A few examples of appraisal values for
JESUIT

• SOUTHWESTERN TRIBAL JEWELRY AND
  SOUTHWESTERN TRIBAL JEWELRY AND BEADWORKca. 17th century-1950; two Jesuit order relic crosses that appear to be copper/silver chased with brass line and tool decoration, archaeological find pendants from Jesuit mission era, Condition: both crosses are relic forms but potentially rare; six assorted hammered and pierced silver buckle/pins or brooches; fine late era sterling squash blossom turquoise and silver necklace and pendant; fine woven beadwork rose design sash/necklace; three assorted string bead necklaces; Condition: good
• POPE PIUS IX, HANDWRITTEN GIFT BOOK
  POPE PIUS IX, HANDWRITTEN GIFT BOOK AND ART, 1847 This book was presented to Pius IX in July of 1847, one month after his election. It contains elegies, sonnets, odes, etc. to, or in honor of, Pius IX celebrating the occasion of his visit to his old alma mater of the Jesuit Collegio Romano (now known as the Gregorian College) in Rome. Each of the Provinces of the Society of Jesus which were represented in the college at that time were allowed one entry in the book. Of significant interest are the four Provinces of North America which existed at that time including Canada, Maryland (representing the Eastern US), Missouri (representing the central territories/states), and the "Over the Rocky Mountain" Province (now called Oregon Province.) Some of these Provinces were in charge of maintaining Greek education in Rome during the 19th century which is why there are several entries in Greek. Also of interest is the global representation of the Jesuits in this book with Provinces from the Middle East to Africa to North and South America. Book is fully bound in tan leather with ornate gilt decoration over the entirety of the boards and spine. Blue end papers. Multiple handwritten pages in Greek, Latin, and Hebrew containing poetry for Pius IX. With the book comes a vellum and gilt 8x10 picture frame containing an image celebrating Pius IX.
• SELECTION OF CHINESE EXPORT & OTHER
  SELECTION OF CHINESE EXPORT & OTHER PORCELAIN Comprising eight items, including a Chinese grisaille decorated "Jesuit" oviform jar, mid-18th century, with crack and small chips, 7 in. H.; two Korean blue and white vases, the larger 6 1/3 in. H.; and a Continental vase attributed to Bayeux, early 19th century, 10 1/2 in. H.
• CHINESE EXPORT JESUIT WARE
  CHINESE EXPORT JESUIT WARE RESURRECTION TEACUP Qianlong Era, circa 1740-50 "The Resurrection of Christ," executed in en grisaille enamels with gilt accents and monogram letters "MES," and gilt spearhead border, image taken from one the many prints of the subject, taken from the Gospels, showing Christ triumphant and the sleeping soldiers, 2 1/2 in. H. This and other Jesuit Ware was produced in vast amounts during this period, as the Qianlong emperor heavily cracked down on the practice of Christianity in this era.
• (2) IROQUOIS CATLINITE MASKETTES
  (2) IROQUOIS CATLINITE MASKETTES & JESUIT IROGUOIS MEDAL PENDANT (2) Iriquois Catlinite Maskettes Burrell Creek Site, 1710. (1) Jesuit Iriquois Medal White Springs Site, Geneva, NY, 1720.
• VERY RARE CHINESE 'LEGEND OF THE
  VERY RARE CHINESE 'LEGEND OF THE WHITE SNAKE' AUTOMATONPainted wood, papier maché, enamel, silk and metal in three wood and glass casements raised on a later Hongmu wood stand; fitted with moving figures and animals amongst pavilions in landscapes. 4 ft. 6 1/4 in. x 6 ft. 4 in. x 15 in. Note: Narrative scenes of the legend are contained within the three casements. The central and largest depicting the famous battle between the immortal Bai Suzhen (the white snake) and her enemy Buddhist monk Fahai. Bai Suzhen amasses an army of underwater demons to flood the temple where Fahai has imprisioned her husband Xu Xian. The attack fails as Fahai magically commands the mountain to rise out of harm's way. The temple appears amongst the towering rocky mountains, varying trees, foliage and swirling colorful clouds. The left casement illustrates further scenes from the drama including the rescue of Bai Suzhen from the Leifeng pagoda where Fahai is holding her captive after the birth of her son. The right casement depicts other moments from the legend among them, the disapproving monk Fahai wielding a sword with other figures in landscapes with pagodas. The tradition of automata originates with clock making which was introduced to China as early at 1601 by Spanish Jesuit missionaries. This impressive example example dates from the Qing Dynasty and represents the demand for clocks by elite members of society which included a palace workshop dedicated to the craft. A small clock in the Palace Museum, Beijing, set within a ‘landscape’ similar in palette and style to the automaton, and accompanied by two blue birds comparable to one in the present example, attributed to the 19th century. Condition In good restored condition with minor losses, nicks and wear. Replaced elements and original elements recently resecured to to case, some elements lacking overall. The fabric lining to the interior has some staining and tears. Scuffing to the top cases. With later electrical wiring which needs to be repaired for use and is currently not in working order. Impressive in craftmanship and scale.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.
• AFTER GIUSEPPE CASTIGLIONE
  AFTER GIUSEPPE CASTIGLIONE (1829-1908): PALAIS PAVILLONS ET JARDINS CONSTRUITS PAR GIUSEPPE CASTIGLIONE DANS LE DOMAINE IMPERIAL DU YUAN MING YUAN AUEighteen engravings on wove paper, 1977, unsigned. All 21 x 35 in. (sight), 31 1/2 x 45 1/2 in. (frame). Note: These prints were originally engraved from 1783-1786, after original drawings prepared by a group of Jesuits, and their Chinese assistants at the Imperial Court in Beijing. They portray the edifices, gardens and factories constructed from 1737-1766, for the Emperor Qianlong. The complete album contains twenty plates. Condition All with margins and apparently in very good condition. One examined out of frame with very pale mat staining. Others not examined out of frame.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.
• CHINESE BUDDHIST GUAN YIN
  CHINESE BUDDHIST GUAN YIN SCULPTUREDESCRIPTION: Chinese Buddhism - Seated Guan Yin Mixed Metal Figural Sculpture. In the East Asian world, Guanyin is the equivalent term for Avalokitesvara Bodhisattva. Guanyin also refers to the bodhisattva as adopted by other Eastern religions. Along with Buddhism, Guan Yin's veneration was introduced into China as early as the 1st century AD, and reached Japan by way of Korea soon after Buddhism was first introduced into the country from the mid-7th century. She was first given the appellation of "Goddess of Mercy" or the Mercy Goddess by Jesuit missionaries in China. CIRCA: Early 20th Century. ORIGIN: China. DIMENSIONS: H: 4" W: 4" D: 3". CONDITION: Good condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• RARE 18TH C. JESUIT SPADE
  RARE 18TH C. JESUIT SPADE SHOVELRare 18th century wood and iron spade or shovel with stamped arrow over cross mark, probably denoting a gift from Jesuits to Native Americans. 33 x 8.5 inches. VG condition.
• AN ANTIQUE MAP, "TOTIUS AMERICAE
  AN ANTIQUE MAP, "TOTIUS AMERICAE SEPTENTRIONALIS ET MER...AN ANTIQUE MAP, "Totius Americae Septentrionalis et Meridionalis," NUREMBERG, EARLY 18TH CENTURY, hand colored engraving on paper, published by Johann Baptist Homann (1664-1724), the figural title cartouche showing a North American Indian with Dutch windmills and settled farmland at his back and at left a South American Indian, and at center a scene of Trade between Indigenous and Explorers, duly noted are the personal weapons of war, and two types of armadillos. 20" x 23" Note: Johann Baptist Homann (March 20, 1664 - July 1, 1724) was the most prominent and prolific map publisher of the 18th century. Homann was born in Oberkammlach, a small town near Kammlach, Bavaria, Germany. As a young man Homann studied in a Jesuit school and nursed ambitions of becoming a Dominican priest before converting to Protestantism in 1687. Following his conversion, Homann moved to Nuremberg and found employment as a notary. Around 1693 Homan briefly relocated to Vienna, where he lived and studied printing and copper plate engraving until 1695. Afterwards he returned to Nuremberg where, in 1702, he founded the commercial publishing firm that would bear his name. In the next five years Homann produced hundreds of maps and developed a distinctive style characterized by heavy detailed engraving, elaborate allegorical cartouche work, and vivid hand color. The Homann firm, due to the lower cost of printing in Germany, was able to undercut the dominant French and Dutch publishing houses while matching the diversity and quality of their output. By 1715 Homann's rising star caught the attention of the Holy Roman Emperor Charles the VI, who appointed him Imperial Cartographer. In the same year he was also appointed a member of the Royal Academy of Sciences in Berlin. Homann's prestigious title came with a number of important advantages including access to the most up to date cartographic information as well as the "Privilege." The Privilege was a type of early copyright offered to a few individuals by the Holy Roman Emperor. Though not as sophisticated as modern copyright legislation, the Privilege did offer a kind of limited protection for several years. Most all J. B. Homann maps printed between 1715 and 1730 bear the inscription "Cum Priviligio" or some variation. Following Homann's death in 1726, the management of the firm passed to his son Johann Christoph Homann. The present map shows settlements, physical features, political divisions in North and South America and the West Indies; a portion of the coasts of Europe and Africa; islands in the Atlantic and Pacific Oceans, and settlements. Includes notes, dates of discovery, and illustrations. Condition: Mild expected wear, but overall in very good condition, wear commensurate with age. 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."
• ATTRIBUTED TO AUGUSTE AMANT
  ATTRIBUTED TO AUGUSTE AMANT CONSTANT FIDELE EDOUART(French, 1789–1861) Gentleman Holding Top Hat, unsigned, ink cutout on cream paper with lithographic background, sight 13-1/4 x 10-1/2 in.; Lady and Gentleman, unsigned, verso inscribed "David White Griffith Esq./Jesuit Col Oxford Liverpool Apr 22 1837...", ink cutout on cream paper with ink wash over pencil background, sight 14 x 10-1/2 in.; one period wood frame and one painted and gilt frame, larger 16-7/8 x 14-1/8 in. Condition: toning and slight foxing; top hat example with chipping to veneer at top left corner and bottom left corner; lady and gentleman example with slight loss to gilt on frame
• 19TH C. MEXICAN TIN RETABLOS REFUGE
  19TH C. MEXICAN TIN RETABLOS REFUGE OF SINNERS, CHRISTLatin America, Mexico, Spanish Colonial Period, ca. 19th century CE. This is a finely painted pair of Spanish Colonial style retablos on heavy gauge tin depicting religious scenes of saints and Christ. The larger is of the Virgin Mary and Christ Child, a composition that is often referred to as N.S. Refugio de Pecadores (Our Lady, Refuge of Sinners); the Virgin wears a golden crown and supports a crowned Christ Child whose nude body is covered by a transparent robe. She wears a dark blue cape that is initialed with her ciphers. Christ rests his right hand on her right arm and grips her right thumb with his left hand. The touching scene is framed by a wreath of red roses as they float upon heavenly clouds. The other retablo depicts St. Joseph in a green robe and a yellow cloak as he holds the Christ Child, who is draped in red. The Child leans on Joseph's shoulder, and both their heads are surrounded by golden beams of light or a hallo. Size (Mary retablo): 14" L x 10" W (35.6 cm x 25.4 cm); (Saint Joseph): 9.35" L x 6.5" W (23.7 cm x 16.5 cm) The cult of Joseph originated during the time of Luther when the Catholic Church was seeking out new heroes to meet the needs of the Counter Reformation. Prior to this time, Joseph was somewhat ignored. The Carmelite Order, under the direction of St. Theresa, rejuvenated the image of St. Joseph. Instead of being portrayed as an elderly man who watched over Mary, he grew to be depicted as a virile man in the prime of his life, full of youth and strength, yet portrayed as a gentle man of tenderness as we see in this example. In 1719, a Jesuit missionary brought a version of a painting originally created for an altar formerly at Frascati, Italy, in the style of Guido or Salvator Rosa, to the city of Zacatecas in Mexico. The painting inspired the locals to adopt N.S., Refugio de Pecadores as their patron, and the composition of this retablo was modeled upon that painting's composition. Renditions of the original Italian painting were among the most favored in retablo art. Icons like these were placed above household altars to venerate the saints. The translation of the word retablo literally means "behind the altar." Provenance: ex-Dr. David Harner collection, Arkansas, USA, 1950s-1960s All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. b>PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship b>PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #161365 Condition: The Joseph retablo has losses and flaking to painted pigments and details of the child and Joseph's body are faint and indiscernible. Both retablos have surface abrasions, chipping, and fading to pigments. Finer details are not discernable. Joseph's face is clear enough to discern the saint's expression, but Christ is faint. Stable fissure along lover edge of Joseph retablo, and corners are pierced for suspension, with a cord through the top. Tearing and folding to Virgin Mary's retablo, and losses to pigments. Surface abrasions and fading to pigments. Finer details are not discernable. Corners are pierced for suspension and has a cord through the top. Nice patina on both.
• 18TH C. INDO-PORTUGUESE IVORY
  18TH C. INDO-PORTUGUESE IVORY STATUETTE OF MARYSouth Asia, western India, Ceylon (modern-day Sri Lanka) or Goa, Indo-Portuguese culture, ca. 18th century CE. A beautiful ivory carving of the Virgin of the Immaculate Conception depicted draped in long robes as she holds her hands together in prayer and stands atop a crescent moon - a reference to the Book of the Apocalypse in the New Testament - and the winged head of a cherub, all supported by a 20th-century gilt and gessoed wooden base. The province of Goa in western India was under Portuguese control from 1512–1961, forming a nexus in trading routes that circumnavigated the earth. Goan craftsman were renowned for their supple modeling of ivory (likely exported from Mozambique) into Christian icons, which feed the appetite for luxury products in Europe, as well as furthered evangelical missions throughout Asia and the Americas. Size: 3.6" W x 9.3" H (9.1 cm x 23.6 cm) Size: 4.5" W x 12.9" H (11.4 cm x 32.8 cm) According to the Victoria and Albert Museum, "Ivory sculptures were locally produced in large numbers in Portuguese Sri Lanka (formerly called Ceylon). Usually for an European clientele, their style of carving combines Indian or Sri Lankan with European traditions...From the sixteenth-century, the Portuguese were active as traders and later as rulers in Sri Lanka and Goa (on the west coast of India). Ivory carving had a long tradition on the Indian subcontinent, and elaborate works of art were made, particularly as diplomatic gifts, often presented to Western rulers. Most of the ivory would have been exported from Mozambique in East Africa. Ivory sculptures were produced in large numbers in Portuguese Sri Lanka (formerly called Ceylon). The Virgin Mary was often standing on the crescent moon, triumphant over a dragon, both symbols derived from the Book of the Apocalypse in the New Testament.. From the sixteenth century onwards, the four main missionary Orders, the Augustinians, Jesuits, Dominicans and Franciscans, built churches and aimed to convert the inhabitants of India. The ivories would assist in the presentation of Christian imagery, as well as being exported back to churches, convents and private collectors in Europe." This is an ESA antique exempt piece of ivory and cannot be sold internationally or to anyone residing in the states of California, Hawaii, Illinois, Nevada, New Hampshire, New Jersey, New York, Oregon, and Washington. We guarantee that the piece is over 100 years old. Provenance: private Rancho Mirage, California, USA collection; ex-Terry Barreth collection, before 1965 All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #179076 Condition: 18th-century ivory sculpture on 20th-century wood base. Missing inlaid eyes. Virgin, cherub, and crescent moon are carved from separate pieces of ivory with some small areas of visible adhesive. Losses to Mary's little fingers, as well as nicks and abrasions and natural fissures to ivory. Weathering to wood base with chipping and losses to gesso and gilding. Nice remaining detail on Mary and rich encrustations in recessed areas. Part of hair has been sculpted separately and attached to head in order for insertion of glass eyes.
• EUGÈNE EMMANUEL VIOLLET-LE-DUC
  EUGÈNE EMMANUEL VIOLLET-LE-DUC (1814-79) AND FATHER ARTHUR MARTIN (1802-1856) FOR POUSSIELGUE-RUSAND (1824–89) PAIR OF FIVE-LIGHT CANDELABRA, CIRCA 1860 cast and gilt bronze(2)39.5cm wide, 64.5cm high, 18cm deepProvenance: Private collection, Belgium, until November 2022Paul ShutlerLiterature: Barker M. 'An appraisal of Viollet-le-Duc (1814-1879) and his influence' Decorative Art Society Journal No. 16, 1992Note: Viollet-le-Duc, his business partner Jean-Baptiste Lassus (1807-1857) and Father Arthur Martin all supplied designs to Notre Dame during its 25-year post-revolution restoration from 1845. The design of the lower portion of these candelabra was initially found in a set of six ormolu pricket candlesticks made by Poussielgue-Rusand for Notre-Dame in 1862. Viollet-le-Duc's drawing for these is in the Heritage and Media Photographic Library at Cherenton-le-Pont, Paris. A set of six of the original pricket candlesticks designs was also used in the chapel of Saint Michael, Saint Raphael & Saint Gabriel at the Cathedral of Saint Julian of Le Mans, France. The pricket design was also exhibited by Poussielgue-Rusand at the 1867 Paris Exposition Universelle.The upper section of candle arms was designed by Father Arthur Martin, and it featured in Poussielgue-Rusand’s catalogues from 1853, initially as a wall-mounted candle arm. Father Arthur Martin was a talented draughtsman and collector of medieval art and materials. In the 1840s he and his fellow Jesuit Brother Charles Cahier (1807-1882) began interpreting and classifying the collection. Their work was then published by Placide Poussielgue-Rusand from 1847 onwards in the highly influential multi-volume publication on medieval art entitled 'Mélanges d’archéologie, d’histoire, et de littérature'.The upper portion of the candelabra can also be compared to the grilles designed by Viollet-le-Duc in 1865 for the Basilica of Saint-Denis, among other places. An engraving of these was published in the Gazette des Architectes et du Batiment, Vol. 3 1865 No. 9, p. 133.A pair of Viollet-le-Duc’s pricket-design candlesticks in lacquered bronze is in the collection of The Art Institute of Chicago and an elaborate casket designed by Father Martin is in the collection of Notre Dame.Viollet-le-Duc's writings on decoration and on the relationship between form and function in architecture had a fundamental influence on a whole new generation of architects, including all the major Art Nouveau artists. His writings also influenced John Ruskin, William Morris and the Arts and Crafts movement, and William Burges admitted in his late life "We all cribbed on Viollet-le-Duc even though no one could read French."
• CHINESE EXPORT JESUIT WARE TEACUP
  CHINESE EXPORT JESUIT WARE TEACUP Qianlong Era, circa 1740-50 "The Resurrection of Christ," executed in en grisaille enamels with gilt accents and monogram letters "MES," and gilt spearhead border, image taken from one the many prints of the subject, taken from the Gospels, showing Christ triumphant and the sleeping soldiers. 2 1/2 in. H. This and other Jesuit Ware was produced in vast amounts during this period, as the Qianlong emperor heavily cracked down on the practice of Christianity in this era.
• NEEDLE POINT PORTRAIT OF ST.
  NEEDLE POINT PORTRAIT OF ST. IGNATIUS LOYOLA 19th century; needle point contemplative close up portrait of the founder of "The Society of Jesus" (Jesuits), in gilt wood frame with painted vine decoration, total size, 33 x 30 in.
• MARCUS & CO. PLATINUM, KASHMIR
  MARCUS & CO. PLATINUM, KASHMIR SAPPHIRE, AND DIAMOND RINGMARCUS & CO. Platinum, Kashmir Sapphire, and Diamond Ring ca. 1930; centering a cushion-cut sapphire weighing 4.81 cts. flanked by single-cut and baguette diamonds; signed MARCUS; 2.44 dwts.; size 6 Provenance: Provenance: Nannette Eleanor Hoover Campanella Dietrich (1930-2019), Baltimore, Maryland; by descent within the family. Other Notes: -AGL report no. CS06172 dated February 12, 1980 stating that the sapphire is Kashmir. -GIA report no. 5141961271 dated September 18, 2012 stating that the sapphire is Kashmir with no indications of heating. -AGL report no. 1107548 dated May 15, 2020 stating that the sapphire is Kashmir with no gemological evidence of heat. Adapted from memories from the family: Nannette was a fun-loving, adventurous, independent, determined, generous, and passionate person. She was the first female head cheerleader of the Ohio State University team, where she met and married her college sweetheart and football star, Joe Campanella. Joe later became a local celebrity as a professional football player for the Baltimore Colts from 1953-1957. Nannette and Joe had seven children together. They started a restaurant chain called Gino's which had more than 350 restaurants along the East Coast. Later, Joe founded Rustler Steak House. They sold both companies to the Marriott Corporation. When Nanette was pregnant with her seventh child, Joe died suddenly and tragically at the age of 36. About nine years later in 1976, she met and fell in love with Jesuit missionary priest, Dr. Lawrence B. Dietrich, Jr. While on a mission in India, Lawrence proposed to Nannette with this Marcus & Co. Kashmir sapphire and diamond ring. The ring marked for them the beginning of a new life filled with discovery, hope, and love. They raised seven children, 15 grandchildren, and four great grandchildren together. They remained happily married until they both passed away in 2019. Condition: sapphire measurements: 10.00 x 8.66 x 5.76 mm.; small girdle chip along short side of sapphire (bottom edge in photos); minor surface scratches and abrasions to top facets; setting in overall good condition with wear commensurate with age; diamonds in overall good condition.
• SPANISH SCHOOL, (19TH CENTURY),
  SPANISH SCHOOL, (19TH CENTURY), MADONNA AND CHILD SURROUNDED BY SAINTS, OIL ON CANVAS, 15 2/4 X 12 1/4 IN., FRAME: 19 1/2 X 16 1/2 IN.SPANISH SCHOOL, 19th century Madonna and Child Surrounded by Saints, oil on canvas oil on canvas Dimensions: 15 2/4 x 12 1/4 in., frame: 19 1/2 x 16 1/2 in. Provenance: Other notes: On Mary's left are St. Anna and St. Joachim, Mary's parents, and to her right is St. Joseph. Two Jesuit saints complete the composition, with St. Ignatius of Loyola on the left and St. Francis Xavier on the right. Condition: "As-is," with several tears small losses. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
• SPANISH COLONIAL RELIGIOUS SANTO
  SPANISH COLONIAL RELIGIOUS SANTO JESUIT MARTYRSpanish Colonial santo/ altar figure, 18th/ 19th c., gesso over carved wood with polychrome paint, Jesuit martyr kneeling, a slit carved above his left breast, losses to arm and fingers, approx 22.25"h, 10"w, 10.5"d, 9.5lbs **Provenance: From the estate of Ali A. Abssi (1934-2020) and Florence Hall Abssi (1919-2014), founders of the Ishtar Gate Gallery in the prestigious Houston Galleria. They were world travelers and dealers of eclectic art, jewelry, antiquities, and gems. Their friends, acquaintances, and customers included people from all continents, including sheiks, prime ministers, royals, business leaders, politicians, and oil magnates. Florence was also a published author.**
• A Chinese Export 'Jesuit' En
  A Chinese Export 'Jesuit' En Grisaille Porcelain Teacup and Saucer 18th Century Diameter of saucer 4 7/8 inches. Property from a Prominent Midwest Estate
• A Chinese Export 'Jesuit' En
  A Chinese Export 'Jesuit' En Grisaille Porcelain Teacup and Saucer 18th Century Diameter of saucer 4 7/8 inches. Property from a Prominent Midwest Estate
• CHINESE RED LANGYAO GLAZED VASE,
  CHINESE RED LANGYAO GLAZED VASE, EARLY 20TH C. Chinese ,early 20th C,red glazed vase. Glossy glaze with white glossy glaze on lip. Tapering to smooth lip begins at lower body. Slightly splayed base with two thin oval openings at opposite ends. pasted paper on underside with script says "Bought by Jesuits and Mrs. Narrior (sp)." H. 8.5" (21.6 cm) Condition: in good condition with two sideling glaze crack line cross the body
• RARE CHINESE EXPORT EUROPEAN
  RARE CHINESE EXPORT EUROPEAN SUBJECT TEA CUP Qianlong Era, circa 1760 en grisaille decorated cup of three European figures, with large structure in landscape, possibly a Jesuit piece. 2 1/2 in. H.
• CANADIAN TRADE SILVER CROSS OF
  CANADIAN TRADE SILVER CROSS OF LORRAINE PENDANT 18th century, possibly by George Cruickshank of Montreal: type associated with Jesuit missionaries, nicknamed "dragonflies," this one centering a lion rampant; 2 5/8 x 1 1/2 in., in a riker box.
• LAKE GEORGE REGATTA ASSOCIATION
  LAKE GEORGE REGATTA ASSOCIATION MEDAL - SILVER A quite rare work by Victor D Brenner, in sterling silver from 1908, this medal was awarded to "Dean Y. DeLand, Gentleman's Singles, 1908". Obverse has "Lake George Regatta Association" above the busts of a Jesuit missionary and Native American. The reverse has to whom it was awarded and stamped at the bottom is R. STOLL, N.Y. / STERLING. The medal itself is suspended by a silver chain to a sterling crossed paddle pin-back hanger. The sterling silver medal is both lovely and rare
• ISIDORE STANISLAS HENRI HELMAN
  ISIDORE STANISLAS HENRI HELMAN (FRANCE, 1743-1806)ISIDORE STANISLAS HENRI HELMAN (France, 1743-1806) four hand-colored engravings, from the suite "Conquetes de l'Empereur de la Chine" (The Conquests of the Emperor of China), 1785, after the paintings by Jean Denis Attiret (Jesuit missionary, 1702-1768). Images measure 9.25" x 16". In matching gilt wood frames; 19" x 26.5" overall.
• IMPORTANT PETRUS DE WOLFF GRISAILLE
  IMPORTANT PETRUS DE WOLFF GRISAILLE TEAPOT Chinese export, Qianlong era, circa 1740 German market, with a band gold scrollwork at the rim and a central scene painted in black, partly in wash, as if after a pen-and-ink sketch, but, in reality, as a simplification of a seventeenth- or early eighteenth-century mezzotint. The gentleman is finely dressed and holds a sporting gun while his dog looks up at him inquiringly. This is said to be Peter Wolff, the historian of the Palatinate, who wrote General History of the Jesuits, re-published in 1789; after a print by Pieter Schenck of Elberfield, Germany. . 5 1/4 in. H. China for the West, D. Howard and J. Ayers (Sotheby Parke-Bernet Publications, London), vol. I, pp.250-251, no. 244. See also La Porcelaine de Compagnies des Indes a Décor Occidental, (F. & N. Hervouet & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.71, fig. 3.17. Other known examples include a plate in the Rijksmuseum (Amsterdam, The Netherlands).
• A Chinese export Jesuit ware coffee
  A Chinese export Jesuit ware coffee can, mid 18th Century, painted en grisaille with an erotic scene, 6.5cm high
• Secreta Monita Societatis Jesu. The
  Secreta Monita Societatis Jesu. The Secret Institutions of the Jesuits, Printed for John Walthoe, jun. 1723 - de la Rochefoucault, Duc . Maxims and Moral Reflections, New Edition, Printed for Lockyer Davis, 1781. 12mo., cont. calf. With 2 other volumes including vol 1 (ex 2) of George Sale's translation of the Koran, 1864, with signature and bookplate of (Sir) Walter Bagot, M.P. (4)
• MUSEUM QUALITY CHINESE EXPORT
  MUSEUM QUALITY CHINESE EXPORT PORCELAIN BOURDALOUE Late Qianlong Era, circa 1780-90 with a gilt and sepia border, the body painted with sunbursts and similar sprays, handle with heart shaped thumb rest. A bordaloue is a woman's portable urinal. In widespread use throughout Europe, from 1710-1850, the earliest known examples were Dutch delftware. By the middle of the 18th century, they were produced by Meissen, Sevres, Wedgwood and others. The English referred to them as "coach pots' or "slippers." Chinese Export bourdaloues tend to have covers while English ones do not. It is unclear when or how the bourdaloue got its name, but one explanation attributes it to Pere Louis Bourdaloue (1632-1704), a Jesuit priest at the court of Louis XIV, when long sermons necessitated this discreet and practical device. There is a bourdaloue in the Winterthur Museum collection, that almost came from the same mold of the present example. The handle, finial and dimensions are the same. Even the mold seam is common to both. See A. Palmer, A Winterthur Guide to Chinese Export Porcelain. 9 1/2 in. Long, 4 1/2 in. High.
• Ernest J. Bellocq (American/New
  Ernest J. Bellocq (American/New Orleans 1873-1949) "Storyville Portrait: Woman Standing in front of a Chaise (effaced)" c. 1911-1913 gold tone printing out paper printed by Lee Freidlander (American/New York b. 1934) from original glass plate negative Freidlander's stamp and initials en verso 10 in. x 8 in. unframed. Provenance: Acquired from Jane Borden Inc. New York City. Note: The life and career of Ernst J. Bellocq the turn of the century New Orleans photographer of Storyville prostitutes remains something of a perplexing mystery made all the more so by the scant personal information existing. Over time conjecture regarding the photographer has included claims he was a hydrocephalic dwarf. Virtually unknown until the discovery of a cache of glass plate negatives of Storyville prostitutes at Sal Ruiz's antique store in the French Quarter sometime after Bellocq's death the photographer soon became one of the most intriguing and illusive of New Orleans' many characters. Add to the fact that someone perhaps Bellocq himself or his brother Leo a Jesuit priest randomly scratched out many of the prostitutes' faces; whether this was meant to hide the girl's identity or was an act of moral outrage remains part of the mystery. A founder of Preservation Hall Larry Borenstein eventually acquired Bellocq's glass plate negatives and had local photographer Dan Leyrer make a set of prints from the negatives prior to 1956. It was not until photographer Lee Friedlander - who had acquired the glass plate negatives in 1967 from Borenstein - exhibited his prints of the negatives in the 1970 landmark exhibition at the Museum of Modern of Art and published a book with the images and text by Susan Sontag that Bellocq's photographs of Storyville prostitutes garnered national and international acclaim. As an artist and photographer Friedlander made decisions regarding the cropping of the images and the use of a gold printing out process which gives the photographs a rich lush quality. In a sense these Bellocq photographs printed by Friedlander are the product of a collaboration between the two photographers. Reference: Rose Rex "The Last Days of Ernest J. Bellocq " Exquisite Corpse: A Journal of Letters and Life issue 10 2002 and Bellocq: Photographs from Storyville The Red-Light District of New Orleans introduction by Susan Sontag and prints made by Lee Friedlander.
• An Indo-Portuguese Polychrome
  An Indo-Portuguese Polychrome Wood St. Francis Xavier Santo Figure early 19th century depicting a standing bearded figure of St. Francis Xavier wearing Jesuit robes and a vestment on a plinth base. Height 14 1/2 x width 6 x depth 5 inches.
• CHINESE EXPORT ''JESUIT WARE''
  CHINESE EXPORT ''JESUIT WARE'' PORCELAIN TEA BOWL AND SAUCER circa 1780 decorated en grisaille with representation of Juno with peacock within a Meissen style border the whole enriched in gilding together with a Chinese Export American market sauce tureen with cover and stand decorated with bands of cobalt blue and gilding with acorn finial l: (of stand) 6.75 in.; a Chinese Export American market cup/saucer another famille rose Chinese Export tea bowl /saucer (4) Provenance: the sauce tureen is believed to have descended through the Harriman family.
• Attributed to David Roberts
  Attributed to David Roberts (1796-1841) - Watercolour - ''Soldiers entering the City of Madrid by the Puerta de Fuencarrel'' - With mounted troops and canon to foreground 11.5ins x 16.5ins unsigned in gilt moulded frame and glazed Note : The Prado Museum Madrid have supplied the vendor with the following information - ''The viewpoint is from the present Glorietta de San Bernardo - The twin towers in the street are those of the Jesuit Church of El Noviciado (demolished circa 1840)''. The watercolour has been engraved and was illustrated in ''La Espana Pintoresca de David Roberts El Viaje Y Los Grabados Del Pintor'' (third edition Malaga 2007 page 90)
• Autographs of World War II Generals
  Autographs of World War II Generals Eight 4-Stars Including One MOH Lot of 10 including: Wallace M. Greene Jr. USMC General TNS 1964; J. Lawton Collins TLS 1966; Harold K. Johnson TNS 1966; Harry Vaughan Major General Military Aide to President TNS 1952 on White House Stationery; Earle G. Wheeler TNS 1963; N.F. Twining TNS 1957; L.L. Lemnitzer TLS 1959; Alfred M. Gruenther TNS 1957; H.A. Drum General Commanding 1st Army TLS 1942; A.A. Vandegrift TLS 1946. TNS 1p Washington DC 4 Jan. 1957. On American Red Cross letterhead. Signed by Alfred M. Gruenther as President of the Red Cross. Alfred Maximilian Gruenther (1899-1983) graduated from USMA in 1918 and became the youngest 4-star general in WWII. He commanded U.S. forces in Austria after the war and was appointed supreme allied commander in Europe from 1953 until his retirement in 1956. After retiring he served the Red Cross until 1964. TLS 1p n.p. but likely Washington DC (where he worked and died) 19 July 1966 on Collins' letterhead. Joseph Lawton Collins (1896-1987) graduated from USMA in 1917 and commanded the 3rd Battalion 22nd Infy. in France in 1919. He achieved the ranks of Colonel and Brig. Maj. and Lieut. General (both brevet and full ranks) during WWII the remainder including General post-war. He was Chief of Staff of the Army from 1949-1953 which covered most of the Korean ''police action.'' He was also involved in crafting the Army's role in NATO. TNS 1p Washington DC 25 Oct. 1963. Signed by Earle G. Wheeler as Army Chief of Staff. Earle Gilmore Wheeler (1908-1975) graduated from USMA in 1932. Just before WWII he was teaching at West Point and spent the first years of the war training Infantry divisions. He went to Europe in 1944 and when he returned in 1945 he became an artillery instructor at Fort Sill. He was back and forth to Europe for the next decade in both U.S. and NATO positions. He was appointed Chief of Staff of the Army in 1962 and Chairman of the Joint Chiefs of Staff in 1964 a position he held through the height of the involvement in Vietnam. TNS 1p Washington DC 25 June 1952. Signed H.H. Vaughan as Military Aide to the President on White House stationery. Harry H. Vaughan (1893-1981) was one of very few generals to not attend West Point. Instead Harry's degree was from Westminster College Fulton MO. Vaughan became friends with Harry Truman during training in 1917. He seems to have left active service and moved to reserves after WWI and several of his promotions in rank stem from reserve duty. He was recalled to active duty in 1942 and sent to Australia. After the war he became Truman's military aide (1945-1953). During this time he achieved higher ranks up to Major General (1947). Vaughan was in the middle of several scandals during his time in Washington. He retired from the military when Truman left office in 1953. TNS 1p Washington DC 30 Apr. 1957. Nathan Farragut Twining (1897-1982) started military service with the 3rd Oregon Infantry a National Guard unit on Mexican border patrol in 1916. With the build up for WWI he was recalled to active duty and was appointed to USMA graduating in 1918. In 1923 he began air training at Brooks Field TX. In 1940 he was assigned to the Chief of the Air Corps in Washington. In mid-1942 he went to the South Pacific as chief of staff to Maj. Gen. Harmon commanding the U.S. Army Air Forces. The following year he was put in command of the first Joint Air Command Army Navy Marine and Allied Air Forces in the South Pacific. He was named Chief of Staff of the Air Force in June 1953 and in 1957 was nominated as Chairman of the Joint Chiefs by Eisenhower serving until 1960 in that capacity. TLS 1p Washington 22 Apr. 1959. Thanking recipient for well wishes on his appointment as Chief of Staff of the Army on letterhead signed by L.L. Lemnitzer. Lyman Louis Lemnitzer (1899-1988) graduated from USMA in 1920. He achieved the rank of Brig. General in the early days of WWII and by the end helped negotiate the Italian and German surrenders. Following the war he was assigned to the Joint Chiefs' Strategic Survey Committee before commanding the 7th ID in Korea. He became Chief of Staff of the Army in 1957 and was appointed Chairman in 1960. He got tied up in the politics of Cuba and only served one term as Chairman. He became Supreme Allied Commander of NATO in late 1962 a post he held until his retirement in 1969. TNS 1p Washington DC 13 Jan. 1966. On Army Chief of Staff letterhead signed by Harold Johnson. Harold Keith Johnson (1912-1983) graduated from USMA in 1933. Johnson requested an overseas assignment and was sent to the Philippines. He was there when Bataan fell survived the death march and spent the war as a prisoner. When the Americans started closing in the Japanese transferred their prisoners. American fighter planes sank one of the ships carrying POWs killing 300 of them. Johnson survived and was taken to Japan; he was transferred again to Korea where the 7th Infantry liberated him in Sept. 1945. Johnson went back to Korea five years later as that police action commenced. He became Chief of Staff of the Army in 1964 and was involved in the escalation of Vietnam. He advocated full mobilization decisive action and rapid withdrawal. When Lyndon Johnson did not follow this recommendation Johnson threatened to resign and later regretted not doing so. He retired from active service in 1968. TLS 1p Washington DC 15 Apr. 1946. On Marine Corps Commandant's letterhead signed by General A.A. Vandgrift. Alexander Archer Vandegrift (1887-1973) attended the University of VA; he won his commission in the Marine Corps through a week-long competitive examination. He got off to a rough start; his early evaluations were less than stellar. He went through most of the training programs available and by the time the U.S. entered WWII Vandegrift was a Major General. He was assigned to the south Pacific and for his service in the Solomon Islands he would receive the Medal of Honor. In 1944 he became Commandant of the Marine Corps and the following year was appointed General the first Marine officer to attain 4-star rank on active duty. He left active service at the end of 1947. TLS 1p Governors Island NY 15 Jan. 1942. On letterhead of the commander of the 1st Army signed by H.A. Drum Lt. Gen. Hugh Aloysis Drum (1879-1951) initially wanted to join the Jesuit priesthood. He joined the Army and rose rapidly through the ranks becoming Pershing's Chief of Staff during WWI. By 1931 he was a Major General Lieutenant General in 1939. He was in charge of Eastern Defense Command in WWII and retired by age in 1943 although he remained commander of the New York Guard until the end of the war. TNS 1p Washington DC 19 June 1964. On U.S. Marine Corps Commandant's letterhead signed by Wallace M. Greene Jr. Wallace Martin Greene Jr. (1907-2003) graduated from the Naval Academy in 1930. He had several assignments until being sent to Shanghai where he helped defend the international settlement during the Sino-Japanese hostilities in 1937 and 1938. He served in the Pacific during WWII and held many assignments until being nominated as Commandant of the Marine Corps to begin in 1964. By the time Greene's term as commandant expired in 1968 the Marine build up in Vietnam went from less than 1000 to over 100 000. He retired 31 Dec. 1967. Condition: Folds as expected. Otherwise excellent overall. One stray ink mark on last.