A few examples of appraisal values for
CONSENSUS

• AN ELECTROTYPE DAMASCENED AND
  AN ELECTROTYPE DAMASCENED AND PARTIAL GILT SILVER PLATE...AN ELECTROTYPE DAMASCENED AND PARTIAL GILT SILVER PLATE PLAQUE DESIGNED BY LEONARD MOREL-LADEIUL (FRENCH, 1820-1888) "A POMPEIAN LADY AT HER TOILETTE," ELKINGTON & CO., BIRMINGHAM, ENGLAND, DATED 1876, the circular plaque of a partially draped woman reclining on a couch gazing into a hand mirror, attended by three handmaids, set in the atrium of a Pompeian villa, with gilt scrolled border set with bosses and aubergine ground damascened outer border with acanthus leaf, scroll, griffin, and mask decoration, signed within the plate "Morel-Ladeiul, Inv & Fecit, 1876," and "Elkington Co." NOTE: The original version of this plaque, produced in silver and damascened steel, was designed by the French silversmith Leonard Morel-Ladeiul as the principal feature of the Elkington & Co. stand at the 1876 Philadelphia International Centennial Exhibition. Although the exhibition piece itself remained unsold, electrotype copies of "A Pompeian Lady At Her Toilette" were available for purchase, with sales spurred by the general consensus that Morel-Ladeiul's creation was one of the most beautiful works of art in the exhibition. Diameter: 20"
• OLD WOOL PERSIAN TREE OF LIFE
  OLD WOOL PERSIAN TREE OF LIFE PICTORIAL RUGHand-woven Persian rug. Research has yielded differing opinions as to what this rug is: an Isfahan, a Ferahan Sarouk, a Kerman, a Tabriz. There is a tree of life depicted, as well as a portrait, presumed to be of a woman. No signature evident. Opinions about the age range from the mid-1800s to the early 1900s (about its being an antique or vintage rug, as opposed to a modern one, there is consensus). Rug is wool, and it measures about 83" x 55". Good condition, with no tears or holes, no thins, no repairs, no smells. See images for detail.
• (2) AMERICAN MUSEUM NATURAL HISTORY
  (2) AMERICAN MUSEUM NATURAL HISTORY HOMINID BUSTS(lot of 2) Cast plaster hominid busts, stamped Tomas Newbery (American, 20th c.), under the direction of Harry L. Shapiro (American, 1902-1990), curator of the Department of Anthropology at the American Museum of Natural History, on display stand, each dated 1960, including: (1) "Homo Sapiens- Cro Magnon", (1) "Homo Sapiens-Upper Cave- Choukoutien", approx 16"h, 8.5"w, 11"d, 12.6lbs total **Provenance: American Museum of Natural History in New York City. Each Bust is a representation of a fossil hominid according to scientific consensus in 1960**
• (2) AMERICAN MUSEUM NATURAL HISTORY
  (2) AMERICAN MUSEUM NATURAL HISTORY HOMINID BUSTS(lot of 2) Cast plaster hominid busts, stamped Tomas Newbery (American, 20th c.), under the direction of Harry L. Shapiro (American, 1902-1990), curator of the Department of Anthropology at the American Museum of Natural History, on display stand, each dated 1960, including: (1) "Homo Sapiens-Broken Hill ", (1) "Homo Sapiens-Wadjak", approx 16"h, 8.5"w, 11"d, 13.6lbs total **Provenance: American Museum of Natural History in New York City. Each Bust is a representation of a fossil hominid according to scientific consensus in 1960**
• (2) AMERICAN MUSEUM NATURAL HISTORY
  (2) AMERICAN MUSEUM NATURAL HISTORY HOMINID BUSTS(lot of 2) Cast plaster hominid busts, stamped Tomas Newbery (American, 20th c.), under the direction of Harry L. Shapiro (American, 1902-1990), curator of the Department of Anthropology at the American Museum of Natural History, on display stand, each dated 1960, including: (1) "Homo Sapiens-Florisbad ", (1) "Homo Sapiens-Steinheim", approx 16"h, 8.5"w, 11"d, 13 lbs total **Provenance: American Museum of Natural History in New York City. Each Bust is a representation of a fossil hominid according to scientific consensus in 1960**
• (2) AMERICAN MUSEUM NATURAL HISTORY
  (2) AMERICAN MUSEUM NATURAL HISTORY HOMINID BUSTS(lot of 2) Cast plaster hominid busts, stamped Tomas Newbery (American, 20th c.), under the direction of Harry L. Shapiro (American, 1902-1990), curator of the Department of Anthropology at the American Museum of Natural History, on display stand, each dated 1960, including: (1) "Australiopithicus Africanus-Makapansgat", (1) "Australiopithicus Robustus-Kromdraai", approx 15.5"h, 8.75"w, 11.25"d; 5.75lbs total **Provenance: American Museum of Natural History in New York City. Each Bust is a representation of a fossil hominid according to scientific consensus in 1960**
• (2) AMERICAN MUSEUM NATURAL HISTORY
  (2) AMERICAN MUSEUM NATURAL HISTORY HOMINID BUSTS(lot of 2) Cast plaster hominid busts, stamped Tomas Newbery (American, 20th c.), under the direction of Harry L. Shapiro (American, 1902-1990), curator of the Department of Anthropology at the American Museum of Natural History, on display stand, each dated 1960, including: (1) "Homo Erectus - Choukoutien," (1) "Homo Erectus - Sangiran", approx 15.5"h, 8.75"w, 11.25"d; 14lbs total **Provenance: American Museum of Natural History in New York City. Each Bust is a representation of a fossil hominid according to scientific consensus in 1960**
• (2) AMERICAN MUSEUM NATURAL HISTORY
  (2) AMERICAN MUSEUM NATURAL HISTORY HOMINID BUSTS(lot of 2) Cast plaster hominid busts, stamped Tomas Newbery (American, 20th c.), under the direction of Harry L. Shapiro (American, 1902-1990), curator of the Department of Anthropology at the American Museum of Natural History, on display stand, each dated 1960, including: (1) "Homo Erectus / Sapiens - Skhul V", (1) "Neandertalensis - La Chapelle aux Saints", approx 16"h, 8.75"w, 11.25"d; 12.5lbs total **Provenance: American Museum of Natural History in New York City. Each Bust is a representation of a fossil hominid according to scientific consensus in 1960**
• WAYNE E. CAMPBELL, SCREENPRINT,
  WAYNE E. CAMPBELL, SCREENPRINT, ARTIST'S PROOF Wayne E. Campbell (American, b. 1944), "This Is Only a Reality of Special Consensus", c. 1969, silkscreen on Arches, pencil signed, marked "A.P. 22/40" and inscribed "for Lewis" [Stein], lower margin, framed under Plexiglass, 26.25"h x 20"w (sheet), 29.25"h x 23.25"w (frame)
• ? AN UNRECORDED ITALIAN [URBINO]
  ? AN UNRECORDED ITALIAN [URBINO] ISTORIATO MAIOLICA DISH, ATTRIBUTED TO NICOLA DA URBINO, CIRCA 1520-23 SAMSON AND DELILAH Depicting the treacherous Delilah, with scissors and holding to one side the locks of hair she has cut from the kneeling Samson, inscribed on the bench and the wall behind ‘DALIDA’ and ‘SANSON’, the single large shoe in the foreground referring to Samson’s now lost physical strength and size, or it could be the jaw of an ass, a symbol of his previous victories.27.2cm diameter, 5.3cm highProvenance: From the collection of James Ewing (1775-1853) Strathleven House, Dunbartonshire, by descent and by inheritance to the present owners. An inventory of 1926 lists the dish along with another [also offered for sale here] as being framed in “Quaint Gilt Circular Frames” and valued at £300.Ewing, a Glasgow merchant with antiquarian interests and contributions to the historical and literary Maitland Club, was closely involved with civic affairs as director of Glasgow’s Chamber of Commerce. In 1832 he served as Lord Provost of Glasgow and as a Glasgow MP. Marrying late and in his 60s, he accompanied his young wife on a tour of Europe and Italy in 1844-5. Correspondence in connection to this trip was later privately published as a memoir by the Reverend MacIntosh Mackay in 1866. Within these letters there are few references to Ewing acquiring or buying art, although it was at this time that he bought several significant pieces, one being the Portrait of Jacopo Dolfin by Titian, now in the Los Angeles County Museum of Art.[1] He does however mention, in a letter from Florence on the 27th November 1844, purchasing “China pieces of the fourteenth century” when he was in Genoa a few weeks previously.[2] This gives us some evidence that he acquired maiolica at this time and it seems likely that this is how he came to acquire this dish and the other in this sale.[1]Humfrey et al., p122 Cat34 and p416[2]Rev Macintosh Mackay, LL.D. p152 Note: Nicola di Gabriele Sbraghe, potter and workshop owner (active 1520-1537-8), is acknowledged as the master of the ‘istoriato’ style of maiolica decoration in early 16th century Italy. Consensus describes him as the “Raphael of maiolica painting”.[1] His graceful fluid draftsmanship, lyrical figure drawing, understanding of recessional space, and use of contemporary classically inspired Renaissance architectural views are all characteristic of his style and are well illustrated here. Overall, his knowledge of the work of his contemporary Raphael, who died in 1520, and his circle in Rome, is evidenced by a print by Giovanni Antonio da Brescia, who also worked in Rome at this time [see figure 1]. The print, from 1510-20, is a circular engraved composition in reverse of this subject.[2] Both potter and printmaker appear to have knowledge of an unknown original narrative image of this subject matter, now lost. As is sometimes the case with Nicola, some of the figures in this piece hint of an even more direct knowledge of Raphael’s early work.[3]This dish and other early work by Nicola are related very closely to a monogrammed and dated dish of 1521 with the figure of a seated sovereign, now in the Hermitage Museum, St Petersburg,[4] to a dish illustrating the Calumny of Apelles in the Ashmolean Museum Oxford (dated by Wilson to 1522-3),[5] and to a plate of Venus, Mars, Apollo, and Vulcan now in the Kunstgewerbemuseum Berlin.[6] Above all, however, it relates to an acclaimed service or credenza encapsulating Nicola’s early poetical style made for an unknown client consisting of seventeen surviving pieces donated to the city of Venice by the patrician Teodoro Correr after his death in 1830.[7] This is the largest surviving set of 16th Century ‘istoriato’ maiolica in the world in a single collection. The service, even quite recently, has been described as “one the loveliest achievements of all maiolica-painting”.[8] There may be reasons on grounds of subject matter and style to speculate that this plate may originally have been part of this service.In the 19th century the Correr maiolica service was thought by scholars to have been painted by the Urbino painter Timoteo Viti (1469-1523) and was seen as the jewel in the crown of the Correr collection. The painting style of Nicola’s early work that we have here seems to stylistically reference his work in the broadest sense. Viti, trained in the dynamic humanist artistic background of Bologna under Francesco Francia, is known to have worked with Raphael in the Chigi Chapel in Santa Maria della Pace in Rome circa 1511. As a friend of Raphael, Viti is reputed to have obtained or inherited the most important group of Raphael’s studio drawings and to have brought them back to Urbino after Raphael’s death. He himself died in 1523. Nicola’s knowledge of Raphael’s style of work may in part be due to links with Viti whose workshop in Urbino he may have frequented or where he may have even trained.[9] Giovanni Antonio da Brescia copied and produced his own versions of the work of the Bolognese printmaker Marcantonio Raimondi (1480-before 1538). Raimondi had also trained under Francesco Francia and did more than anything to disseminate Raphael’s ideas in Italy and abroad from about 1510.It is unprecedented for maiolica from this early period of Nicola’s maiolica production to come on the market.[1] A description first coined by Wilson, 1987, p44. For a full catalogue raisonné of Nicola’s output see Mallet 2007, p199-250[2] Bartsch, vol XIII, p70,n.2 (BM reg. 1925,1215.104). We are grateful to the late Michael Bury for suggestions that led to the identification of this source.[3] For example the central figure of the armed philistine echoes in gesture and expression similar to figures round the tomb in Raphael’s early painting of The Resurrection of 1501-2, now in the Museo de Arte de Sao Paulo, Chapman, Henry and Plazzotta, 2004,Cat 21, p110[4] Wilson in Écouen, 2011, p158-9[5] Wilson, 2017, Cat 54, p158-9[6] See Hausmann, 1972, Cat 170, p230[7] All pieces from the Correr service are illustrated in Écouen, 2011 p 164-167[8] Wilson, 2017, p133.[9] Wilson in Écouen 2011, p160Literature:Bartsch, Adam. Le peintre graveur, Degen, Vienna, 1808-21Chapman, Hugo, Henry, Tom and Plazzotta, Carol. Raphael from Urbino to Rome, exh. cat., National Gallery, London, 2004Écouen 2011. Majolique. La faïence italienne au temps des humanistes, 1480-1530. Exb cat., Musée national de la Renaissance, Écouen, 2011Hausmann, Tjark. Majolika spanische und italienische Keramik vom 14. is zum 18.Jahrhundert (Katalogue des Kunstgewerbemuseum Berlin V1) Berlin, 1972Humfrey, Peter, Clifford, Timothy, Weston-Lewis, Aiden, and Bury, Michael. The Age of Titian – Venetian Renaissance Art from Scottish Collections, National Galleries of Scotland, 2004Mallet, J.V.G. ‘Nicola da Urbino and Francesco Xanto Avelli’, Faenza, 93, no 4-6 2007, p199-250Rev Macintosh Mackay, LL.D. Memoir of James Ewing Esq. of Strathleven, formerly Lord Provost of Glasgow and M.P for that city, LL.D of the University of Glasgow with a series of letters written while on a tour in Italy, Switzerland, &C., &C. Glasgow, 1866.Wilson, Timothy (with the collaboration of Patricia Collins and an essay by Hugo Blake). Ceramic Art of the Italian Renaissance, exh. cat., British Museum, 1987, p44Wilson, Timothy. Italian Maiolica and Europe, Oxford, 2017With thanks to Celia Curnow for the extensive research and footnote on this lot.
• M1851 Colt Navy Presented to
  M1851 Colt Navy Presented to Captain Michael Grealish by Col George H. Hoyt .36 cal. 7.5" octagonal barrel S/N 132996. Single line New York address. Factory engraved with one-piece ivory grips.? Blued finish with silver-plated backstrap and triggerguard.? Inside of triggerguard inscribed: "Presented to Captain M. F. Grealish/by Col. Geo. H. Hoyt". An interesting inscription in which the presenter Colonel Hoyt is of greater historical significance than the recipient Captain Grealish. The relationship between the two men is unknown. The post-war presentation could not have been made before July 1866 when Grealish was commissioned captain. By then Colonel Hoyt had already resigned in July 1865 following a promotion to brevet brigadier general that March.Irishman Michael Grealish (abt. 1839-1897) was employed as miner when he enlisted in Company K 1st Colorado Infantry at Central City Colorado Territory in September 1861. The 1st Colorado would be redesignated as cavalry in November 1862 and was commanded by the notorious Colonel John Chivington who would squander the minor celebrity he achieved in March 1862 at the battle of Glorieta Pass forever tainted in memory by his ruthless culpability in the November 1864 San Creek Massacre. Private Grealish was present at Glorieta and served uninterrupted with the regiment until May 1864 when he was ordered on detached duty to Ft. Lyon CT with the Commissary Department. He remained at Fort Lyon attempting to secure a commission in the Quartermaster Department until mustering out in December 1864. Private Grealish even petitioned the President. An interesting war dated letter found in his archive file bears the letterhead of the "Executive Mansion" dated January 1864. The President had scrawled a quick note to the Secretary of War inquiring "Is there a vacancy of Military Store Keeper in Kansas to which I can order the appointment of Michael Grealish? Signed "Yours Truly/A.Lincoln."Grealish ultimately was appointed Military Store Keeper (MSK) in the Ordnance Department in July 1866 with the rank of captain. Correspondence from the period relates that Grealish's preference was the Quartermaster Department but that he settled for Ordnance when a vacancy opened. Except for a few weeks leave every few years Captain Grealish would serve for the next thirty-one years as a dedicated Military Store Keeper at various government arsenals. In fact he died of heart failure at the Allegheny Arsenal on May 1 1897 while still on active duty. In the intervening decades he was posted to Hilton Head South Carolina August 1866 to November 1867; Pikesville Arsenal Md. to May 1876; Augusta Arsenal to November 1889; Rock Island Arsenal to November 1894 and the Allegheny Arsenal until his death in May 1897.His cumulative service record is nearly spotless. He was charged with "disobedience of orders" in December 1885 by the officer commanding the Ordnance Department but was never formally tried or sanctioned. Grealish married in Kansas in November 1876 and in 1879?unsuccessfully sued the government for back pay. Grealish's widow Mary collected his pension until her death in Riverton Wyoming in April 1918.The revolver's presenter George Henry Hoyt (1837-1877) was a most extraordinary fellow whose short career included stints as lawyer tied to Abolitionist John Brown and soldier with the notorious Kansas "Red Legs" that paved the way for a political appointment as Kansas Attorney General in 1867-69.Paid by one of John Brown financial backers George Hoyt a novice attorney in 1859 reluctantly found himself brought in to assist in the defense of the messianic John Brown who blithely stood accused of "treason" after his explosive Harper's Ferry Raid. Hoyt joined the defense team too late to affect the outcome of the rushed trial which seemed to sympathetic Abolitionists preordained to end at the gallows. Brown's attempted slave revolt riveted the nation giving currency to extreme elements on both sides of the smoldering sectional debate. The prospect of national compromise dimmed to darkness as the trap door dropped open under the weight of Brown's prophecy.With more than a hint of opportunism afforded by the advent of the Civil War the young Hoyt turned up in militantly free-state Kansas where he was commissioned in Company B 7th Kansas Cavalry as a 2nd lieutenant in 1861. After less than a year riding roughshod in Missouri with Jenison's Jayhawker's Captain Hoyt was discharged for disability September 1862. Hoyt then became associated with the formation of an equally notorious group of irregulars known as the "Red Legs" organized "sometime in 1862. One source says that Captain Hoyt commanded the "Red Legs" which came to be "recognized as a badge of desperate service in the Union army."As the worst of guerilla war subsided under the pressure of martial law and stricter military accountability Hoyt became Lieutenant Colonel of the 15th Kansas Cavalry in October 1863. Colonel Hoyt commanded detachments in the field during 1864-1865 as numerous citations in the O.R.'s attest. Hoyt duly received an obligatory brevet star in March 1865. Colonel Hoyt's military service was brought to an abrupt conclusion in April 1865 when he was badly injured in a runaway stage coach accident while traveling on army business. Barely able to walk Hoyt was declared unfit for duty and was compelled to resign in July 1865. Sustained by his political ambition Hoyt's last hurrah on the public stage came in 1867 when he became Kansas Attorney General. When the term was completed in 1869 Hoyt's fragile health gave out completely compelling him to "abandon business pursuits entirely" according to a consensus of affidavits in his pension file. George Henry Hoyt died prematurely on February 2 1877 in Athol Massachusetts and is buried in the local Silver Lake Cemetery (Lot 828). His widow Mary A. Hoyt continued to receive her husband's pension until her death in January 1920.The inscribed Colt Navy is likely Captain Grealish's early service revolver carried before the general availability of more modern cartridge conversions starting in 1870. The context of the presentation is unknown and it is not evident from the records how or when the two officers might have crossed paths in their respective ranks. Accompanying the Colt are two thick files containing National Archive military and pension records for both men. Condition: Revolver appears to be an old refinish however it still retains its factory sharp edges and markings.? Barrel and cylinder with nice patina brown and traces of blue finish.? Ivory grips has nice aged look .
• HUBERINUS, Caspar, (German,
  HUBERINUS, Caspar, (German, 1500-1553): Important Reformation Work, ''UNDE GÜDICHEIT GADES'' by Caspar Huberinus (also, Caspar Hueber or Kaspar Huber). Magdeborch (Magdeburg): n.p., 1562. [Bound with:] Huberinus, Caspar. Vam Waren Erkentenisse Gades. Magdeborch: Andreas Ghene, 1562. Together, 2 volumes bound into one volume. Octavo, elaborate blind-stamped pig featuring the holy family front and rear with decorative panels of iconic symbols and the date ''1564'', [viii], 169, [ii] leaves + [ix], 283, [iv] leaves. Foreword by Martin Luther, decorative initials. Cover is worn and lacks original clasps; interior clean and tight. Among scholars dealing with studies on the history of the Reformation there is a growing consensus that not only the great reformers, but also the other theologians who popularized and propagated Luther's teaching are worthy of attention. One such figure is the all but forgotten Caspar Huberinus (1500-1553), whose works are of greatest importance for the history of spirituality. Caspar was a personal friend of Martin Luther. 6 3/4'' x 5'' x 2 1/2''.CONDITION: Please note condition in description