An antique flintlock pistol, engravedAn antique flintlock pistol, engraved Hinks. 6.5”L Condition: wear overall CT Transfer Fee $10
ARTHUR BURDETT FROST (1851-1928)WinterARTHUR BURDETT FROST (1851-1928)Winter Golf - Play the Like in Four!, c. 1899
signed "A.B. Frost" lower right
gouache, 17 1/2 by 25 1/2 in.
This important self portrait of the artist golfing and his two sons as caddies appeared as a full-page spread in "Harper's Weekly" in 1899, between articles on hunting big and small game in the American West, competitive trap shooting, and brook trout fishing.
In the same year as this painting, Frost published a portfolio of images with Harper's titled "Sports and Games in the Open." Henry M. Reed writes, "To anyone who thinks of Frost solely as an artist of men with guns and dogs, this portfolio dispels that notion. All are outdoor images, but the portfolio mixes hunting scenes with numerous examples of fishing pictures, bicycling scenes, a few genre pictures, and illustrations of one of Frost's favorite pastimes--the game of golf."
Located just a couple of miles from the Frost family home in Convent Station, "Moneysunk," the Morris County Golf Club in Morristown, New Jersey, has a number of Frost's original golf paintings. Frost was a member of the club, which opened in 1894, and the artist posted a course-record scorecard in 1903. Interestingly, Morris County Golf Club was founded and operated by women, who made up the thirty-two regular members.
The title of this work includes the phrase "play the like," which originated from an early method of scoring match play. To "play the like" is to come even in strokes with an opponent.
Provenance: Private Collection, New York, acquired from Ernest Hickok, c. 1980
Literature: "Harper's Weekly," Vol. XLIII, No. 2208, April 15, 1899, p. 371, illustrated.
Gary Schwartz, "The Art of Golf, 1754-1940: Timeless, Enchanting Illustrations, and Narrative of Golf's Formative Years," 1990, p. 42, illustrated.
Peter Dobereiner, "The Glorious World of Golf," New York, 1973, p. 16, illustrated.
Henry M. Reed, "The A.B. Frost Book," Charleston, SC, 1993, p. 106.
"New Morris County Golf Score," New York Times, June 28, 1903.
EARLY HUMPBACK BLACK DUCKThe Ward Brothers
LemuelEARLY HUMPBACK BLACK DUCKThe Ward Brothers
Lemuel T. (1896-1984) and Stephen (1895-1976)
Crisfield, MD, 1921
17 in. long
“Stephen W. Ward (1895-1976) and his brother Lemuel Travis Ward (1896-1984) of Crisfield, Maryland were by far the most prominent Chesapeake Bay carvers of the twentieth century and among the greatest and most influential bird carvers of all time. The brothers worked closely together throughout their lives, combining the complementary talents of Steve’s hand carving and Lem’s brushwork to create works of extraordinary grace and realism.” -— Robert Shaw, “Bird Decoys of North America: Nature, History, and Art”
Decoy author and historian Henry Fleckenstein stated, “When one thinks of Crisfield decoys, flat bottomed birds, wide at the hips and narrow breasted, come to mind. Almost all were made solid and slightly oversized, because a lot of the hunting in the Tangier Sound area is done on big open water.” This early low-head black duck is the manifestation of Fleckenstein's brief summary. That said, this decoy pushed far beyond the Crisfield archetype.
The brothers, just in their mid-twenties at the time, demonstrate here how they would innovate with exaggeration and animation all while raising the quality standards of the region. This specific model with its extreme humped back, flared paddle tail, and very low and turned head with an expressive upswept bill, is distinct from any models known to predate it. The surface is finished with Lem’s confident scratch feather paint. The underside is signed in pen “Lem Ward -1921-.”
Very few of this celebrated model were made as the Wards evolved their patterns constantly in the decades to come. Fewer of these humpbacked black ducks survive today and only a very small number with good original paint have come to light.
One of this decoy’s only comparables set a world record in 1985 for any Ward decoy when it was purchased by a prominent Midwestern collector. Discussing that bird in his Ward book, Ron Gard conveys, "This exquisite black duck is one of the best Ward decoys known." This lot, along with the aforementioned decoy, are believed to be the finest early Crisfield black ducks. The rarity, surface, condition, and history of this sculpture place it among the region’s greatest waterfowl.
Original paint with light gunning wear, including a chip to right tip of bill, and a tight age line by neck seam.
Provenance: Larry Lambert Collection
Ronald Gard Collection
Kangas Collection of International Folk Art and Decoys
Literature: Henry A. Fleckenstein Jr., "Decoys of the Mid-Atlantic Region," Exton, PA, 1979, p. 176, exact decoy illustrated.
Ronald J. Gard and Brian J. McGrath, "The Ward Brothers' Decoys: A Collector's Guide," Plano, TX, 1989, pp. 72 and 77, related decoys illustrated.
Joe Engers, ed., "The Great Book of Wildfowl Decoys," Lewes, DE, 1990, p. 314, exact decoy listed.
Linda and Gene Kangas, "Decoys," Paducah, KY, 1992, p. 114, pl. 166, related example illustrated.
RARE ANTIQUE DOULTON LAMBETH STONEWARERARE ANTIQUE DOULTON LAMBETH STONEWARE OIL LAMP, OWLETIncludes glass lamp chimney. Glazed blue and brown lamp body molded as a squatted owl.
Doulton Lambeth 1884 impressed mark. 'Hinks & Son Birm' embossed on the metal switch. Artist' initials 'LM 29' engraved on the base. #DoultonLambeth #Stoneware #OilLamp #Owlet
Issued: c. 1884
Dimensions: 4.75" L x 3.5" W x 9" H
Manufacturer: Doulton Lambeth
Country of Origin: England
Condition:
Age related wear.
2PC ANTIQUE WEDGWOOD OIL LAMP, SUNFLOWER2PC ANTIQUE WEDGWOOD OIL LAMP, SUNFLOWER AND CHILDRENA transferware porcelain table lamp with removable top. Depicts children playing and panels of sunflowers.
Hinks and Son's Patent impress on the collar. Dimensions: 6.75"W x 16"H
Manufacturer: Wedgwood
Country of Origin: England
Condition:
Age related wear.
CSA CHAPLAIN WITHERSPOON DIARY, AUTOBIOGRAPHY1862CSA CHAPLAIN WITHERSPOON DIARY, AUTOBIOGRAPHY1862 Confederate diary of T. D. Witherspoon, Chaplain of the 2nd and 42nd Mississippi Regiment, starting July 7th, 1862-Dec. 31, 1862, together with an 1875 autobiography penned by Chaplain Witherspoon. Chaplain Thomas Dwight Witherspoon was born in Greensborough, Alabama in 1836. He graduated from the University of Mississippi in 1856 and became pastor of the Presbyterian church at Oxford, Mississippi. He became a chaplain in the Confederate army and served for the duration of the Civil War. After the war, he was awarded a Doctorate of Divinity from University of Mississippi in 1868 and an Honorary Doctorate in 1884. For most of the war, Witherspoon served as part of the 42nd Mississippi Infantry, Davis' Brigade, Heth's Division, A. P. Hill Corps, Army of Northern Virginia. At the Battle of Gettysburg, Witherspoon was captured on Sunday, July 5th, 1863 while conducting a service for the wounded in a hospital tent. Chaplain Witherspoon was imprisoned at Fort McHenry, Baltimore, and paroled in 1863. He returned to the Confederate army until the surrender at Appomattox Court House, Virginia. Witherspoon was an influential and outspoken Chaplain in the Confederate Army (ref. "Pastor Witherspoon Goes to War", Ronald Coddington, New York Times, April 09, 2011). 1st item - Diary starting July 7th, 1862 and concluding December 31st, 1862 (222 pages total). A large portion of the diary covers Chaplain Witherspoon's period in Richmond and the battle of Fredericksburg, VA. On 7/22/62, Witherspoon writes of visits to the battlefield of Seven Pines, "The first thing that attracted our notice was the immense swarm of flies which blackened the ground, and which having tasted blood of decaying flesh were perfectly rabid in their attacks upon our horses.." On page 65 titled "Frazier's Farm", Witherspoon's group came upon a "free negro whose house is perforated with hundreds of balls, says the victory was very complete on our side but our loss was fully as great as the enemy's he thinks even greater...the Yankees carried off great numbers of their dead while ours was all buried in the field." 7/28/62 - Witherspoon applies for a furlough to visit hospitals in Lynchburg at General Hood's office. He overhears General Hood say, "Grant it, of course...Let chaplains go to see the sick and wounded or anywhere else they want to go. I don't care, sir, where they go or how long they stay". Witherspoon wonders if this is an insult or compliment. On 8/28/62 - He is called to conduct a funeral service for a fallen officer. He goes to the hospital 'death house' with a group to retrieve the body and finds that during the night, "rats have eaten the face (of the deceased) so as to disfigure it most shockingly". 9/18/62 - Witherspoon goes to the War Department to inquire on a petition and is ushered into the Secretary's office. The individuals present include Senator Brown of Mississippi (who is "pacing up and down the floor"), an unnamed Senator from Kentucky, and the Speaker of the House, Mr. Bocock. On page 187 regarding Fredericksburg titled "Defending the Ford", Witherspoon gives a detailed account of the placement of the 42nd Mississippi at the fords of the Rappahannock River to prevent Union forces from crossing. He writes, "The fact was apparent that we were left without any support whatever. Neither cavalry or artillery were willing to support us..." Later, Witherspoon's regiment is sent to Goldsboro, NC, and the diary closes in December 1862 with an account of Witherspoon battling Typhoid fever (transcription summary courtesy Jay Warrick). 2nd item - 1875 autobiography penned by Chaplain Thomas Dwight Witherspoon (136 pages total). Witherspoon writes the autobiography from Petersburg, VA to his children. Insight is given to events that shaped Witherspoon's life and philosophy. Early in the diary, Witherspoon discusses the efforts of his wealthy uncle to leave provision upon death for all of his uncle's slaves to go to Liberia in Africa and set up a functioning society there. Unfortunately, it was not successful and may have influenced Witherspoons views on slavery for the remainder of his life. In his early years, Witherspoon's schooling was fairly extensive in Latin, Greek, and the Classics. He also shared sicknesses of youth including typhoid fevor and being bitten by a poisonous snake. He decided his senior year to seek the Gospel ministry as a profession. Regarding the Civil War, Witherspoon goes into depth on the causes of it and his views regarding the conflict.
Condition:
Both diaries in overall very good condition. It appears the 1862 diary may have incurred some water damage in the front of the diary and there appears to be traces of earlier writings, as this diary begins on page 35.
CIVIL WAR ARCHIVE, INCL. GEN. BATE ONCIVIL WAR ARCHIVE, INCL. GEN. BATE ON DEATH OF POLK, CA...Confederate Civil War archive of twenty-two (22) items, pertaining to the Fulton brothers of Fayetteville, Tennessee, specifically Colonel John S. Fulton, 44th Tennessee Infantry Regiment, Johnson's Division; Colonel Alfred S. Fulton, 8th Regiment, Tennessee Infantry; Robert Fulton, 41st Regiment, Tennessee Infantry, Company C; and James Fulton, Pay Director in the United States Navy. The documents include autographed signed letters (ALS) from General William Brimage Bate (1826-1905), CSA Congressman James McCallum (1806-1889), and others. Subjects include the death of Lieutenant-General Leonidas Polk (1806-1864), the Battle of Fort Henry, the Battle of Fort Donelson, the capture of Nashville, the Overland Campaign, the Richmond-Petersburg Campaign, the Atlanta campaign, and more. 1st item: ALS. Double-sided one-page handwritten letter from General William Brimage Bate, front lines of the Atlanta Campaign, to Colonel John S. Fulton, undated, written circa June 14, 1864 in regards to the death of Lieutenant-General Leonidas Polk. The brief letter states that "Lt Gen'l Polk was killed yesterday on my front line--", en verso, while the main body of the letter urges Fulton to "...have it filed in...[the] War's Office at once--& get some friend to take it to the President--I have an interview with him..." he also writes that "...Gen'l Johnson is the man...". He explains that the letter has been delayed due to his frequent movements along the front lines of the Atlanta Campaign. 2nd item: ALS. Three page bifolium handwritten letter from General Bate, from his headquarters to Colonel John S. Fulton, dated April 28, 1864. He begins his letter by stating that he has not heard from Fulton for some time, writing "...I do not know now whether you are in Va. or near Bristol East Tenn. We did hear that your Brigade was with Longstreet...". Bate also mentions that if Fulton was to receive a promotion that he would like to be kept informed and that he "...regrets very much that [Fulton] is not in [Bate's] command...". Bate also reflects upon the state of the Confederate army and the importance of taking back Tennessee from the Union army, writing, "...it is the 'promised land' now in sack cloth and ashes 'mourning for the loss of her children'...". He also mentions his interest in the career of Captain M.W. Cluskey of Preston Smith Brigade, who fought in the Battle of Shiloh, April 6-7, 1862; that his division has now absorbed the Kentucky Brigade and Finley's (Florida) Brigade; and that a soldier by the name of McWinchester, who was the author to the reply of Ed Erwin's Amnesty letter, is still in prison. 3rd item: ALS. Double-sided bifolium handwritten letter from John R. Bright, Fayetteville, TN, writing to his cousin Colonel Alfred S. Fulton, dated February 21, 1862. The letter describes the Battle of Fort Henry, fought February 6, 1862; the Battle of Fort Donelson, fought from February 11-16, 1862; and the capture of Nashville on February 25, 1862. Bright writes, "...the excitement here has been so great since the fight at Fort Donelson...you cannot realize the intense agony which pervades our community--Donelson has fallen--Nashville is doubtless in the hands of the enemy--Gen[eral John Buchanan] Floyd who was at Nashville after the surrender of has burnt the Rail Road & Wire bridges acro[s]s the Cumberland...". He mentions the Union gunboats, stating, "...the gunboats were at a considerable distance and done no damage..." while later stating, "...the Gun Boats came up to within 200 yds of the Fort and shelled the Fort with 50 rounds of cannister...". Bright also gives estimations of the number of casualties and the number of soldiers involved in the fighting, writing, "...the loss on our side was comparatively small--the best estimate of the enemy's loss in killed is from 4000 to 6000 whilst our loss in killed and wounded does not exceed 600--it seems the enemy was receiving reinforcements, and on Saturday night their reinforcements swelled their army up to about 80,000 whilst our army at no time exceeded 16,000...". Returning to his description of the Battle and ultimate surrender of Fort Donelson, Bright writes "...Saturday night the enemy's whole force moved up and surrounded the Fort--about 1 o'clock Sunday morning the fact became known that the Fort must surrender, and our Generals...[Gideon Johnson] Pillow & Floyd left on a Steamboat...[Simon Bolivar] Buckner was left in command and surrendered with about 8,000 men...". After describing the events of the surrender in additional detail, Bright then relays General Albert Sidney Johnston's part in the events, writing "...Johnson[sic] was at Nashville all the time of the fight but it seems that Pillow telegraphed him that they did not need re-enforcements--Johnson's[sic] army had left Bowlingreen[sic]...and was in the neighborhood of Nashville Saturday when the news reached Nashville on Sunday that Fort Donelson had fallen...Johnson[sic] marched his army through Nashville on Sunday evening falling back to Murfreesboro...". Bright then also describes the fear that overcame the citizens of Nashville, stating that the pandemonium was "...equal if not greater than the retreat from Manassas...". Bright ponders if the Generals or the citizens of Nashville are more to blame for the city's fall, stating that while Johnston did not have to troops to defend the city and that there were many Union sympathizers in Nashville, he finds that "...there are too many [men]...so panic-stricken that they have not the nerve to stand up or never were true Southern men...". He concludes his letter by stating that McDonald's Regiment was not in the fight, that Albert's brother Colonel John Fulton returned from a few day's visit home, and that "these are gloomy times for us...the army may fall back to Lookout Mountain, if so Tenne[s]see is overrun...". 4th item: ALS. Double-sided bifolium handwritten letter from one of the Fulton brothers, Drewrys Bluff, VA, writing to his brother, dated May 29, 1864. He writes of the Overland Campaign, a series of battles fought in Virginia during May and June 1864, stating, "...Lee and Grant are now confronting each other. They may be fighting at anytime Lee has already killed wounded and captured between 50 & 7500 men--The Yankees...about 35 or 45,000...". He also mentions Maj. Gen. Benjamin Butler's army, writing, "...Butler...has made a signal failure--He came up the Penisula & sought to take Richmond on the south side--but they have been repulsed. He now has his army between the James and Appomattox rivers--". Unsigned. 5th item: Confederate States Secretary of War James Seddon signed military commission document conferring on John S. Fulton, the position of Colonel in the 44th Tennessee Infantry Regiment, dated May 5, 1862. Includes envelope addressed to Fulton with one blue 10 cent Jefferson Davis stamp. 6th item: ALS. Three page bifolium handwritten letter, from Colonel John S. Fulton, Bean Station, Tennessee, to Colonel Alfred S. Fulton, Bibb City, AL, dated December 17, 1986. He mentions the movements of his division near Knoxville, TN, writing "...We attempted to take Fort Loudon at the edge of Knoxville in the morning of the 29th--but failed--it is one of the strongest forts I ever saw--I think Gen Longstreet acted on this rashly in attacking the fort--We lost some 150 men killed & saw some several hundred wounded-it was a very fatal little fight...". 7th item: ALS. Double-sided one page handwritten letter from James R. Bright, Quartermaster's Office, Granbury's Brigade, to his cousin Mrs. E. L. Rogers, dated May 31, 1864. He begins by referencing a letter that he received, quoting, "...'Some think that [Lt. Colonel John L. McEwen, Jr.] will die, Col Fulton will soon be able to be with the command'...". He also mentions the state of the Army and Nathan Bedford Forrest's movements, writing, "...I am pleased to see that in every encounter our men have nobly sustained our cause and inflicted heavy injury upon the enemy--we are very anxious to hear from Forrest who is believed to be in the enemy's [territory]--if he succeeds in destrying the enemy's stores &c. it will make our success certain...". 8th item: ALS. One page bifolium handwritten letter from E.D. Baker, Captain and A.Q.M., Pulaski, TN, to an unidentified recipient, possibly one of the Fulton Brothers, dated January 17, 1864. The letter mentions that two rooms are now available for occupation and includes an ink inscription by Union General Richard W. Johnson with his signature, dated January 7, 1865, with later pencil inscriptions, en verso. 9th item: ALS. Two and one half-page bifolium handwritten letter from Congressman James McCallum, Richmond, VA, to Colonel John S. Fulton, dated June 6, 1864. The letter acknowledges Fulton's previous letter in which Fulton recommended a Colonel Keeble, possibly Colonel Richard H. Keeble, 23rd Tennessee Infantry Regiment, for an undisclosed appointment. McCallum mentions that Colonel Abram Fulkerson, 63rd Tennessee Infantry Regiment, is also up for consideration. 10th-11th items: Two (2) ALS. Double-sided bifolium and double-sided one-page handwritten letters, including one (1) from Colonel John S. Fulton, Headquarters of Johnson's Brigade near Petersberg, VA, to Captain R. E. Foote, dated June 28, 1864, and one (1) from the Head Quarters of the 44th and 25th Tennessee Infantry Regiments, possibly to a Captain Wein(?), dated June 21, 1864. The letters serve as reports regarding the movements of Johnson's Brigade from June 15, and 17-18, 1864, during the Richmond-Petersburg campaign, a series of battles around Petersburg, Virginia, fought from June 9, 1864, to March 25, 1865. 12th item: ALS. One page handwritten letter from Colonel John S. Fulton, Drewry's Bluff, VA, to the Editors of the "Atlanta Register", dated May 20, 1864, prior to the closure of the newspaper office in response to General Sherman's impending Atlanta Campaign. Fulton writes in regards to an article written by a reporter named Giles in the "Atlanta Register", in which the performance of Johnson's Brigade during that Battle of Chickamauga was mentioned. 13th item: ALS. Double-sided bifolium letter from Robert Fulton, 41st Regiment, Tennessee Infantry, Company C, Enterprise, MS, writing to his brother Colonel John S. Fulton, dated August 27, 1863. He begins his letter by expressing regret about the deaths of two family members, mentions that they have moved the position of their camps, and also indicates that they have been having nice weather. He also references several officers, including Captain Tierney, Colonel Ferguson, Adjutant Anthony, and others. 14th-15th items: Two (2) ALS. Double-sided bifolium handwritten letters, including one (1) from Mrs. E. L. Rogers, a sister of the Fultons, written near Jacksonville, AL, and one (1) written by an unidentified source, written from a Camp near Chattanooga, TN, both written to one of the Fulton brothers to inform them of the injury and subsequent death of their brother Robert Fulton, dated October 9-12, 1863. Both letters include handwritten or typed transcriptions. 16th item: ALS. Two and one half bifolium handwritten letter from James R. Bright, Quartermaster's Office, Smith's Brigade, Near Atlanta, GA, to his cousin Mrs. E. L. Rogers, dated July 20, 1864. Writing during the Atlanta Campaign, he begins the letter by expressing his condolences for the death of Colonel John S. Fulton, who died on July 4, 1864 during the Richmond-Petersburg Campaign. He also mentions other soldiers who have been wounded, including Edwin Drake and John Drake, and Tobe Edmondson and Tom Miller, whom he states have been captured by the Yankees who he thinks "...will probably execute them...". 17th-20th items: Four (4) ALS. Double-sided bifolium and double-sided one-page handwritten letters written between Colonel Alfred S. Fulton, Bibb County, AL, to R. G. Cross, Adjutant, 44th Tennessee Infantry Regiment, dated July 18, September 3 and 23, and November 17, 1864. The letters were written in response to the recent death of Colonel John S. Fulton, including discussions pertaining to the disposal of his remains and financial matters. 21st item: ALS. One handwritten page from John Frizzell, Transportation Office, Atlanta, GA to Captain Jim C. Francis, Augusta, GA, dated February 22, 1864. The letter introduces Colonel John S. Fulton to Francis. Includes one envelope. 22nd item: Piece of Confederate-made letter paper with ink inscription dated 1862 and pencil inscription of two lines of verse titled "The Conquered Banner".
Property of the Lincoln County Museum, Fayetteville, TN; Bequest of Mary Bright Wilson (1909-2004), formerly of Fayetteville, and descended in her family.
Condition:
All items in overall good, legible condition with toning/acid burn, tears, staining, foxing spots, areas of loss, including to sections of letters, to be expected from age and manner of use.
4 CHINESE EXPORT PORCELAIN ARMORIAL4 CHINESE EXPORT PORCELAIN ARMORIAL PLATES & 1 SHALLOW ...1st-2nd items: Pair of Chinese Famille Rose porcelain export saucers, painted in the manner of Johann Gregor Horoldt, the central reserves depicting figures seated at a table drinking tea and the rims with vignettes depicting figures engaged in various activities interspersed with floral sprigs, gilt highlights throughout. One plate retains a retailer label for "Vic Pearson & Co Ltd., London". 8 7/8" dia. 18th century. 3rd item: Chinese Export porcelain armorial plate, the center with a coat of arms, possibly for James Seys of Penrose in Monmouth, the rim with applied scrolling enameled decoration. Plate retains a retailer label for "Vic Pearson & Co Ltd., London". 9" dia. 18th century. 4th item: Edme Samson export armorial plate, decorated in the 18th century Chinese Export Armorial style.The center bearing a polychrome and parcel gilt Order of the Garter coat of arms flanked by a lion and unicorn and surmounted by a crown, reading "Honi soit qui Mal y pense" ("Shame on him who thinks evil of it") and encircled with polychrome floral sprigs. The rim with polychrome floral swags and gilt link chain decoration. Red Samson Asian style mark on the underside. 9 1/2" dia. Late 19th century. 5th item: Chinese Export armorial porcelain bowl, the center with a coat of arms, possibly for the family Peers, polychrome and parcel-gilt depicting griffins on a shield. The rim with polychrome vignettes of a griffin and foliate designs within gilt fretwork; foliate sprays to underside of rim. Bowl retains a partial retailer label for "Vic Pearson & Co Ltd., London". 8 3/8" dia. 18th century.
The Collection of Dr. Joe Newsom Rawlings, Davisboro, Georgia.
Condition:
1st-2nd items: Both plates with evidence of restoration, visible under UV light inspection. 3rd item: Very minor fleabites to the underside of the rim. 4th item: Overall good condition, no chips or hairlines. 5th item: Overall good condition, losses to decoration, primarily to gilt. Possible old restoration to one area of the rim.
THE HAND OF CLEOPATRA.The Hand of Cleopatra.THE HAND OF CLEOPATRA.The Hand of Cleopatra. London: Ace Place/Ken Brooke, ca. 1980. A spectator thinks of one of six cards or objects placed at six points around a small pyramid. A hand balanced on the pyramid spins, stopping on the thought-of card. Hand 2 ¾” long. Original instructions and box.
PAIR STERLING SILVER LAMPSPair of rarePAIR STERLING SILVER LAMPSPair of rare English sterling silver oil lamps with London marks ca 1905, RH&Son, K date mark. Both have remembrance engraving as shown and retailer name Thomas 153 Bond St. Hinks wick adjusters. Base is 7 in tall, with glass shades 13 inches. Total weight is 21.76 ozt.
MESSENGER PERSIAN INSPIRED OIL LAMPBritish,MESSENGER PERSIAN INSPIRED OIL LAMPBritish, 19th century, enameled floral decorated body with pierced brass mount on base, detachable brass burner stamped "Messenger's Patent", porcelain lighter stamped "Jas Lee and Sons/Hinks/Patent/Liverpool", base of lamp stamped "Messenger", lamp only 14 in., with glass globe and chimney, 25 in.
Provenance: Private Collection, Charlotte, North Carolina
Condition:
repaired glass oil reservoir with losses, some polishing residue to brass, stray red mark on globe
SET OF TWELVE GEORGE III ENGLISH SILVERSET OF TWELVE GEORGE III ENGLISH SILVER PLATESLondon, 1822, round with gadroon border, gilt finish, with heraldic device of crowned crest and the motto of the Order of the Garter "honi soit qui mal y pense" (shame on him who thinks evil of it), marks for Philip Rundell, .925 fine, 243.50 oz. T., 9-3/4 in.
Provenance: Collection of the Birmingham Museum of Art, sold to benefit the Decorative Arts Acquisition Fund
Condition:
gilt later, all with scratches on the floor, all with wear and accession marks on back
TWO PIECE LOT, TO INCLUDE MAHOGANY WASHTWO PIECE LOT, TO INCLUDE MAHOGANY WASH STAND, HAVING T...Two Piece Lot, to include mahogany wash stand, having two door top interior with granite and bowl, wash bowl height 39 inches, top 15" x 19"; along with Hinks and Sons bronze and gilt bronze piano lamp, having adjustable height, gilt rams heads, not electrified, table height 28 1/2 inches.
Condition:
All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
ENGRAVED MAP POWDER HORNimpressive hornENGRAVED MAP POWDER HORNimpressive horn with detailed imagery of Albany, New York and surrounding areas, "Saratoga", "Shacedety" (Schenectady?), "North River", "Helf Moon" (sic), "Mohawk R", "Royal Block Hows" (sic), "Fort Edward", "Fort Schiller", "Fort Hunter", "Fort Stanwix", "Fort Henry", "Fort Miller", "Fort Harkman", ships in harbor scene with Union Jack flag flying, British Royal Coat of Arms over "Dieu Et Mon Droit" (Divine Right of God) and encircling "Honi Suit Qui Mal y Pense" (Shamed by he who thinks evil of it), also engraved "Jacob Beal/his horn/Sept. 10th, 1779", walnut butt with large integral button, later brass dispenser spring valve, approximately 12 in. length
Provenance: Private Collection
Condition:
good overall, discoloration commensurate with age and usage
Y RARE AND IMPORTANT FRENCH GOTHIC IVORYY RARE AND IMPORTANT FRENCH GOTHIC IVORY COMPOSITE CASKET
CIRCA 1330 the panels intricately carved in bas-relief to include scenes from the Medieval tales Queste del Saint Graal and Tristan & Isolde, with later brass brackets, straps and handle25cm wide, 11cm high, 13cm deepProvenance: Property from Tornaveen House, AberdeenshireCurrently only eight other complete secular ivory coffrets like the present one are known. These so-called composite caskets are mostly in important museum collections around the world.[1] With all panels intricately carved in bas-relief, the high quality of the workmanship is immediately visible, while a closer look reveals the richness of the motifs. It gives us a beautiful insight into the medieval fascination with the concept of courtly love.The present example likely originated in a workshop in Paris around 1330, due to the similarities with the existing ones. The exact meaning behind the iconological programs of these caskets has long been a subject for discussion between scholars.One thing the panels on all these caskets have in common is the link to medieval courtly literature, tales of love usually between knights and noble ladies emphasising nobility and chivalry, popular in Europe since around the time of the First Crusade in 1099. On this coffret, the two main tales the panels relate to are most likely Tristan and Isolde, and the Queste del saint grail.[2]The two panels on the right side probably refer to the famous medieval romance, Tristan and Isolde. This tale, based on a Celtic legend, centres around the young knight Tristan, who travels to Ireland to ask for the hand of princess Isolde on behalf of his uncle King Mark of Cornwall. After slaying a dragon there, the princess agrees to marry King Mark. On the journey back Tristan and Isolde drink the love potion prepared by the queen for her daughter and King Mark and fall for each other. The main part of the romance is focussed on King Mark trying to prove their secret love affair and punishing them.Although this legend has been retold many times, one of the most popular ones is the version by Béroul, a Norman or Breton poet of the 12th century. According to his account, King Mark asks King Arthur to try his wife Isolde at court for her unfaithfulness. To have Isolde exonerated from the charges, she and Tristan concoct a clever ruse. Tristan disguises himself convincingly as a poor leper, begging for alms on the banks of the river Malpas. When the royal party arrives, he carries her across the river, so Isolde can truthfully swear in front of the court that “no man ever came between my thighs except the leper who carried me on his back across the ford and my husband, King Mark”. This oath was seemingly so convincing, that everyone hearing it applauded it, and King Arthur made Mark promise to never slander her again.The front left panel shows Tristan carrying Isolde across the river, her headdress clearly indicating she is a married woman. After Isolde is safe, Tristan dresses up as the Black Knight and joins the jousting, a scene represented on the left end panel of the casket.The carvings on the front right and right end panel allude to another preeminent story, the Queste del saint grail, the story of the fabled Holy Grail, part of the Arthurian Legend. It begins at King Arthur’s court with a gathering of the well-known Knights of the Round Table. Just before dinner a sword in a stone appears miraculously floating in the river below the castle. Lancelot’s claims that whoever tries to remove the weapon will be gravely wounded does not deter his companions eager for adventure. Only the recently arrived Galahad can withdraw the sword, which he uses to achieve the quest for the grail.The carving next to the lock on the right of a man presenting his arm with severed hand to a king and queen probably relates to this, he having failed to retrieve the sword and receiving this grisly injury in trying so. The sword over the altar on the right end panel possibly refers to the divine and miraculous nature of the weapon Galahad obtained. The scene on the right end could either show the appearance of the grail just after Arthur, Galahad, and the knights of the Round Table sit down to eat, or when Galahad and his companions finally encounter the grail at the end of the story, or a conflation of the two. That the figure in the middle of the right end panel lacks a crown suggests that he is Galahad and not Arthur. The lions shown on the lid support this identification, as the grail castle was guarded by lions and surrounded by water.The wild men presented in intricate detail fighting to conquer a castle on the lid, and again defeated and in chains on the back panel, are a very popular motif in medieval imagery, ubiquitously represented in art of the highest quality from the early 14th century and continuing well into the sixteenth century[3]. Wild men represented the opposite of accepted standards of society, subliminally implying chaos, insanity and ungodliness. Especially in the 14th century the wild men seem to take on an erotic role, seen storming the Castle of Love in several artworks, one of the most common allegorical scenes in which the winning of a lady’s heart is depicted as the siege of a castle[4]. The carving on this coffret actually is reminiscent of the so-called Academy Casket (see image 1), now lost.[5]Unusual on this panel is the wild man wearing a crown. There are some wild men wearing crowns in 15th century German tapestries (image 2), but we don’t have an explanation why the carver added one in this case.The overall iconography of this casket seems to confirm the general notion that they were made as courting or wedding gifts for noble ladies, personalised to the commissioner’s preferences, as all the panels include notions of love and chivalry, to perhaps represent wishes for the future relationship especially important to the suitor. These very personal meanings have been lost to time, yet make this coffret extraordinarily intriguing.Another element making this casket so significant is the impeccable provenance. We can trace it all the way back to the beginning of the 17th century, as it is mentioned in the family genealogy of the Baird family of Auchmedden[6] in relation to Thomas Baird[7]. According to this text, he became a friar of a monastery in Besançon, Burgundy, in 1615. Letters from his uncle Andrew, who was staying close by in France, to his father Gilbert mention him to be hard of learning and ‘incapable of any of the sciences’. His saving grace was said to being excellent at mechanics, having made ‘an oblong, small chest of ivory 10 inches long, 5 broad, and 4 high, delicately carved in bas-relief, with the chisel, upon the top and sides into figures of knight-errants, distrest [sic] damsels, and enchanted castles, taken from some of the old romances which were so much in vogue in that age’.None of the letters later on in the genealogy indicate as to why the author thinks the casket was made by Thomas Baird, and not just sent over to his family as a gift. We don’t know if it was Thomas himself trying to make up for his shortcomings as a scholar by telling his family he was the talented maker, or if this is down to family lore evolving over the centuries. The casket would have already been nearly 300 years old at the time of Thomas’ acquisition.A footnote in the genealogy places the casket in the editor W. N. Fraser’s possession in 1870, which gives us the firm link to the present-day vendors, who are descendants by marriage of the Baird family.[1] Metropolitan Museum of Art, New York, 17.190.173, 1988, 16; British Museum, London, Dalton 386; Victoria and Albert Museum, London, 146.1866; Walters Museum, Baltimore, 71.264; Barber Institute of Fine Arts, Birmingham; Bargello, Florence, 123 c.; Cathedral Treasury, Krakow; Winnipeg Art Gallery[2] Thanks to Paula Mae Carns for identifying the various iconography[3] Timothy Husband, Metropolitan Museum of Art, Gloria Gilmore-HouseMetropolitan Museum of Art, 1980, p. 4[4] Timothy Husband, Metropolitan Museum of Art, Gloria Gilmore-HouseMetropolitan Museum of Art, 1980, p. 73[5] The location of all panels from this dismantled casket is unknown, apart from the back panel which is now in the Metropolitan Museum of Art in New York (2003.131.2). This casket is known from an eighteenth- century engraving (see Lévesque de Ravalière).[6] Genealogical collections concerning the sir-name of Baird, and the families of Auchmedden, Newbyth, and Sauchton Hall in particular : with copies of old letters and papers worth preserving, and account of several transactions in this country during the last two centuries: Baird, William, 1700 or 1701-1777, edited by W. N. F. Fraser, London 1870, page 21[7] The exact dates for Thomas Baird are unknown, however he is known to be the third son of Gilbert Baird (1551-1620), and he resided in France from at least 1609.Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
LETTER FROM E.W. P. CHINNERY TO LEDOUXOriginal,LETTER FROM E.W. P. CHINNERY TO LEDOUXOriginal, handwritten, and signed letter date 24 Dec. 1935 from Australian Government anthropologist EW Chinnery to Louis Pierre Ledoux, advising Louis Pierre Ledoux to do as Margaret [Margaret Mead] thinks is best [in terms of where to do fieldwork], as "she knows what she is doing. There are several good places but she knows them all and any suggestion from me at this stage would probably only confuse you."
EWP Chinnery was the Australian government anthropologist in the Mandated Territory of New Guinea from 1924-1932, and Director of District Services in Rabaul 1932-1938. In 1919-1920 he had studied under AC Haddon at Cambridge University and lectured at the Royal Geographic Society. He also served on two UN missions to Africa after World War II. EWP Chinnery papers and photographs 1912-1937 are held at the National Library of Australia.
Date: 1930's
Material: Paperwork
Provenance: Louis Pierre Ledoux Collection
THREE HINKS & SON SILVER AND PLATE OILTHREE HINKS & SON SILVER AND PLATE OIL LAMPS
LATE 19TH/ EARLY 20TH CENTURY including a larger lamp with a silver octagonal waisted candlestick base, hallmarked maker Hawksworth, Eyre & Co Ltd, Sheffield 1905, the cut crystal reservoir with screw fitting and a Hinks No.2 Lever patent plate burner; together with a pair of smaller lamps with circular waisted candlestick bases with gadrooned detail, the diamond cut crystal reservoirs mounted with a Hinks's Duplex Patent plate burners, also with a group of glass flumes(3)the larger 57cm high, 18cm diameter
AFTER ANTONIO CANOVA (ITALIAN 1757-1822)
HERCULESAFTER ANTONIO CANOVA (ITALIAN 1757-1822)
HERCULES AND LICHAS bronze, dark brown patina, signed 'Delafontaine, bronzier' and with Canova signature to the base27cm wide, 42cm high, 20.5cm deep‘The importance and value of Canova's art is now recognized as holding in balance the last echo of the Ancients and the first symptom of the restless experimentation of the modern age.’ - Art Historian Giuseppe PavanelloAntonio Canova (1757- 1822) was a prominent Italian Neoclassical sculptor, mostly celebrated for his work in marble. Canova began producing works in marble before the age of ten, before enrolling in the Accademia di Belle Arti di Venezia around 1772. Canova won numerous prizes and received several commissions, which led to him opening his own studio at Calle Del Traghetto at S. Maurizio in 1779. From this point, Canova travelled to and worked in several European cities, before returning to Italy in 1816, where he continued to work until his death in 1822.Due to his success, Canova received many commissions and no longer had to rely on funerary monuments for large-scale work, and could explore large freestanding classical figures, such as his ‘Hercules and Lichas’ from 1795- 1815, commissioned by Onorato Gaetani dell’Aquila d’Aragona. Often inspired by antiquity, Canova was known for reviving classical works in a way that avoided melodrama of antiquity and the artificiality of Neoclassicism. The tale of Hercules and Lichas is recounted in book IX of Ovid’s Metamorphoses: Hercules puts on a shirt poisoned with Nessus’ blood, and, driven mad by the pain, thinks that his servant Lichas is to blame. Lichas tried to explain his innocence, however Hercules threw him into the waves of the Euboic Sea. The original statue is now conserved in the National Gallery of Modern Art in Rome.Canova is often regarded as the greatest Neoclassical artist, which is evidenced by his series of important international patrons including Napoleon Bonaparte, and Popes Pius VI and VII. His work is held in many institutions including the Metropolitan Museum of Art in New York, the Louvre in Paris, and the Hermitage Museum in Saint Petersburg.
GORE, Alexander, (American, 1958-):GORE, Alexander, (American, 1958-): ''Thinks Are Looking Up'', Oil/Canvas, 68'' x 52'', signed lower right and dated 2008, signed, titled and dated verso, framed, 79.25'' x 63''.
CONDITION: Frame shows mild wear.
DAN RICE, AMERICAN (1926-2003), UNTITLED,DAN RICE, AMERICAN (1926-2003), UNTITLED, OIL ON CANVAS, 43 1/2 X 50 1/4 INCHESDAN RICE, American, (1926-2003) Untitled, oil on canvas signed and dated on the reverse "Dan Rice / 1962" oil on canvas Dimensions: 43 1/2 x 50 1/4 inches Provenance: Private Collection. Framed dimensions: 45 1/4 x 51 1/2 x 1 1/2 inches "Painting, or any other art form, is not about self-expression. This idea, which has spread somehow, is simply not true. And Abstract Expressionism itself is often thought of as some wild expression of the self, of emotion. This, again, is completely untrue. The last thing a painter thinks of is himself. Painting is truly a means of expressing the ineffable." -Dan Rice Dan Rice was a younger member of the New York School. He is considered a lyrical abstract expressionist and a key figure in the 1940s and 1950s at Black Mountain College. In 2014, Black Mountain College Museum hosted a retrospective of his work placing Rice's works in the context of his friends and contemporaries including Willem deKooning, Franz Kline, Mark Rothko, Jackson Pollock, Robert Rauschenberg and many others. From 1943-1945, at just 17 years old, Rice served in the Navy on experimental battleships. After the war, he studied at University of California, Berkeley. He then went to Black Mountain College where he studied and later taught alongside artists including Josef Albers, Cy Twombly, Willem de Kooning, Robert Rauschenberg and Robert Motherwell. After a decade of teaching at Black Mountain College, Rice became a key figure in the New York School of Abstract Expressionists. From 1956-1973, he exhibited his work in New York City at solo exhibitions hosted by Poindexter Gallery, Stable Gallery and Catherine Viviano Gallery. In addition to painting, Rice stretched canvases and mixed paints for his colleagues. His role as assistant to Mark Rothko, who was also a close friend, is famously depicted in John Logan's play "Red". In 1962 he became an advisor to the estate of Franz Kline and in 1969 an advisor to Rothko's estate. Rice was also an accomplished trumpet player and earned a Master's degree in Architecture from M.I.T. in 1953. He used his broad skill set in his artistic practice and worked with Merce Cunningham and John Cage in staging mixed media events. After leaving New York, Rice settled in Madison, Connecticut. There, he founded and led a group called the Friday Night Painters and taught painting classes at the New Haven Creative Arts Workshop, the Guilford Handcraft Center and University of Connecticut, Storrs. Today, Rice's paintings can be found in numerous private collections and at the Museum of Modern Art in New York City (MoMA), Yale University Art Gallery in New Haven, Connecticut, Princeton University Art Museum in New Jersey and at the Wadsworth Atheneum in Hartford, Connecticut. tags: oil painting, abstract expressionist, abstract expressionism, abstract, modern / contemporary, 20th century Condition: In overall excellent condition; unlined canvas; very minor scattered areas of restoration; additional photos available upon request We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
LETTER FROM ANDREW WYETH (AMERICAN,LETTER FROM ANDREW WYETH (AMERICAN, 1917-2009) TO ALICE MOORELetter from ANDREW WYETH (American, 1917-2009) to Alice Moore, Mailed Mid-November, 1938 Dearest, I was very upset to hear that you are again ill. I certainly hope that you will take better care of yourself after this, but please don't try and get up before you should. I do hope you can make it to our party but if you can't I will see you soon any way. Well, I have been working hard and I think have really been doing some good work. Finished up a tempera painting and am working on another also have done several large water colors which everyone here thinks are the best I have done. I thought the Boston papers were very good to me, in fact, much better than New York. If the writers in the future are as good to me as they were I will be lucky. Boston you know is a hard place to break in to. I sold four large water colors. The trouble was is that most of my best pictures were sold before the show opened. In fact, quite a number of people want me to make copies of the water colors they liked which were sold, the damn fools . Well, my show opens tomorrow in Philadelphia. I am enclosing some clippings out of today's papers. Just wait old dear, I'll show the world what painting is. I am planning to go South after Thanksgiving for a couple weeks and I do want to see you before this. So please try and come down as I do want to see you. Will write soon, in fact, in a couple of days. Much love to you my sweet, Andy [Bottom half of page with sketched scene: a large central figure with hat, with caption "don't you wish I looked like this instead this," with arrow to sketch of himself, with figure in bed at right, captioned "you," inscribed along bottom margin, "excuse me you know I am crazy"] [Accompanied by an exhibition invitation at McClees Gallery, 1615 Walnut Street, Philadelphia, November 14 - November 26, 1938, two newspaper clippings with reviews of the exhibition at McClees Galleries, and a clipping from a Pennsylvania Academy of the Fine Arts publication with notice of a show and reproduction of AW's painting, "Calm Morning" with a note in his hand, "This gives people the impression I am a strong person."] Condition:
LETTER FROM ANDREW WYETH (AMERICAN,LETTER FROM ANDREW WYETH (AMERICAN, 1917-2009) TO ALICE MOORELetter from ANDREW WYETH (American, 1917-2009) to Alice Moore, Sunday, March 20, 1938; mailed Monday, March 21, 1938 Dearest Alice: What a shock it was. It's hard for me to believe that you are in the hospital. I certainly hope that you are feeling better and don't you do any worrying now do you understand, I mean it, you take it easy. I am glad that you are in a hospital because I know that they will make you rest, and another thing, don't you do any writing. When I come to New York again I am going to try and come out and see you. Well I can't tell you how impressive Maine is in the winter time but God! It's lovely as hell. Port Clyde seems deserted when you walk down its streets or I should say street. The wind whistling through the buildings makes it all the more stark and you never see a person and when you do it's only for a minute as you see them dart across the street and disappear into a house. But if you want to find the fisherman, just go in a store [sketch of four figures seated around a stove] and you will find them all. In fact, I think they spend most of their time there talking. The weather was beautifully clear while we were in Port Clyde. They have really had a very open winter, very little snow, only six inches, which is strange for Maine. It was pretty cold while we were there. I made several water colors form the car which I may do something with. Some times also made drawings. It's very interesting how different the place looks in the winter, what a deep blue and green the sea is and the rock weed turns very black, which is very effective. I must certainly spend some winters up there and paint some of these things. It never has been touched by an artist that I can recall. Stopped in Boston on the way home and saw the man that runs the art gallery of Doll and Richards. My show is all arranged for there next fall so I guess I will be pretty busy this summer. Also got a book to illustrate from Houghton Mifflin & Co., which I will do before I leave for Maine. Our visit with Kenneth Roberts was a grand one. The place he is living in this winter is a scream. It's in Kennebunkport. The house, or I should say hotel, is owned by a friend of his who let him use it for the winter. It's the most God awful thing I have ever looked at. Roberts himself thinks it terrible. [Sketch of aforementioned building] He took us all over it and made some of the best remarks I have ever heard. I have never laughed as much as I did there. I thought of a very good drawing I'm going to send to the New Yorker of two old ladies standing in front of his house holding a copy of "Northwest Passage" and saying, (So this is Maine) don't you think that would be good. I will tell you more about this visit when I see you. When I arrived home I found a letter from Mr. Macbeth enclosing a letter from the president of the Museum at Atlanta, the Museum that bought one of my water colors, asking me if I would do a painting for his office of some palm trees blowing in the wind, which ought to be swell to do. I finished the sketch for it Saturday and sent it on for his approval. [Sketch of aforementioned painting] I think I am going to do it in Egg Tempera. I want to get a great deal of color in it. I will write again soon and don't forget that I am thinking about you always. I am hoping that you are feeling better so that you will be able to see me when I come up. One thing in your being in the hospital is that you won't be going on any binges. But I really hope that you don't outgrow them altogether, please don't. Good night my sweet dearest, my darling. Andy This letter smells bad to me so hold your nose Condition:
LETTER FROM ANDREW WYETH (AMERICAN,LETTER FROM ANDREW WYETH (AMERICAN, 1917-2009) TO ALICE MOORELetter from ANDREW WYETH (American, 1917-2009) to Alice Moore, Thursday, November 4, 1937 My Dearest, There is no reason for me to tell you how swell it was being with you because you know it but I can tell you how much I miss you my sweet, and how I do miss you I feel terrible. It certainly does seem strange being in Chadds Ford again. I am really lost down here with no sea to rest my eyes on. I have been frightfully busy since I last saw you am working on some pictures for a history of the Swedes in Delaware by Christopher L. Ward, have you ever heard of him? Have got a week to do a hundred drawings which ought to keep me busy. (But I can't stop from thinking of you, Alice.) Just received a copy of the Art Digest and there's a very good write-up about my show. I will send it to you. I am enclosing a letter I received from a friend of mine who knows Morgan Dennis who is a very famous etcher and who is also a very good water colorist. Thought you might be interested in what he had to say about my show. Next week I expect to start in on Egg Tempera again. I am planning to do a portrait of a negro who lives in Chadds Ford which ought to be fine. I guess I will be around Chadds until after Thanksgiving. They all got sore as hell when I told them that I was going south God damn them excuse me, that doesn't sound like me but I can't help it. I love you and only counting the days until I see you again. Andy Enclosed letter from Lester Bottomley, October 29, 1937 Dear Andy, This week came a letter from Morgan Dennis - after seeing your show. Below is a copy of his letter which I send for what it is worth to you. I might add he is not given to being over-enthusiastic and I'm really amazed at what he writes. Here it is! - "Saw the Wyeth water colors this afternoon and I'm still drunk with color. I was simply staggered. Here is the greatest water colorist in America and Macbeth thinks so. I'd rather have one of those than a Sargent Winslow Homer or a Benson. They really make Whorf look anemic. I spent a couple hours drinking them in. They are both inspiration and yet they almost discourage me. But I'm glad you tipped me off, because it will be a help - seeing them. They are priced very reasonable and many are sold. You ought to see them really. Here is a genius N.C. never did anything himself to compare for strength, color, and masterly drawing - and he is only a kid - more power to his brush if he needs any." - That's that!! - So there are the comments of a master in his line etching. Best of luck to you, Sincerely, Lester Bottomley P.S. You may have a chance to see the exhibition as per enclosed card - Morgan Dennis lives at the Hotel Irving 26 Gramercy Park, E. 20th St. and I'm sure you would find something in common if you cared to look him up. L.B. Condition:
(2) HINKS & SONS WHITE OPALINE OIL LAMPS(2) HINKS & SONS WHITE OPALINE OIL LAMPS Late 19th c. (and later converted), Birmingham, large pair 2-light converted table lamps, stamped on mount, 37.5"h x 6"w (total)
(LOT) COLLECTION OF BOXES, SERVICE ITEMS,(LOT) COLLECTION OF BOXES, SERVICE ITEMS, & JARS(lot) Collection of decorative items, including Nain Jaune card box (wood lid with loss/split), (1) small burlwood dice box, (1) metal two-part service dish with Noritake inserts, (1) Tobacco, Thinks, Matches & Pills weight form canister set, (1) silver plate and glass cocktail bowl, (1) silver plate chamberstick, largest: approx 13.5"l, 15.25lbs total
STILL LIFE & PARROT, PIETRO NAVARROSTILL LIFE & PARROT, PIETRO NAVARRO CIRCLE, 17/18CFramed oil painting, Still Life and Parrot, unsigned, attributed to circle of Pietro Navarro(a) (Italian, 17th/18th c.), relined, accompanied by a copy of a 1994 Christie's Appraisal giving an insurance value of $25,000, sight: 23.5"h, 28.5"w, overall: 29.5"h, 34.5"w, 10.25lbs *Note: Circle of: (the appraiser thinks) "this work is from the same period of the artist and shows his or her influence."
CARVED ROYAL COAT OF ARMS OF THE UNITEDCARVED ROYAL COAT OF ARMS OF THE UNITED KINGDOMEnglish carved architectural element, Royal coat of arms of the United Kingdom, in a parcel gilt and polychrome painted finish, crest of statant guardant lion wearing the St Edward's Crown, over a quartered shield with three passant guardant lions of England, rampant lion and double tressure flory-counterflory of Scotland, and the harp of Ireland, Garter circlet surrounds the shield inscribed with the Order's motto "Honi soit qui mal y pense" (shamed be he who thinks evil of it), flanked by the dexter supporter of a crowned English lion, the sinister supporter a Scottish unicorn, crossed flags over cannons and anchors with greenery including thistles, roses, and shamrocks, draped banner with motto "Dieu et mon Droit" (God and my Right), unicorn lacking horn, approx 19"h, 30.5"l, 5.75"d, 9.5lbs **Provenance: From a prominent Dallas, Texas estate**
ENGLISH MAHOGANY ORDER OF THE GARTERENGLISH MAHOGANY ORDER OF THE GARTER ARMCHAIREnglish mahogany armchair, 19th c., turned and carved finials, turreted toprail, gilt embossed leather back with crowned shield, banner with the motto of the Order of the Garter, honi soit qui mal y pense (shame on him who thinks evil of it), lower banner reading nec aspera terrent (frightened by no difficulties), button-tufted seat, rising on saber legs, chair frame stenciled "HSB 1" under seat, tear to back, approx 43"h, 23.5"w, 19"d, seat height: 19.5"h
JAPANESE CAST BRONZE DRAGON AND CRANEJAPANESE CAST BRONZE DRAGON AND CRANE FLOOR LAMP Japanese Meiji style cast bronze kerosene oil floor lamp, now converted to electricity, having a pierced body, and decorated with dragons and birds including cranes, the font stamped "Hinks & Sons/Patent", the body apparently unmarked. Approx. h. 68", dia. 14".
SCRIMSHAW WHALE'S TOOTH BY THE BRITANNIASCRIMSHAW WHALE'S TOOTH BY THE BRITANNIA ENGRAVER CIRCA 1830S LENGTH 4". INCLUDES WOOD STAND.SCRIMSHAW WHALE'S TOOTH BY THE BRITANNIA ENGRAVER, Circa 1830s, Depicts a merchant brig under full sail, flying a British ensign off the stern, with a fortress at right showing a smokestack, four batteries and what is possibly a central cannon. The continuous undulating lines used for the sea and the deeply incised gun ports and hull are consistent with other work by the Britannia Engraver. Tooth probably from a very old bull sperm whale, worn down in height and with visible root structure. Dimensions: Length 4". Includes wood stand. Provenance: Notes:Accompanied by correspondence dated 2002 between William J. Boylhart and Dr. Stuart M. Frank, Senior Curator of the New Bedford Whaling Museum, stating the work is that of Edward Burdett of Nantucket. Later scholarship has re-attributed a significant amount of work from Burdett to the otherwise anonymous Britannia Engraver. Boylhart writes he thinks this tooth, given its size, was possibly intended to use as a knife handle, and that it is possibly unfinished. His letter also indicates the tooth was acquired at a flea market in northern England around 1986.
TWO ENGLISH GILT AND PAINTED LEATHERTWO ENGLISH GILT AND PAINTED LEATHER FIRE BUCKETS 19th century, each with painted and gilt royal coat of arms Honi Soit Qui Mal Y Pense (Shame be to him who thinks ill of it) and lower scrolled border Dieu Et Mon Droit (God and my right), the smaller a in conical form, with copper upper rim border and round copper border mounts. (10 1/2 x 12 1/2 x 10 3/4 in.); the larger in cylindrical form with leather double handles. (24 x 12 x 12 in.).
LOT OF 3 HISTORICAL PRINTS: INCLUDINGLOT OF 3 HISTORICAL PRINTS: INCLUDING VANITY FAIR AND PUCK MAGAZINE 8 7/8"H X 5 7/8"W (PLATE, PAPA HEMINGWAY), 18 3/4"H X 15"W (FRAME)Lot of 3 historical prints: including Vanity Fair and Puck Magazine, Jehu Junior, Vanity Fair print depicting Auguste Rodin "he thinks in marble". Signed in the print. Gordon Grant, Puck Magazine cartoon depicting The Sultan's Harem, 1908. Signed in the print. Werner Company military print of the U.S. Calvary. Copyrighted 1899 in the print. Dimensions: 8 7/8"H x 5 7/8"W (plate, Papa Hemingway), 18 3/4"H x 15"W (frame)
ENGLISH LIGHT-BLUE DIP JASPERWARE BRASS-MOUNTEDENGLISH LIGHT-BLUE DIP JASPERWARE BRASS-MOUNTED OIL LAMP WITH ETCHED GLASS GLOBE AND CHIMNEYENGLISH LIGHT-BLUE DIP JASPERWARE BRASS-MOUNTED OIL LAMP WITH ETCHED GLASS GLOBE AND CHIMNEY, late 19th Century, no visible mark, attributed to Wedgwood, the fixture stamped Hinks Duplex #2, the cistern of cachepot form, applied in relief with classical figures including a warrior holding a shield and a female companion, and a flutist with companion holding a staff, with pendant hinged brass handles, liner, burner and hexagonal base mounts, the glass globe frosted with a floral pattern, the slender hurricane shade in clear glass, h: 19 3/4 in. (overall) Provenance: Jeffrey Milkins Collection, no. 815. Catalogue
GROUP OF SIX HERALDIC BOOKPLATESGROUPGROUP OF SIX HERALDIC BOOKPLATESGROUP OF SIX HERALDIC BOOKPLATES, group of six loose bookplates, including Thomas Daniell, William Copeland, Samuel Borlase, Edward Hugh Boscawen, John Leard and a sixth with the French motto of the British chivalric Order of the Garter: "Honi soit qui mal y pense" (Shame be to him who thinks evil of it") (6)
HINKS & SONS SILVERPLATE OIL LAMPSNearHINKS & SONS SILVERPLATE OIL LAMPSNear Pair of Antique English Silverplate Figural Oil Lamps , mid-19th c., marked "HINKS & SONS/ PATENT", lion standard, one with key marked "MAPLE/ HINKS/ PATENT/ LONDON", with glass chimney and shade; other with key marked "HINKS & SONS/ PATENT/ BIRMINm.", electrified, h. 15 1/4 in
AFTER ROBERT KER PORTER (SCOTTISH, 1777-1842)AfterAFTER ROBERT KER PORTER (SCOTTISH, 1777-1842)After Robert Ker Porter (Scottish, 1777-1842) , "Bring Me Wine in Brimming Urns", "Arm'd with Hyacinthine Rod", "Methinks the Pictur'd Bull Me See", "A Youth the While, with Loosen'd Hair", "Now Let a Floating Lucid Veil" and "Alomæon Once as Legends Tell", 1805, 6 soft-ground etchings , etched by Giovanni "John" Vendramini (Italian, 1769-1839), from Odes of Anacreon, published by John F. Thompson, London, each sight 12 3/4 in. x 9 3/4 in., framed alike. (6 pcs.)