needed to be glued. The repair is very good. Some scratches on windshield and minor scuffs/scratches on the car. If you have any doubt, please ask questions! We will provide extra pictures, or can schedule an in person or video conference preview at your convenience. In house Flat Rate Shipping of $15 is a domestic shipping estimate for first lot and includes insurance. We will gladly combine multiple lots for your convenience and economy. Each additional lot we can pack in the same box is $5 each. Please feel free to contact us with any questions.
• VALESKA SOARES (B. 1957):
  VALESKA SOARES (B. 1957): UNTITLED (MODEL AFTER VANISHING POINT)Metal with perfume, 1998, incised with initials, dated and numbered 3/5 on the underside. 13 1/4 x 14 5/8 in. Note: Brooklyn-based Brazilian artist Valeska Soares' sculpture and installation work use sensory and conceptual techniques to create environments and experiences that are inviting, and also disturbing. She trained in modernist architecture and uses materials associated with building construction, such as steel and mirror, to make her art. In this work, Soares combines heavy, reflective metal with the ethereal scent of perfume to create an evocative experience for the viewer while displaying her interest in the physicality of the construction. This work is a model after her large-scale installation piece from 1998 titled Vanishing Point which arranged stainless steel tanks filled with water and perfume on the floor of a room. The scent we have used in this work is called Chord, handmade by Hudson, NY perfumers 2 Note. It combines Bergamot, Grapefruit and Petitgrain for a fresh, clean scent that speaks to Soares' interest in what she calls the 'ideal space' of the garden. Condition A spot of old adhesive at top. Some residue from the perfume. Otherwise in very good condition. Notwithstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• NORTHERN EUROPEAN SCHOOL: HARBOR
  NORTHERN EUROPEAN SCHOOL: HARBOR VIEWInk and wash on paper, indistinctly inscribed lower left, with an unidentified collector's mark lower right and upper left. 7 1/4 x 10 5/8 in. (sheet), 13 1/2 x 17 in. (frame). Condition A tiny loss lower left edge. Several repaired splits at left and lower right, backed with Japan. The sheet irregularly trimmed at top, a few tiny nicks and tears at the sheet edges. Pale staining. Style recalls Allart van Everdingen.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.
• Mark Miller (American, 1919-2008)
  Mark Miller (American, 1919-2008) Romance story illustrations depicting a girl smelling a rose, c. 1960, gouache on illustration board, largest measures 15-3/4" x 21-1/4", good condition. Mark Miller was a prominent and prolific American illustrator in the Golden Age of illustration in the 1940s-1960s. He studied at the Chouinard Art Institute (now Cal Arts) and was hired as a wardrobe sketch artist for 20th Century Fox. He later became an advertising and magazine story illustrator with his work appearing in McCalls, Good Housekeeping, Ladies Home Journal, Redbook, Cosmopolitan, Womans Day and Saturday Evening Post. Many of his works were handled by agencies in New York City including Charles E. Cooper, Harry Watts Inc., and American Artists Agency. He also created a partnership with artist Dan Crowley. In the 1960s he decided to set aside his art to become a winemaker. He was the founder of Benmarl Vineyards. All Illustrations are acquired from the artists collection.
• OVERSIZED DUCK CALLFaulk’s Game
  OVERSIZED DUCK CALLFaulk’s Game Calls Lake Charles, LA 12 in. long A jumbo promotional call by Faulk’s Game Calls, which was established over fifty years ago by “Dud,” Faulk’s father, who was a professional guide and World Champion goose caller. Original condition with light wear. Provenance: Robert Shisler Collection
• HIGH-HEAD MALLARD PAIRWalter "Tube"
  HIGH-HEAD MALLARD PAIRWalter "Tube" Dawson (1882-1955) Putnam, IL, c. 1920 17 in. long Dawson learned carpentry from his father and began carving decoys at age seventeen. Over his long career in wood, he proved to be a diverse maker. In addition to these standout high-head models, he made imaginative preeners, a mechanical goose, flying mallards, duck calls, and boats. Hunting was his passion, and from 1905 until 1918 Dawson took full advantage of the then legal market shooting of the region’s plentiful waterfowl. On Lake Senachwine, he served as a hunting guide to hotel guests. The distinctive style seen here resulted in his being known as “Tube” among decoy enthusiasts. The high heads, like on the Kankakee pintails, have been attributed to application in tall marsh grasses. These decoy are quite rare with only six believed to have survived. Original paint with moderate gunning wear, working paint from the waterline down on the drake. Hen has tight neck crack, age line at left crown, and working paint to grey on very bottom. Both have some flaking. Provenance: Masterworks of the Illinois River Collection Literature: Stephen B. O'Brien Jr. and Julie Carlson, "Masterworks of the Illinois River," Boston, MA, 2005, p. 108, exact pair illustrated. Zac Zetterberg, ed., “American Decoy: The Invention,” Peoria, IL, 2020, p. 57, exact pair illustrated. Alan G. Haid, "Decoys of the Mississippi Flyway," Exton, PA, p. 168, related pair illustrated. Gene and Linda Kangas, "Decoys: A North American Survey," Spanish Fork, UT, 1983, p. 246, pl. 377, rigmate pair illustrated. Exhibited: Peoria, Illinois, “American Decoy: The Invention,” Peoria Riverfront Museum, February 9–April 28, 2019. Salisbury, Maryland, “The Illinois River Meets the Chesapeake,” Ward Museum of Wildfowl Art, September 2 - November 13, 2005.
• ROBERT KENNEDY ABBETT (1926-2015)Bo
  ROBERT KENNEDY ABBETT (1926-2015)Bo and Duke, 1981 signed and dated "R. Abbett (c) 1981" lower right oil on board, 21 by 36 3/4 in. signed, titled, and inscribed on back "As a bird hunter who has owned many setters and labs over the years, this Abbett work speaks to me. It captures a setter's essence of running freely, showing his young friend the way." — Stephen B. O'Brien Jr. This painting depicts two of the artist’s own dogs, Duke of Oakdale and Bo Jangles. In "A Season for Painting," Abbett recalls that his setter Duke "graced our family for his lifetime as hunting dog and artist's model and all-around pal." Remembering his Labrador, Abbett writes, “Bo’s worst problem was his unlimited energy; he should have belonged to someone who hunted ducks with him at least twice a day, twelve months a year, with an occasional field trial or two thrown in. As a pup, he would sit in the studio watching me, crouched like a leopard about to spring, and I would tell him, ‘Look, Bo, I’m sorry, but there’s just not a lot going on right now.’ Perhaps I should have named him ‘Patton:’ his charge was unstoppable.” Bill Webster selected this iconic painting to make into a limited-edition print by Wild Wings in 1982. Provenance: Literature: Robert K. Abbett, "A Season for Painting: The Outdoor Art of Robert K. Abbett," Dallas, TX, 2001, pp. 32, 48, 71, and 178, print illustrated.
• ARTHUR FITZWILLIAM TAIT
  ARTHUR FITZWILLIAM TAIT (1819-1905)Quail and Chicks, 1867 signed and dated "AF Tait N A 1867" lower right oil on board, 10 by 14 in. signed and dated on back Kennedy & Co., New York and Winsor & Newton labels on back This painting is number 67.5 in Henry Marsh's Tait checklist. This little gem recalls Tait's famous "The Cares of a Family," with a pair of attentive quail and six baby chicks framed by delicate grasses and flowers. Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While working for the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others. In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait. In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivaled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England. With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation. Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others. Provenance: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York Sarah S. Harrison Collection, by descent Renee du Pont Harrison Collection, by descent Literature: Henry M. Reed, "The A. B. Frost Book," Charleston, SC, 1993, p. 87, illustrated. Henry M. Reed, "The A. B. Frost Book," Rutland, VT, 1967, illustrated. Henry W. Lanier, "A. B. Frost The American Sportsman's Artist," New York, 1933, illustrated.
• TWO DUCK CALLSFrank S. Finney (b.
  TWO DUCK CALLSFrank S. Finney (b. 1947) Capeville, VA 5 3/4 in. long One resin-cast call is a shotgun shell with an incised "F" on the brass and the other resin-cast call reveals duck hunting images and a "F" signature. As found.
• WATERFOWLING SANTA CLAUSFrank S.
  WATERFOWLING SANTA CLAUSFrank S. Finney (b. 1947) Capeville, VA, 1983 28 in. tall This carving depicts legendary 20th-century decoy collector and dealer Bud Ward as Santa Claus laden with treasures. The smiling figure holds out a Ward Brothers 1936 blue-winged teal hen, and is wearing five duck calls. His pockets contain a bottle of spirits and a box of Winchester shotgun shells. The sack on the back shows portions of a signed Ward 1936 pintail drake, a Cobb hissing goose, and a Caines snakey-neck mallard hen, as well as what appears to be a Browning A-5 shotgun. The entire surface is finished with a lightly antiqued finish. The grain-painted base wishes a painted "Seasons Greetings." An applied wooden placard reads, "Bud Ward as Santa" and the maker's "Frank Finney" incised signature. The underside is also signed and dated. Excellent original paint with some wear. Teal has a reset bill and has been reset to hand.
• PAIR OF CHINESE CARVED SAUSSURITE
  PAIR OF CHINESE CARVED SAUSSURITE IMMORTALS, 19TH/20TH C.Spinach-green saussurite carving of two statues on stands. Each depicts a figure playing Chinese flute on a phoenix with a long curly tail. The pair recalls the love story of Princess Nongyu and Xiao Shi, two skilled flute players who became immortals and flew off with phoenixes. Each measures 4.75 x 4.5 x 1 inches. Appraised for insurance purposes by Tivol in 1980 for $6,000. Saussurite identification determined through lab testing by GIA and AGS certified gemologist Tracey Kahle, report is not available. Condition Very good condition, wear consistent with age.
• CELADON JADE MONKEY AND PEACH
  CELADON JADE MONKEY AND PEACH GROUPA celadon jade carving of two monkeys, mother and child, huddled together with a peach. Unmarked. Chinese, circa early 20th century. The motif of the monkey with peach recalls the story of Sun Wukong the Monkey King, who is named Protector of the Peaches of Immortality in the 16th century novel Journey to the West . Measures 1 1/4'' x 2" x 3/4". Condition Good quality, no chips or cracks to the stone
• ROYAL DOULTON CHARACTER JUG, THE
  ROYAL DOULTON CHARACTER JUG, THE CLOWN BLACK HAIRRare not produced variation of the clown painted with black hair. This unique color trial is photographed and detailed in A Century of Royal Character & Toby Jugs by Stephen M. Mullins Schiffer Publishing, With Royal Doulton mark to underside and Rd No 810520.The Black-Haired Clown, A Very Rare Doulton Character Jug designed by Harry Fenton, circa 1937 this jug was produced in very limited numbers (less than five) and presented to the Bob Pender troupe of `Knockabout Comedians' who were popular theatrical performers in the 1920's and 30's. Pender himself was known as `The Great Drury Lane Clown' and his trademark was a clown's head of black hair. The Impressionist and Comedian Peter Cavanagh acquired the jug from Pender and it passed by family line to it's current owner. A young Archie Leach was also a member of Pender's troupe and a family member recalls lending Leach 30 to make his fortune in America. He later changed his name to Cary Grant. Artist: Harry Fenton Issued: 1937 Dimensions: 7.5"H Manufacturer: Royal Doulton Country of Origin: England Condition: Overall good
• DISNEY CLASSICS FIGURINE, PETER
  DISNEY CLASSICS FIGURINE, PETER PAN, CERTIFICATE & BOXModeled as the flying hero of the 1953 Disney animated feature. Stamped to base WALT DISNEY CLASSICS COLLECTION PETER PAN "NOBODY CALLS PAN A COWARD!" Certificate of Authenticity. Collectors box. Issued: c. 1993 Dimensions: 8.25"H x 4"W Manufacturer: Walt Disney Classics Collection Country of Origin: United States
• HONEY PEDDLER 1004638 - LLADRO
  HONEY PEDDLER 1004638 - LLADRO PORCELAIN FIGUREA young man on a donkey calls out to someone. No Box Issued: 1979 Dimensions: 11"H Manufacturer: Lladro Country of Origin: Spain
• LONDON CRY, STRAWBERRIES HN749 -
  LONDON CRY, STRAWBERRIES HN749 - ROYAL DOULTON FIGURINE...Hand painted and hand decorated in red and cream with basket of strawberries. Part of the Street Vendors series. The traditional calls of London street vendors were captured in a series of engravings by Francis Wheatly. This figure, paired with HN752 were based on those designs.. - Street Vendor Artist: Leslie Harradine Issued: 1925 - 1936 Dimensions: 6.75"H Manufacturer: Royal Doulton Country of Origin: England Condition: Good.
• CHRISTOPHER RADKO ORNAMENT, SANTA
  CHRISTOPHER RADKO ORNAMENT, SANTA CALLSPart of the Saks Fifth Avenue 1996 Christmas Collection. Depicts a jolly Santa ice skating while smoking a pipe. Hand painted glass with glitter accents. Christopher Radko backstamp to top. This item has its original box with dimensions: 5.25 in. L x 4.25 in. W x 10 in. H. Issued: 1995 Dimensions: 4"L x 3.25"W x 7.25"H Edition Number: 1279/5000 Manufacturer: Christopher Radko Country of Origin: Poland Condition: Age related wear.
• WALT DISNEY CLASSICS FIGURINE,
  WALT DISNEY CLASSICS FIGURINE, NOBODY CALLS PAN A COWAR...Porcelain figure with matte and high gloss finish. Depicts Peter Pan from the 1953 animated film. Walt Disney Classic Collection backstamp. Certificate of Authenticity included. This item has its original box: 7.5"L x 7.5"W x 11.5"H. Issued: 1994 Dimensions: 4.25"L x 3.25"W x 8.25"H Manufacturer: Walt Disney Classics Country of Origin: United States Condition: Age related wear.
• PAIR OF BOHEMIAN GLASS
  PAIR OF BOHEMIAN GLASS URNSDESCRIPTION: A Pair of Bohemian ruby red and glass lidded Urns . The hand-worked Bohemian footed red vases feature swirling white flowers that encircle the vase and lid, topped with a prism glass finial. Embellished with depictions of animals and birds. Note: Bohemian art glass reflects the present-day Czech Republic's history of glass-making, which originated in the 16th and 17th centuries. Its shimmering glasswork and organic, natural pattern recalls the decorative pre-WWI Art Nouveau era. CIRCA:Late 19th / Early 20th Century ORIGIN:Czech Republic DIMENSIONS:H:14.5 W:5" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• STEUBEN IVORY GLASS PUFF
  STEUBEN IVORY GLASS PUFF BOXDESCRIPTION: Steuben lead glass Ivory puff box with mirror black pear finial and applied lampwork blown top. #2910, p. 244 Paul V. Gardner Reference: Pictured at p. 147 of Objects of Desire, The Art of Frederick Carder by Alan Shovers Pictured in VDS with red cintra fruit finial at Fig. 5.39, p. 126 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff. The author calls this a variant of shape #5018, which is a covered compote. Provenance: Estate of Mr. and Ms. Alan Shovers Purchased 4/5/02 from Joan Miller of Chicago at O Hare Antique Show CIRCA: Early 1900s DIMENSIONS: H: 6" x D: 8" CONDITION: Great condition. Normal signs of age. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• STEUBEN ROUGE FLAMBE
  STEUBEN ROUGE FLAMBE TUMBLERDESCRIPTION: Rouge flambe toothbrush holder with tomato red towards orange coloring and random reeding at the bottom. Soda-lime glass. Signed Fredk Carder at the side, above the reeding. Reference: Shape 6767, p. 245 Gardner. Pictured at p. 99-100 of Objects of Desire, The Art of Frederick Carder by Alan Shovers Eric E. Ericson in the first volume to his treatise, A Guide to Colored Steuben Glass 1903 - 1933 p. 9 says, Frederick Carders favorite and most difficult glass to make was the only production to carry his personal AFREDK CARDER in bold Spencerian script. Other special presentation pieces were often signed in the same manner, but these were not production Steuben in the sense we shall consider in this treatise. See Advertising brochure where this piece is identified in the brochure as to shape Fig. 6.15 p. 140 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff. At p. 239 Fig. 10.92, a paperweight cologne is shown with the Intarsia style signature on the base on the side. Shape shown on the cover of Frederick Carder steuben Glass by Marshall Ketchum. See shape p. 55 of A Guide to Colored Steuben Glass 1903 - 1933 by Eric E. Ericson. Jim Barlow reports on 5/30/02 following a research trip to the Rakow that he found a reference to a rouge flambe with reeded know shape #6158(puff box/candy jar). Retail $6.00; in Cerise Ruby the most common color, $7.50. Toothbrush holders were commonly sold in sets with a tumbler and a soap dish. There is a matching Rouge Flambe tumbler, shape 1185, with reeding. In Alan Shovers collection, piece. This is the least likely glass to be encountered among any of the Carder opaques or semi opaques, or for that matter, among almost any type of his glass. A vivid dense warm red leaning toward the yellow or orange direction, it is made of a combination of chemicals, one of which was selenium that required careful proportioning and manipulation to produce the rich tomato-like color. Mr. Carder states that this was very difficult to make and that very few pieces were made. lll. No. H-23, see p. 112 Carder steuben Glass Handbook and Price Guide by John F. Hotchkiss. Like Mandarin Yellow, Rouge Flambe was also inspired by Chinese porcelains; both these glasses were made in shapes suggestive of oriental ceramics, and both were difficult to produce and particularly vulnerable to breakage caused by strains within the glass. Rouge Flambe pieces range in color from a rich red, as in Color Plate XXIII A, which was the color Carder was seeking, to an orange or coral tone. The color was produced by the addition of selenium and cadmium sulfide to the glass batch. As a result of the production difficulties, Rouge Flambe was made for only about two years, probably in 1916 and 1919. (See also Color Plate XXIV A.) The Glass of Frederick Carder by Paul V. Gardner, p. 81 Viewing Plate XXIII of Gardner the tallest piece is 6 2 A. Also, the decorated piece shown at plate XXIV is 4 1/4" H. Rouge Flambe is among the rarest of Carder glasses. Fig. 8.58, p. 198 of Frederick Carder and Steuben Glass by Thomas P. Dimitroff. Technical production difficulties, such as glass formulas that yielded unstable glass, also could result in very few items be made. This was the case with Mandarin Yellow, Rouge Flambe, and Moresque. As a result, all of these types are rare and extremely valuable. p. 239 In Color, this ware resembles a delicate tomato-red. It was made of the metallic substance selenium and a precise amount of cadmium sulfide. The manufacture of this glass was quite precarious due to the delicacy involved in both the melting process and heat treatment. The finished product has a soft, warm appearance. The marketing of this product was quite late in the 1920's and perhaps a year into the 1930's. It is an exceedingly scarce item, little being made or sold due to the tumultuous period of introduction. P. 67 of a Guide to Colored Steuben Glass 1903 -1933 (Book I), by Eric E. Ericson. Another of the little-seen type of Steuben Glass but remembered once seen for its striking rich red tomato color in a dense opaque body which Mr. Carder reported as extremely difficult to make and likely to be unstable structurally. The few pieces that are seen are almost without exception in important collections and therefore, like similar rarities, values can be an approximation of what a seller and buyer might agree upon. The scale of value would place it above Intarsia and below Diatreta. As a more specific valuation, it may be placed somewhere between the low and mid five figure prices. Art Glass Prices #3 by John F. Hotchkis 1967). Rouge Flambe glass is one of the most strikingly explosive shades achieved in glass. In view of the exact control needed for the mix, as well as the proper heat of the fire, very little variation may occur before a piece falls short of its natural brilliance. These pieces must be recognized, as they were rarely signed, but using Steuben shapes as reference along with the outstanding red color, it is highly unlikely that one will overlook such a piece. Art Glass Nouveau by Ray and Lee Grove, p. 156. This rare art glass type, consisting of fewer than one hundred examples, was produced by Frederick Carder about 1916-1917. Its color, ranging from tomato red to orange, and even coral pink, has a bright surface texture and was not acidized or iridized. Proved to be fragile, causing straining and cracking of the glass the addition of minute, metallic flecks of chrome oxide gave the ware a pearly finish. P. 40 of The Collector's Encyclopedia on American Art Glass by John A. Shuman III. See, similar wise, also at p. 146 of American Art Nouveau Glass by Albert Christian Revi. Color shown in a plate in a 1926 AD in House and Garden labeled {Steuben Glass hand wrought in the old tradition and bearing the label Steuben Glass Blown and modeled (id) at Steuben Furnaces, Corning, N.Y. The inscription reads Rouge flamme (id), the color of the small plate, is one of the rarest and most striking colors ever developed in glass. On the record interview between Carder and Philpot. The Fieldstone Porch Presents Conversations with Carder on Steuben his American Art Glass Carder says, contrary to several books that say the Intarsia signature is engraved, that he signed the Intarsia pieces, estimated at 35 in number. In the book, For Real bob Rockwell The an and His Collection by Mary Elizabeth Wahlig at p. 119 the author says: As far as Bob can recall, Aurene is the only type he would sign with its name with one exception; Bob recalls, Carder did sign just one piece Rouge flambe, fred Carder. Opaque and lined with flint white per Beth Shaut of Rockwells. Beth Shaut originally opined that this wasn't an authentic piece of Rouge Flambe because she never saw rouge flambe with reeding. She also opined that Frederick Carder never signed pieces with that form of signature on the side of a piece, except for Intarsia pieces. Subsequently, on around Feb. 26, 2002 she reported talking to Bobby Rockwell who Said it was Steuben and that the color and translucency on the edge was from being over cooked. She then goes on to apologize because she was wrong. In Glass Art Reflect the Future: Art and technical glass from the collection of The Paul Vickers Gardner Glass Center, Published at Alfred University 2002 p.3 it states: Carder never produced this fragile glass commercially; 25 large pieces known to exist may be viewed in the Frederick Carder Collection of the Corning Museum of Glass. The experimental pieces in the exhibit demonstrate the variance between translucency and opacity, depending on the degree of crystallization that occurred. Jim Barlow examined additional pictures of the signature and concluded it was engraved. He states the signature is one of two things. The work of a Master engraver who isn't bothered by forging something or it is by the person who put on all the signatures on the pieces of Intarsia at Steuben. He concludes the signature looks awfully authenticate. See signature at p. 234 of Dimitroff, Fig. 10.83, Frederick Carder and Steuben Glass and also p. 135 of The Glass of Frederick Carder by Paul V. Gardner. Also p. 200 of Thomas P. Dimitroff's book in fig. 8.65 a Rouge Flambe piece is signed with the AFredk Carder on the bottom post-production. Perfect match on an Intarsia piece shown at http://www.glassclub.org/8_22x.htm Provenance: Estate of Mr. and Ms. Alan Shovers Acquired 3/8/02 from Troy Jenkins of Sarasota, FL. CIRCA: 1900s DIMENSIONS: H: 4.5" x D: 3" CONDITION: Great condition. Normal signs of age. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS 305-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• BASEBALL THEMED BOOK, GLORY OF
  BASEBALL THEMED BOOK, GLORY OF THEIR TIMESBaseball themed book titled "The Glory of Their Times: The Story Of The Early Days Of Baseball Told By The Men Who Played It", compiled and edited by Lawrence Ritter. Book recalls the personal stories of baseball players from the early 20th century. Front and back of book with numerous player autographs (Late 1950's & Early 1960's) from the Pittsburgh Pirates and Detroit Tigers including: Dock Ellis, Bob Oliver, Andre Rodgers, Bill Knock, Woodie Fryman, Alex Grammis, Jim Price, Harry Walker, Bill Mazeraski, Bob Robertson, Joe Schultz, Jesse Gandler, Roberto Clemente, Dick Schofield, Bill Landis, Dalton Jones, Sal Maglie, Reggie Smith, Curt Flood, Joe Foy, Lee Stange, Jose Tartabull, Darrell Brandon, Al Lehner, George Scott, Dave Ricketts, Roger Maris, Steve Blass, Vernon Law, Manny Mota, and Larry Shepard. Several ink inscriptions list Japanese baseball players (Part of the Tokyo Yomirui Giants team). Also included with this lot is a Tokyo Yomiuri Giants 1971 Coca Cola Spring Training roster, and numerous baseball related newspaper clippings from the late 1960's and early 1970's. Condition: Book retains original dustcover and is in very good condition.
• THOMAS B. ALLEN PAINTINGThomas B.
  THOMAS B. ALLEN PAINTINGThomas B. Allen (Tennessee/New York, 1928-2004) oil on canvas painting of a boy holding a bag of marbles, standing against a wall plastered with paper signs. Wide stained wood frame. Signed upper right and dated 1950. 29-3/4" x 21-3/4" sight, 37" x 29-1/4" framed. Biography: Nashville-born illustration artist and painter Thomas B. Allen studied at Vanderbilt University and the Art Institute of Chicago. His illustration work appeared in numerous publications including Life, McCalls, and The New Yorker. In 1959 he illustrated a story for Esquire Magazine about bluegrass singers Lester Flatt and Earl Scruggs, which led to a close and longtime collaboration, including seventeen country music album covers. Allen earned a New York Art Directors Club Gold Medal and a Gold Medal from the Society of Illustrators. He taught at the School of Visual Arts in New York and at the Parsons School of Design, Syracuse University, and the Ringling School of Art and Design. A retrospective of his work, organized by the recording artist Marty Stuart, was held from 2000-2002 at the Grand Ole Opry. Condition: Excellent condition.
• 2 SPORTING CALLS, INCL. CHARLES
  2 SPORTING CALLS, INCL. CHARLES PERDEW1st item: Turned wood and metal cedar crow call, the side with impressed mark "Chas. H. Perdew/Henry, Ill/Pat. Nov ? 1900". 5" L. Note: Charles Perdew (1874 - 1963) began making carved duck and crow calls and decoys around 1898. He married his wife Edna Haddon in 1902, the young woman who he had hired to paint his decoys. By 1909, he had obtained a patent for his crow call. His calls are considered among the best for calling down crows and ducks. 2nd item: Turned wood and metal duck crow call, the metal band marked "C.H. DITTO KEITHSBURG ILL." 5" L. Turn of the 20th century. Note: Charles Ditto (1865-1935) of Keithsburg, Illinois was another of the early call makers. He made hard rubber reed duck and crow calls using a molded rubber toneboard. Most of his calls used a metal sleeve inside their barrels and a metal-tube insert to hold the toneboard and reed. (Courtesy: The Callmakers and Collectors Association of America). Provenance: The estate of Jean A. Yeatman and Harry C. Yeatman, formerly of Hamilton Place Plantation (near Columbia, Tennessee). (Higher-resolution photos are available at www.caseantiques.com) Condition: Both overall good condition with general wear. Ditto call with painted letters to the side.
• CLARKE, SIDNEY W. THE ANNALS OF
  CLARKE, SIDNEY W. THE ANNALS OF CONJURING. LONDON: GEOR...Clarke, Sidney W. The Annals of Conjuring. London: George Johnson, 1929. Author's Copy of the First Edition. Limited to four copies printed by the author's instructions, being the first, annotated on the limitation page, and signed and dated on the flyleaf by the author above the bookplate of his daughter D.M. Clarke. Publisher's three-quarter bound chocolate leather with cloth sides, banded spine ruled and lettered in gilt. Tipped-in halftone plates, illustrations. Large 8vo. Light rubbing at corners, preliminaries foxed. The publisher, George Johnson, placed advertisements for subscription orders of the Annals beginning in 1919, promising a Ònoteworthy Historical and Pictorial Record of Conjuring from the earliest rimes to the present day.Ó Falling short of the sufficient number of orders, even after several years of advertising, the publisher at last decided on serial publication in his magazine The Magic Wand, where it appeared in regular installments over nearly five years. At the conclusion of its serialization calls resumed for a book-form version, which the publisher obliged with apparent spite, issuing just four copies at the prohibitive price of $100. The work gained new admirers within a matter of years, and was reviewed in 1937 by H. Adrian Smith in Tops as Òthe most comprehensive history on magic ever written,Ó a superlative its next publisher (Magico) retained nearly a half century later in the long-awaited reprint edition. Most recently the work was the subject of a commemorative edition published by Miracle Factory (see Lot 181).
• A COMPLAINT BY HORACE GOLDIN
  A COMPLAINT BY HORACE GOLDIN AGAINST BLACKSTONE.Blackstone, Harry (Henry Boughton). A Complaint by Horace Goldin Against Blackstone. New York, 1932—33. Three pages total, comprising the letter sent to Blackstone by Pat Casey of the Vaudeville Managers Protective Association; a copy of Goldin’s complaint stating that “Blackstone in America has also pinched my latest sensational illusion of sawing through a lady with a circular saw”; and a partial copy of Blackstone’s reply to what he calls a “patently silly complaint”, comparing it to an attempt to patent the act of shaving when one has patented a safety razor.
• HARRY HOUDINI VS. THE GREAT
  HARRY HOUDINI VS. THE GREAT BLACKSTONE. FILE OF DOCUMEN...[Houdini, Harry (Ehrich Weisz)] Harry Houdini vs. The Great Blackstone. File of Documents Regarding Houdini’s Charge Against Blackstone’s Use of the “Overboard Box” Escape Trick, and Blackstone’s Expulsion from the S.A.M. New York and Cleveland, 1922—24. Fifteen pages total, all with regard to the complaint made by Houdini against Blackstone for the performance of the box escape trick, which Houdini claimed Blackstone had promised never to do. Including letters from vaudeville agents Pat Casey and Henry Chesterfield demanding Blackstone’s attention to the complaint, and an original carbon copy of Blackstone’s biting and anti-Semitic-laced four-page response to Houdini’s charge, addressed to Casey. Blackstone recalls his own performance of the box trick, at which he reminds Casey was himself present, that “ante-dated any box trick our dear Jewish friend ever attempted, other than what was generally termed ‘The Hindoo Box Mystery’, which was a purchasable commodity and in general use… In fact, it was not unusual to see an occasional one at a street carnival”. He comments that Houdini, “this chosen son of the great Patriarch, seems to be hankering for the limelight constantly, and not satisfied with being the ‘Handcuff King’, a motion picture idol, and a sometime headliner, will still stoop to the old time worn stunt of his kind to cry ‘Thief’, when he never had an original trick in his whole career…” With a typed letter signed (June 2, 1924) from the secretary of the S.A.M., Richard Van Dien, expelling Blackstone from the organization for “conduct unbecoming a member” by “reproducing several of [Houdini’s] original creations”, and a clipping from Zit’s Weekly (Nov. 10, 1922) reporting on Houdini’s complaint.
• GROUP OF 18 ALSS FROM SWAN
  GROUP OF 18 ALSS FROM SWAN CARDINI TO DANNY DEW.Cardini, Swan. Group of 18 ALSs from Swan Cardini to Danny Dew. Spanning 1962 – 89, and including both ALSs and handwritten greeting and Christmas cards. The missives discuss a wide range of topics, including tricks Cardini is making for Dew (Swam calls them “gadgets”), tricks and gimmicks Dew bought from Swan after Cardini’s death (“I am sending you one of Dick’s monocles and his cigarette lighter…”), personal matters related to both families, spiritualism, and more. Some letters describe tricks Cardini performed from Swan’s perspective, particularly a watch predition trick (Stull-type) and his trained parakeet card tricks. Other magicians mentioned include Hymack, Ricky Jay, The Davenports, Faucett Ross, and many more. In one letter, she tells Dew “If you see anyone who remembers Cardini, please give them my best. All except you know who.” The latter is most likely a reference to Dai Vernon, whom Swan carried a grudge against for supposedly stealing Cardini’s routine for the Linking Rings. Mostly 8vo sheets and smaller, generally very good condition, some original mailing covers retained.
• NEO MAGIC.Sharpe, S.H. Neo Magic.
  NEO MAGIC.Sharpe, S.H. Neo Magic. London: George Johnson, 1932. First edition. Embossed red cloth stamped in gilt. 8vo. Corner bump, label on front pastedown, spine toned. Inscribed and signed by the author, with a tipped-in note stating “This autographed copy of Neo Magic was given to me by my old friend, the author, on 15th October, 1932. Once again I typed the complete Mss. For him. Dleisfen alias “Conjurer Dick” (as he calls me).” The book is indeed inscribed to “Conjurer Dick.”
• A SPANISH COLONIAL PAINTING,
  A SPANISH COLONIAL PAINTING, "VIRGEN DE LA CONSOLACIóN ...A SPANISH COLONIAL PAINTING, "Virgen de la Consolación de Jerez," 18TH/19TH CENTURY, oil on canvas, with partial dedication, "V.R.to de la Milagrosa Imagn. de N.S. de Consolación. Aparecida en el Golfo de Rosas año de 1489 la q. se Venera en el Imperial Convento de Religiosa Dominicos de la Ciudad...," bearing the insignia of the Dominican Order, 41" x 31", framed, 45" x 35". Note: The Spanish legend recalls that the Virgin of Consolation of the City of Jerez has its origins in the Mediterranean Sea, when the Genoese navigator Domingo Adorno sailed with five other ships in the Gulf of Roses. Surprised by a great storm and certain to wreck, there suddenly appeared two small lights approaching. The crew witnessed a miracle, finding a precious image of the Virgin Mary. Domingo Adorno dreamt of seeing the Blessed Virgin tell him, "Take me to Jerez, to the convent of my children the Dominican friars. I am going to console the people of Jerez." Without knowing exactly how or where to leave the image, the oxen pulled the cart with the holy image until they reached Jerez's doorway of the convent church of Santo Domingo. Centuries of veneration of the image have brought consolation and blessing to many. Copies of the image are found in both Spain and the Americas. One example held at the Denver Art Museum was executed by Vicente Luciano Talavera (Mexican active 1730). Condition: Laid to secondary canvas, has some damages and losses near edges, overall in good 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."
• DAVID LAZARUS OIL ON CANVAS "LONE
  DAVID LAZARUS OIL ON CANVAS "LONE FISHERMAN IN CANOE"David Lazarus (British-American, b. 1952) Oil on Canvas "Lone Fisherman in Canoe" , depicted on a lake in a mountainous wooded lakescape, signed lower right D. Lazarus. 15 ¾ in. x 19 ¼ in. Overall 21 in. x 25 in. David Lazarus (British-American, b. 1952) David Lazarus was born in London, England, and counts among his early artistic experiences a fascination with the art of scrimshaw. The miniature scale of this medium suited him well, as it enabled him to travel with a studio the size of a cigar box. Eventually settling on Nantucket, Lazarus established himself as one of the island's premier artists. During the last 20 years, Lazarus has devoted more time to painting in oils. "The looseness of pushing paint around, after having engraved miles of tiny lines, has been liberating as well as challenging." Lazarus explains. David's work recalls a modern-day Frank W. Benson in terms of his brushwork. His work is bright, vivid and full of light. His impressionist style allows him to move the paint around the canvas and place it just so. His paintings are a high-wire act with risks and rewards. Sometimes the paint can get a little muddied and he literally discards those works into the trash. But when he nails them, which is more often than not, the results are amazing. ~ Stephen O'Brien, Stephen O'Brien Jr. Fine Arts, LLC, Boston. Lazarus studied at the Bath Academy of Art in England. He came to Nantucket to do scrimshaw in the 1970s, having spent time working with the scrimshanders in Bellingham, Washington. He first scrimmed for the Four Winds Craft Guild. Lazarus continues to expand his oeuvre with meticulous copper engravings, watercolor and oils. He has exhibited at the (X) Gallery, the Old Spouter Gallery and the South Wharf Gallery, and continues to be represented by Four Winds Craft Guild. His work is in numerous private and public collections. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• DAVID LAZARUS OIL ON CANVAS
  DAVID LAZARUS OIL ON CANVAS "THREE FISHERMAN IN A CANOE...David Lazarus (British-American, b. 1952) Oil on Canvas "Three Fisherman in a Canoe" , depicted in a mountainous wooded lake-scape, unsigned, in gilt frame 23 ½ in. x 29 ¼ in. David Lazarus was born in London, England, and counts among his early artistic experiences a fascination with the art of scrimshaw. The miniature scale of this medium suited him well, as it enabled him to travel with a studio the size of a cigar box. Eventually settling on Nantucket, Lazarus established himself as one of the island's premier artists. During the last 20 years, Lazarus has devoted more time to painting in oils. ‰ÛÏThe looseness of pushing paint around, after having engraved miles of tiny lines, has been liberating as well as challenging,‰Û Lazarus explains. David‰Ûªs work recalls a modern-day Frank W. Benson in terms of his brushwork. His work is bright, vivid and full of light. His impressionist style allows him to move the paint around the canvas and place it just so. His paintings are a high-wire act with risks and rewards. Sometimes the paint can get a little muddied and he literally discards those works into the trash. But when he nails them, which is more often than not, the results are amazing.‰Û ~ Stephen O‰ÛªBrien, Stephen O‰ÛªBrien Jr. Fine Arts, LLC, Boston Lazarus studied at the Bath Academy of Art in England. He came to Nantucket to do scrimshaw in the 1970‰Ûªs, having spent time working with the scrimshanders in Bellingham, Washington. He first scrimmed for the Four Winds Craft Guild. Lazarus continues to expand his oeuvre with meticulous copper engravings, watercolor and oils. He has exhibited at the (X) Gallery, the Old Spouter Gallery and the South Wharf Gallery, and continues to be represented by Four Winds Craft Guild. His work is in numerous private and public collections. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• DAVID LAZARUS ACRYLIC ON BOARD
  DAVID LAZARUS ACRYLIC ON BOARD "NANTUCKET TOWN"David Lazarus (b. 1952) Acrylic on Board "Nantucket Town" , depicting the skyline of Nantucket from Monomoy, signed lower right D. Lazarus 11 in. x 14 in. Overall 12 in. x 15 in. “David Lazarus was born in London, England, and counts among his early artistic experiences a fascination with the art of scrimshaw. The miniature scale of this medium suited him well, as it enabled him to travel with a studio the size of a cigar box. Eventually settling on Nantucket, Lazarus established himself as one of the island’s premier artists. During the last 20 years, Lazarus has devoted more time to painting in oils. “The looseness of pushing paint around, after having engraved miles of tiny lines, has been liberating as well as challenging,” Lazarus explains. David’s work recalls a modern-day Frank W. Benson in terms of his brushwork. His work is bright, vivid and full of light. His impressionist style allows him to move the paint around the canvas and place it just so. His paintings are a high-wire act with risks and rewards. Sometimes the paint can get a little muddied and he literally discards those works into the trash. But when he nails them, which is more often than not, the results are amazing.” Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• DAVID LAZARUS OIL ON CANVAS
  DAVID LAZARUS OIL ON CANVAS "WORKING WATERFRONT"David Lazarus (b. 1952) Oil on Canvas "Working Waterfront" , signed lower left D. Lazarus, in molded wood frame with gilt liner 32 in. x 42 in. Overall 36 in. x 46 in. David Lazarus (British-American, b. 1952) “David Lazarus was born in London, England, and counts among his early artistic experiences a fascination with the art of scrimshaw. The miniature scale of this medium suited him well, as it enabled him to travel with a studio the size of a cigar box. Eventually settling on Nantucket, Lazarus established himself as one of the island’s premier artists. During the last 20 years, Lazarus has devoted more time to painting in oils. “The looseness of pushing paint around, after having engraved miles of tiny lines, has been liberating as well as challenging,” Lazarus explains. David’s work recalls a modern-day Frank W. Benson in terms of his brushwork. His work is bright, vivid and full of light. His impressionist style allows him to move the paint around the canvas and place it just so. His paintings are a high-wire act with risks and rewards. Sometimes the paint can get a little muddied and he literally discards those works into the trash. But when he nails them, which is more often than not, the results are amazing.” Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• DAVID LAZARUS ACRYLIC ON CANVAS
  DAVID LAZARUS ACRYLIC ON CANVAS "SAND ROAD TO THE BEACH...David Lazarus (British-American b. 1952) Acrylic on Canvas "Sand Road to the Beach", signed lower right D Lazarus 24 in. x 24 in. David Lazarus (British-American, b. 1952) “David Lazarus was born in London, England, and counts among his early artistic experiences a fascination with the art of scrimshaw. The miniature scale of this medium suited him well, as it enabled him to travel with a studio the size of a cigar box. Eventually settling on Nantucket, Lazarus established himself as one of the island’s premier artists. During the last 20 years, Lazarus has devoted more time to painting in oils. “The looseness of pushing paint around, after having engraved miles of tiny lines, has been liberating as well as challenging,” Lazarus explains. David’s work recalls a modern-day Frank W. Benson in terms of his brushwork. His work is bright, vivid and full of light. His impressionist style allows him to move the paint around the canvas and place it just so. His paintings are a high-wire act with risks and rewards. Sometimes the paint can get a little muddied and he literally discards those works into the trash. But when he nails them, which is more often than not, the results are amazing.” Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.