WEMYSS
RARE GARDEN PLAQUE, CIRCA 1894
of heart shape, inscribed by Karel Nekola in blue enamel and reserved on a white ground with the legend; "One God - and no more/ But friends good store.", unmarked
15cm wide, 15cm high
Provenance;
Mr Randolph and Lady Lillian Erskine-Wemyss, for the Friendship Garden at Chapel Gardens, West Wemyss, circa 1894
Lady Victoria Erskine-Wemyss
Thence as a gift to the present owner
Literature; Andrew S. Cunningham ''Randolph Gordon Erskine Wemyss: An Appreciation'', published Leven 1909
Peter Davis and Robert Rankine ''Wemyss Ware'', presented by Victoria de Rin and David MacMillan, pub. Edinburgh 1986
Note:The patronage of the Wemyss family at nearby Wemyss Castle was an enormous contribution to the success that Robert Heron & Son enjoyed with Wemyss Ware. Indeed as a tribute to the family two vases in the range were named for Randolph Erskine-Wemyss'' sister Lady Henry Grosvenor (Grosvenor vase) and for his second wife Lady Eva Wellesley (Lady Eva vase). From the beginning of the project and throughout its heyday at the turn of the 20th century their continuing support ensured the success of the range. The following lots bear testament to their support as they were specially commissioned from Robert Heron & Son by the Erskine-Wemyss family to decorate the Friendship Garden which had been created within The Chapel Garden in 1894 by Mr Erskine Wemyss and his then wife Lady Lillian Wemyss. Each is painted by Karel Nekola, chief decorator at Robert Heron & Son, with a motto pertaining to friendship and can be seen in contemporary photographs attached to a tree in the middle of the garden (see illustration left and overleaf). Accompanying documents with these plaques show photographs of the completed garden as well as a list of donors to the garden and the plants donated dated 1894. The photographs show borders of donated plants surrounding the central tree and each donors plot is marked with a heart-shaped plaque - one of which survives in this group (lot ) and is inscribed ''Dowager Countess of Airlie''.
The Chapel Garden had been created in 1894 by Randolph Gordon Erskine-Wemyss adjacent to the burial ground he had created for his family by the ruined chapel nearby in the same year.
Andrew S. Cunningham in his 1909 publication ''Randolph Gordon Erskine Wemyss: An Appreciation'' writes about the garden; "The garden is situated in a semi-circular creek in Red Rocks Bay, to the west of the village of West Wemyss….To get to the place of burial one has to pass through a pergola of ivy and hops and pretty creeping hops, and at every turn he meets rustic gateways and pretty creeping plants. In a pond constructed in the red rock there are some rare specimens of plants and roses grow in profusion. The old dovecote which takes the name of the East Tower, has been converted into a summer house, and above the entrance are carved the words: "I wish the sun would shine on all men''s fruits and flowers as well as mine""
Bob Gruen (American, b. 1945) "Led Zeppelin," 1973, printed 1990, gelatin silver print, signed, titled and dated, 16" x 20", unframed. Bob Gruen: One of the worlde;s most respected music photographers, Gruen has spent the last forty years taking iconic images of Rock and Roll legends. Possibly best-known for his photographs taken of John Lennon and Yoko Ono, he was the couplee;s personal photographer and friend, capturing images of both their personal and professional lives. In the 1970e;s, Gruen was the chief photographer for Rock Scene Magazine, where he specialized in candid, behind the scenes photographs of his subjects. His body of work reflects his commitment to and personal relationships with the artists.
WEMYSS
RARE GARDEN PLAQUE, CIRCA 1894
of heart shape, inscribed by Karel Nekola in blue enamel and reserved on a white ground with the legend; ""Les Fleurs les plus belles/ perdent un jour leur beaute,/ mais une amitie fi**/ dure etenite." (glaze chips)
15cm wide, 15cm high
Provenance;
Mr Randolph and Lady Lillian Erskine-Wemyss, for the Friendship Garden at Chapel Gardens, West Wemyss, circa 1894
Lady Victoria Erskine-Wemyss
Thence as a gift to the present owner
Literature; Andrew S. Cunningham ''Randolph Gordon Erskine Wemyss: An Appreciation'', published Leven 1909
Peter Davis and Robert Rankine ''Wemyss Ware'', presented by Victoria de Rin and David MacMillan, pub. Edinburgh 1986
Note:The patronage of the Wemyss family at nearby Wemyss Castle was an enormous contribution to the success that Robert Heron & Son enjoyed with Wemyss Ware. Indeed as a tribute to the family two vases in the range were named for Randolph Erskine-Wemyss'' sister Lady Henry Grosvenor (Grosvenor vase) and for his second wife Lady Eva Wellesley (Lady Eva vase). From the beginning of the project and throughout its heyday at the turn of the 20th century their continuing support ensured the success of the range. The following lots bear testament to their support as they were specially commissioned from Robert Heron & Son by the Erskine-Wemyss family to decorate the Friendship Garden which had been created within The Chapel Garden in 1894 by Mr Erskine Wemyss and his then wife Lady Lillian Wemyss. Each is painted by Karel Nekola, chief decorator at Robert Heron & Son, with a motto pertaining to friendship and can be seen in contemporary photographs attached to a tree in the middle of the garden (see illustration left and overleaf). Accompanying documents with these plaques show photographs of the completed garden as well as a list of donors to the garden and the plants donated dated 1894. The photographs show borders of donated plants surrounding the central tree and each donors plot is marked with a heart-shaped plaque - one of which survives in this group (lot ) and is inscribed ''Dowager Countess of Airlie''.
The Chapel Garden had been created in 1894 by Randolph Gordon Erskine-Wemyss adjacent to the burial ground he had created for his family by the ruined chapel nearby in the same year.
Andrew S. Cunningham in his 1909 publication ''Randolph Gordon Erskine Wemyss: An Appreciation'' writes about the garden; "The garden is situated in a semi-circular creek in Red Rocks Bay, to the west of the village of West Wemyss….To get to the place of burial one has to pass through a pergola of ivy and hops and pretty creeping hops, and at every turn he meets rustic gateways and pretty creeping plants. In a pond constructed in the red rock there are some rare specimens of plants and roses grow in profusion. The old dovecote which takes the name of the East Tower, has been converted into a summer house, and above the entrance are carved the words: "I wish the sun would shine on all men''s fruits and flowers as well as mine""
Continental Currency, Jan 1779 $2 Blue Paper Detector PMG Choice Uncirculated-63: Continental Currency. Red & Black Printed 1779 Blue Paper Counterfeit Detector. Continental Currency. January 14, 1779 $2. "The United States of North America" legend, Special Blue Paper "Detector" Note. PMG graded Choice Uncirculated-63. Fr. CC-88DT. This impressive Blue Paper Counterfeit "Detector" was printed directly off the authentic original plates, and then used for comparison against other potential Counterfeit notes then circulating for determination of its authenticity. Full printed Sheets would be distributed to the major financial centers and treasuries for exactly that specific purpose. These notes were important for providing public confidence in accepting Continental Congress issued paper money. This 1779 Revolutionary War issue was also specially printed in two colors, red and black, meaning it was printed twice, once in each color. This $2 note also has a Jumbo Sheet Edge margin at right. Scarce.
Bob Gruen (American, b. 1945) "John Lennon, NYC," 1974, printed 1999, cibachrome photography print, signed, titled and dated, 16" x 20", unframed. Bob Gruen: One of the worlde;s most respected music photographers, Gruen has spent the last forty years taking iconic images of Rock and Roll legends. Possibly best-known for his photographs taken of John Lennon and Yoko Ono, he was the couplee;s personal photographer and friend, capturing images of both their personal and professional lives. In the 1970e;s, Gruen was the chief photographer for Rock Scene Magazine, where he specialized in candid, behind the scenes photographs of his subjects. His body of work reflects his commitment to and personal relationships with the artists.
AN ANTIQUE MAP, "Austin and Surrounding Properties, " AUSTIN, CIRCA 1899, : AN ANTIQUE MAP, "Austin and Surrounding Properties, " AUSTIN, CIRCA 1899, lithograph on paper with hand color and manuscript, "Austin, Texas March 1891. An original compilation from public records, actual surveys, and engineer's records collected by us during the past 16 years. Showing position and advantages of many additions existing and projected near the City, the Dam and Lake; the seat of present activity and the mountain heights[sic] soon to be crowned with residences and hotels for the traveler intent on health or pleasure. Thanks are proffered for aid derived from. John F. Pope & Reuben Ford. , " published by "Bergen Daniel & Gracy, Abstract of Title Office 105 E. 6th Street, " a hand written manuscript legend at center left in red, "Wm. Walsh Tract, " and an alternating color, "R. R. as water exists in time proposed, " the tract for William Walsh's 100 acres subdivided into 66 and 33 1/3 acres to accomodate a proposed extension of the Austin Dam and Suburban Railway; again in red the rail path from the damn into downtown ends with hand drawn dash marks running north from 4th street up Congress Ave. , taking a right on 11th street and then north up San Jacinto; the marks proposed extending a rail service to run conveniently north and south past the Capitol Building; in the upper left an inset view of, "The Austin Dam for Water, Light and Power. 1200 feet long, 60 feet high, 14, 000 horsepower, " other pencil inscriptions outline land belonging to "R. M. Hall et al. , " and "Stalks, " in plot 27, and north of the Capitol, "Texas University" appears with a footprint of the historic "Main Building, " which officially established the University of Texas. 35 1/2" x 30 1/2" Note: "The Austin Dam and Suburban Railroad was chartered on July 16, 1895, and purchased the line from the city of Austin for $43, 500. The railroad was electrified and operated as a streetcar line through Austin to a pleasure park near the dam. In the spring of 1899 an additional 1. 5 miles of track was constructed. After the destruction of Austin Dam by a flood in April 1900, the railroad ceased operations until May 1904. William C. Walsh(1836-1924), Civil War Officer and Texas Land Commissioner. Walsh directed the first survey of one million acres of land granted to the University of Texas under the 1876 constitution. Walsh also served on the board of public works for the construction of the Austin dam. " Special thanks to the Texas State Historical Association. Nicole Elber writes in a blog published by The University of Texas at Austin, "The School of Biology lived in the basement of the Old Main Building, also known as The Parthenon of the University’s Acropolis from its very beginnings in 1891 until 1899. The West Wing was completed in 1884 and the East Wing in 1899, at a cost of around $250, 000. Before the completion of the building, classes were held in the State Capitol. " Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas Dimension Condition Creases as issued, pencil marks, handling creases, fading of hand color, overall in good to 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. ” NO REFUNDS will be issued based on condition.
MOUNTED FLIES: THREE TITLES (1). Leiser, Eric: "The Dettes - A Catskill Legend." Fishkill, Willowkill Press, 1992. Bound in 3/4 calfskin included in a special slipcase with 3 mounted flies. 1 of 200 copies signed by the Dettes and the author. (2). Jorgensen, Poul: "Salmon Flies ..." Harrisburg, Stackpole, 1978. First edition, quarto, bound in full morroco, includes slipcase. 1 of 250 copies signed by the author with a mounted fly. (3). Combs, Terry: "Steelhead Fly Fishing." New York, Lyons & Balford, 1991. Quarto. 1 of 250 copies bound in 1/2 pigskin. Includes slipcase and one mounted steelhead fly.
Lot of 2 Barbie Dolls, including 1997 Hollywood Legends Collection Barbie as Marilyn Monroe in "The Seven Year Itch" made by Mattel, mint in box, and Lavender Surprise Barbie, Sears Special Edition, mint in original box Estimate $30-50
WALTER BREND CUSTOM FIXED BLADE DOUBLE EDGE KNIFERare model 5 custom fixed blade hunting or survival fighting knife by Walter Brend. 8 5/8" double edge trailing point blade. Full tang, Micarta handle. Overall length 14 1/2". Comes with custom tactical nylon sheath. Excellent condition, has the appearance of never being used. Some oil spots on blade. Walter Brend is a living legend in the knife industry. He's been grinding knives for nearly forty years and has gained a reputation for having some of the most intricate and most beautiful custom grind lines around. He specializes in tactical folders and fixed blades that are just the right combination of size, style, and of course functionality. See photos for more details on condition. shipping info This lot can be shipped in-house.
Number 2 in the Series, the Property of Molly McQueen2001 Ford Mustang Bullitt EditionChassis no. 1FAFP42X31F213441
Ford Motor Company chose the Los Angeles International Auto Show in 2000 to unveil the prototype for a limited series of Mustangs that would be an homage to the 1968 Mustang GT Fastback driven by Steve McQueen’s character, Lt. Frank Bullitt, in arguably the most famous and exciting chase scene ever filmed. The chase itself consumes seven minutes on screen – and that’s after a 3 1/2 minute lead-in as the two cars, McQueen’s Mustang and the killers’ Charger R/T 440 hardtop, cruise through the San Francisco hills in an ultra cool game of cat and mouse. It is a legend.
Only 5,521 of those hunky special 2001 Mustang Bullitts were built, liveried in the famous Dark Highland Green, but the concept and its realization proved to be so popular that an avid following and enthusiastic owners’ club sprang up. Its popularity and reputation was such that Ford reprised the concept for 2008.
In order to acquire the rights to use the Bullitt and Steve McQueen’s identity Ford ponied up the first two cars in the 2001 Mustang Bullitt series. The first one went to McQueen’s son Chad. The number two Mustang Bullitt was earmarked for Chad’s sister Terry but she passed away before receiving it and it passed to her daughter Molly. It is the car offered here, having covered at the time of cataloging only 35 miles from new.
The 2001 Mustang Bullitt is true to the concept of the original 1968 Mustang GT. Legendary road racer and specials builder Max Balchowsky modified both the Mustang and the Charger for the movie, beefing up the suspensions for better high speed handling. The 2001 Mustang Bullitt got the same treatment, lowered 3/4" to drop the center of gravity and give it the menacing stance that characterized Lt. Bullitt’s Mustang in the film. The rocker panels, C-pillars and quarter panels also have been cleaned up. The front is a plain, blacked-out grille. Seventeen inch Torque Thrust 5-spoke alloy wheels are fitted, along with serious tires, brushed aluminum outside fuel filler and subtle "Bullitt" identification to complete the look.
In keeping with Balchowsky’s engine modifications on the movie Mustang, the 2001 Mustang Bullitt has double 57mm bore throttle bodies borrowed from the SVT Mustang (265 horsepower at 5,000 rpm) and a revised intake manifold with better torque characteristics (305 lb-ft at 4,000 rpm.)
The chassis gets the Balchowsky-esque treatment, too, starting with revised struts and shocks, special stabilizer bars matched to the lowered suspension, subframe connectors to stiffen the chassis and 13" Brembo front brakes. The exhaust system is special, giving the Mustang Bullitt a unique tone.
Inside, Dark Charcoal leather bucket seats, brushed aluminum accents, white-faced gauges and Bullitt identification ensure the driver won’t forget, even sitting still, that this is a special, limited production Mustang. Ford even relocated the brake and clutch pedals for easier heel-and-toe action entering corners. It is, in fact, one of the best combined appearance/function packages in Mustang history, a combination that looks serious and has the performance and handling to back up its looks.
Only two Mustang GTs were built for the movie, just as only two Mustang Bullitts were built for the McQueen family. One of the movie cars didn’t survive being bashed and slammed over San Francisco’s hills. The other has disappeared into a very secretive East Coast owner’s collection where it has been secreted now for three decades, completely hidden from public view. Oral history has it that even Steve McQueen was denied a look at the car.
That’s not the case here where the Terry and Molly McQueen 2001 Ford Mustang Bullitt is ready to star in a modern collector’s collection, a tribute to the King of Cool, his family, and the best movie chase scene ever filmed. It is essentially brand new and comes directly from Molly McQueen, having been freshened and serviced after its long period in storage.
1995 Ken as Tinman from Wizard of Oz, Hollywood Legends Collection, Special Edition, mint in original box, box is in good condition Estimate $25-50
FIVE BOOKS ON ELVIS PRESLEY AND FRANK SINATRA Assortment of five hardcover and softcover books on Elvis and Sinata comprising, Steven Binder, "Comeback '68 Elvis: The Story Of The Elvis Special", Jean-Marie Pouzenc, "Elvis A Paris" (person inscription in an unknown hand), Terry O'Neil, "Sinatra: Frank And Friendly; A Unique Photographic Memoir Of A Legend" (signed by the author), Nancy Sinatra, "Frank Sinatra: 1915-1998; An American Legend", and Charles Pignone, "The Sinatra Treasures: Intimate Photos, Mementos, and Music From The Sinatra Family Collection". Provenance: From the Private Collection of Joel A. Katz, Atlanta, Georgia. Approx. "Sinatra: Frank And Friendly; A Unique Photographic Memoir of A Legend" h. 12.5", w. 10", d. 1".
3111 - Collector Edition Barbie Dolls
Collection of seven collector edition Barbie dolls belonging to Tiffany Trump, all still in original boxes" special edition "Happy Holidays", 1998, collector edition holiday angel, issued 2000, special 2000 edition celebrate Barbie, Hollywood legends collection, collector edition Barbie as Glenda the Good with, 1995, collection edition Barbie as the Sugar Plum Fairy, 1996, collector edition Barbie as the Swan Queen in Swan Lake, 1997, special edition hallmark Holiday Traditions Barbie, holiday homecoming collector series, 1996, 13 1/2"h (smallest), 13 3/4"h (largest). Provenance: Property of Marla Maples.
Jules Lion (French/American, 1806-1866, active New Orleans, 1837-1866) , "Ashur Moses Nathan and Son", c. 1845, pastel on heavy paper board, signed "Lion" lower left, sight 35 in. x 28 in., glazed in a period cove-molded giltwood frame. **Please note that bidding on this lot is not accepted online. Contact Michelle Leckert at 504-899-5329 for bidding.** Provenance: Discovered in Mississippi and jointly owned by Francois Mignon (1899-1980) and Lyle Saxon (1891-1946), c. late 1930s; Francois Mignon, Natchitoches, LA, 1946; Ora Garland Williams (1910-1985), Natchitoches, LA, 1980; her daughter Ann Williams Brittain (1935-2003) and Jack Brittain Sr. (1928-2016), Natchitoches, LA, 1985; thence by descent to their children, 2010. Exh.: ?Selections of Nineteenth-Century Afro-American Art,? Metropolitan Museum of Art, New York, NY, June 19 ? August 1, 1976 and illustrated on cover of accompanying catalogue; ?Currents of Change: Art and Life Along the Mississippi River,? Minneapolis Institute of Arts, May 27 ? October 10, 2004 and illustrated in accompanying catalogue, p. 72; ?Portraits of a People: Picturing African Americans in the Nineteenth Century?, Addison Gallery of American Art, Phillip?s Academy, Andover, MA, Jan. 14 ? March 26, 2006 and illustrated in accompanying catalogue p. 85; ?Portraits of a People: Picturing African Americans in the Nineteenth Century?, Delaware Art Museum, Wilmington, DE, April 21 ? June 17, 2006; ?Portraits of a People: Picturing African Americans in the Nineteenth Century?, Long Beach Museum of Art, Long Beach, CA, Aug. 25 ? November 26, 2006. Ill.: Wilson, Judith. ?Optical Illusions: Images of Miscegenation in Nineteenth- and Twentieth-Century American Art.? American Art. Chicago: The University of Chicago Press on behalf of the Smithsonian American Art Museum 5.3 (Summer 1991): p. 92; African American Review. Saint Louis: Saint Louis University 41.1 (Spring 2007): cover illustration; Greenwald, Erin, ed., In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans. New Orleans: The Historic New Orleans Collection, 2010, p. 84; Picard, Sara M., ?Racing Jules Lion.? Louisiana History: The Journal of the Louisiana Historical Association. Lafayette: Louisiana Historical Association 58.1 (Winter 2017): p. 6; Gould, P., Seale, R., et al. Natchitoches and Louisiana?s Timeless Cane River Baton Rouge: Louisiana State University Press, 2002, p. 81; Southeastern Center for Contemporary Art. Next Generation: Southern Black Aesthetic Winston-Salem: Southeastern Center for Contemporary Art, 1990, p. 27. Neal Auction would like to thank Wendy Castenell, Ph.D. for writing the following note. Note: The portrait, which has become known as ?Ashur Moses Nathan and Son? is familiar to all who are interested in Louisiana portraiture or the history and legacy of African American art. The elusive portrait has been tucked away in private collections in Natchitoches, Louisiana, since its discovery by Louisiana authors Lyle Saxon and François Mignon in the 1930s in the attic of a private home of an unidentified resident in Mississippi. According to an interview with Mignon in the July 23, 1976 issue of The New Orleans Times-Picayune, the pair were made aware of the painting?s existence and location by a well-known New Orleans gallery owner who remained anonymous in the article. The portrait was jointly owned by Saxon and Mignon until Mignon?s death. In his will dated July 30, 1980, Mignon bequeathed the portrait to Mrs. Ora G. Williams, who in turn, left it to Jack and Ann Brittain in her will from April of 1985. The pastel portrait by Jules Lion from c. 1845 depicts a middle-aged white man locked in an embrace with a mixed race younger man. The two sitters dominate the picture plane, drawing viewers? attention to the details of their features, expressions, fashionable dress, and most importantly, their intimate pose. The older white man at the right, wears an elegant black jacket, waistcoat, and cravat. He gazes directly at the viewer with a serious expression. However, there is warmth in his eyes and a slight uptick at the corners of his mouth that prevents him from appearing severe. His graying hair is thinning, and his face displays sagging and some wrinkles that make him appear to be at the middle of life. His skin is slightly flushed, with a ruddiness in his cheeks and across the bridge of his nose. The younger man stands to his left, with his body pressed against the older sitter?s right side. The young man wraps his left arm around his companion?s shoulder, resting his hand on the older gentleman?s left shoulder. At the very bottom center of the composition, the two men clasp hands. The younger sitter is the taller of the two, and is also attired in a fashionable suit, with a black jacket and gray trousers. However, his garments are more impressive than the older man?s, as they include a blue and brown patterned waistcoat, a silk tie of the same shade of blue with a gold tie pin, a gold watch chain visible beneath his jacket, and a large ruby ring on the ring finger of his right hand. Like the older sitter, he too faces forward and meets the viewer?s gaze directly. His dark hair is shiny and arranged into a fashionable style, parted on the left and curling forward over each of his ears. His eyes, nose and mouth slightly larger than his companion?s, but there is nevertheless a resemblance in the shape of their features. While the younger man is also depicted with a slight blush in his cheeks, his flesh is a little darker and more olive toned than the sitter to his left. An indistinct, but lush landscape is depicted in the background. There is a thick crop of shadowy trees directly behind the sitters? heads, with the hazy blue tones of atmospheric perspective distancing the landscape from the sitters in the foreground, as it also serves to draw the viewer?s eye to the faces of the sitter. In the sky above, there are an abundance of pillowy white clouds with patches of pale blue sky peeking from behind in several places. The artist?s name is clearly signed in red along the bottom left side of the portrait. The large pastel is at 35 x 28 inches, and is in pristine condition, with only a few areas of visible restoration. Lion displays his virtuosity with the pastel medium, particularly with his differentiation of the different textures throughout the image?lifelike skin, the different textures of cloth in the sitters? attire, the shiny jewelry, and the distant landscape background. This portrait stands out as the masterpiece of Lion?s oeuvre. The portrait was featured in the 1976 show at the Metropolitan Museum of Art, Selections of Nineteenth-Century Afro-American Art, in which it appeared as the catalogue cover. Most recently, the portrait was in the 2006 travelling exhibition, Portraits of a People: Picturing African Americans in the Nineteenth Century, curated by the art historian Gwendolyn DuBois Shaw. The exhibition travelled to the Addison Gallery of American Art at Phillips Academy in Andover, MA, the Delaware Museum of Art in Wilmington, DE, and finally to the Long Beach Museum of Art in Long Beach, CA, and once again was included in the exhibition catalogue. Besides the portrait?s rare exhibition, it has received substantial scholarly attention since the 1970s. As art historians have tried to make the field of American art increasingly more inclusive by recovering works by Black artists and centering Black sitters, the Lion portrait has been repeatedly included. For example, a discussion of the portrait was included in the catalogue for David Driskell?s groundbreaking 1976 exhibition at the Los Angeles County Museum of Art, Two Centuries of Black American Art, despite the fact that the portrait itself was not included in the exhibition. Likewise, William Keyes Rudolph discussed the portrait in his exhibition catalogue for the 2010 show, In Search of Julien Hudson: Free Artists of Color in Pre-Civil War New Orleans at The Historic New Orleans Collection, even though the pastel was not in the show. Additionally, the portrait has been included in the publications of scholars such as Patricia Brady, Judith Wilson, and Sara M. Picard. The academic attention, combined with the portrait?s inclusion in a few major exhibitions and its otherwise inaccessibility, have elevated the work to legendary status. The legendary status of the Lion portrait is further augmented by the presumed racial identities of the sitters as well as their relationship to each other, what is believed to be known about Lion?s biography, and finally, the purported identities of the portrait?s subjects. Although the historical evidence about the race of each sitter, Lion?s race, and the identities of the sitters here are uncertain, the same narratives continue to be repeated by scholars as they cite one another without reexamining the archival records. The reason that scholars have been comfortable to repeat the mythologies about Lion and the portrait?s subjects is because if they are true, the stories make an extraordinary painting even more astonishing. In the iconic words from John Ford?s 1962 film, The Man Who Shot Liberty Valence, ?when the legend becomes fact, print the legend.? The reason the portrait has long fascinated so many scholars is because, as art historian Gwendolyn DuBois Shaw wrote in her 2006 exhibition catalogue Portraits of a People, it is an image ?which speak[s] to the complexities of family relationships and racial identification in Louisiana of the 1830s and ?40s.? Indeed, the intimate pose depicted by Lion, as the two men stand together with their hands clasped and arms around one another, along with their similar facial features, indicates a loving familial bond. Furthermore, Lion?s careful handling of the two sitters? skin tones creates a presumption that the two men are in fact a white father and his mixed race son. While it is never safe to make assumptions about the racial identities of sitters in nineteenth-century Louisiana portraits, Lion went through great pains to deliberately give the young man a deeper skin tone. Considering Lion?s adept use of the pastel medium throughout the rest of the image, it is evident this was intentional. Therefore, if this does represent a father and his mixed race son, the remarkable portrait is the only known example that illustrates a white father openly acknowledging his mixed race son in nineteenth-century American art. Furthermore, the image challenges viewers? ideas and assumptions about race in the antebellum South, especially in a place like Louisiana, where affiliations across racial and caste boundaries were particularly complex. The image?s popularity is due, in part, to the astonishing and open interracial relationship it highlights?one that was exceedingly uncommon in the United States in the 1840s and is not known to have been visualized elsewhere. Lion?s racial identity has also recently been challenged. Lion was born in Paris, where he was academically trained and exhibited in the Paris Salon before following the examples of his many colleagues by immigrating to New Orleans where there was a thriving market for patronizing French immigré portraitists. Once in the city, he worked as a prominent lithographer, painter, art teacher, and he was credited with introducing the daguerreotype (the first economical photographic method to be used commercially in the nineteenth century) to the city in 1843. In her essay, ?Racing Jules Lion,? Sara M. Picard explains that Jules Lion appeared with the designation of ?f.m.c.,? or ?free man of color,? in the New Orleans city directories from 1851 to 1856, but that all other documents of his life make no mention of his race, which indicates that he was believed to be white. Additionally, she argues that throughout his entire body of work, he only depicted two people of color, including the portrait here. The conclusion she reaches from her reexamination of the extant documents of Lion?s life and career suggest that he was a French immigrant to Louisiana of Jewish heritage. Although parts of Picard?s argument, like the fact that his predominantly white patrons indicates that he himself was white, have been challenged, her reassessment does make a significant point? namely, the necessity for new scholarship and a reexamination of the archival records on important works of art such as this portrait. Positing that Lion was Jewish and not a free man of color, does not diminish the cultural value of this portrait, or its significance within the African American art canon. Rather, it gives more complexity and nuance to the history of race and race relations in the nineteenth-century, in the same way as the portrait?s composition. Finally, recent scholarship has questioned the sitters? identities as well. Since the portraits appeared in the 1976 exhibition catalogue produced by the Metropolitan Museum of Art, the portrait has been known as Ashur Moses Nathan and Son. In the catalogue, Regenia A. Perry firmly identifies the portraits? sitters. Additionally, she weaves an intriguing story about the sitters and their relationship to Jules Lion himself. Ashur Moses Nathan was a Jewish man born in Amsterdam, who immigrated to Louisiana and became a successful dry goods merchant in New Orleans and Baton Rouge. His wife died in 1852, leaving no children from the union. Although Nathan had a nephew to whom he could have bequeathed his estate, instead he chose to petition the state of Louisiana to adopt the mixed race, Achille Leon (the records from the Louisiana state legislature?s special act spell his name ?Achille Leon,? not Achile Lion.? Louisiana names frequently appeared without consistency throughout archival records, so it is possible that his name was also spelled ?Achile Lion? in other documents). His request was granted on March 12, 1859 by a special act of the state legislature. Following the adoption, Nathan went on to draft a will in 1862 that left most of his estate to Achille Leon, as well as $8,000 to Anna Lion (presumably Achille?s sister). The lengths Nathan went through to officially adopt Achille, and to ensure that he could safely pass his estate onto him and his sister after his death, is a strong indication that Achille and Anna were his biological, extramarital mixed race children. Moreover, Nathan?s actions in securing the succession of his property to those mixed race children rather than his white nephew, indicates a close paternal relationship. However, Regenia Perry further argues that Achille Lion is not only Nathan?s biological son, but also Jules Lion?s stepson, the issue of Jules Lion?s unidentified mixed race wife and Nathan prior to her marriage. Perry?s evidence for this is an entry in the 1844 notarial archive that lists Jules Lion as having a son named Achile in his home. Perry writes, ?that there were two Achile Lions in New Orleans in the 1840s seems improbable.? Yet, in a francophone city like New Orleans, neither the name ?Achile? or ?Lion? were uncommon. Despite the conjectures made by the author of the Met?s Selections of Nineteenth-Century Afro-American Art exhibition catalogue, the truth is that the portrait itself visually corroborates the account of Nathan and his son Achile. Nathan?s concerted efforts to adopt the young man and to secure his inheritance are echoed in the loving embrace of the sitters in the Lion?s portrait. Furthermore, the story woven in the Met?s catalogue is deeply compelling, underlining the convoluted mixtures and relationships across racial boundaries that happened throughout Louisiana?s history. In her essay, ?Optical Illusions: Images of Miscegenation in Nineteenth- and Twentieth-Century American Art,? Judith Wilson neatly summarizes the effect this story has on the portrait?s interpretation when she writes, ?the image would have served not only as a stepfather?s record of his stepson?s true paternity, but also as a biracial artist?s symbolic reference to his own mixed ancestry as well as to a crucial aspect of his wife?s past.? In the end, however, there is no known archival evidence to substantiate the attribution that the sitters depicted in this portrait are Ashur Moses Nathan and Achille Leon. In fact, in her 1976 article, Alberta Collier, an art critic for The Times Picayune asked the anonymous art dealer if he knew the portrait to depict Nathan and his son, to which he replied that ?he had never had any information as to the sitters.? Collier concludes her article by saying, ?This does not, in itself, mean that the sitters are not Achile and Nathan. It indicates, however, that much more research is needed before they can positively be identified as the principals involved in the Louisiana legislative act of March 12, 1859.? This is the salient point?this unique and intriguing portrait has captivated viewers for decades because of the essential questions it raises about race and interracial mixing in Louisiana history, but also in the nation?s history. The pastel is compelling because of the myriad ways it dismantles neat assumptions about the strict American racial binary, as well as the role inhabited by people of African descent in nineteenth-century America. Despite the fact that the artist was probably Jewish and not a free man of color, and that the sitters cannot be firmly identified as Ashur Moses Nathan and his son, Achille, the captivating visual record of interracial familial ties the portrait depicts will compel the next generation of researchers to return to the documentary evidence and continue to work at solving the mystery of this portrait, thereby further enhancing the complex story of African American art. Ref.: ?An Act to Authorize Ashur M. Nathan to Adopt Achille Leon,? Laws for the Government for the District of Louisiana Passed by the Government and Judges of the Indiana Territory, Baton Rouge, LA, March 12, 1859; Brady, Patricia, ?A Mixed Palette: Free Artists of Color in Antebellum New Orleans,? International Review of African American Art 12, no. 3 (1995): 5-57; Collier, Alberta, ?Mystery Surrounds Louisiana Painting in Met Exhibit,? Times-Picayune (New Orleans, LA), July, 23, 1976; Driskell, David, Two Centuries of Black American Art, Los Angeles: Knopf, 1976; Greenwald, Erin, ed. In Search of Julien Hudson: Free Artist of Color in Pre-Civil War New Orleans, New Orleans: The Historic New Orleans Collection, 2010; ?Last Will and Testament of François Mignon,? Natchitoches, LA, July 30, 1980; ?Last Will and Testament of Ora G. Williams,? Natchitoches, LA, April 9, 1985; Perry, Regenia A., Selections of Nineteenth-Century Afro-American Art, New York: Metropolitan Museum of Art, 1976; Picard, Sara M. ?Racing Jules Lion,? Louisiana History: The Journal of the Louisiana Historical Association 58, no. 1 (2017): 5-37; Shaw, Gwendolyn DuBois, Portraits of a People: Picturing African Americans in the Nineteenth Century, Seattle: University of Washington Press, 2006; Wilson, Judith, ?Optical Illusions: Images of Miscegenation in Nineteenth- and Twentieth-Century American Art,? American Art 5, no. 1 (1991): 88-107. Dr. Wendy Castenell is an Assistant Professor of African American Art in the Department of Art and Art History at The University of Alabama. Her research interests include representations of race and ethnicity in American visual culture, portraiture, photography, early cinema, and turn-of-the-century spectacles. Her first book, ?Creole Identity in the Art of the American South: Louisiana from the Colonial Era to Reconstruction,? will be published in the spring of 2022 by Routledge/Taylor & Francis.
Curlew A. Elmer Crowell (1862-1952), East Harwich, MAc. 1930A life-size shorebird mantle carving with a slightly turned head. This decorative exhibits Crowell's mastery of the carved wooden bird and his finest blended painted surface representing the plumage. Mounted on a carved clam-shell base with the maker's rectangular stamp on the bottom. The underside also displays the inscription "A. H. Dempsey to J. Ashley Dempsey," and "CR" for Carolyn Rowland.Anthony Elmer Crowell was born in 1862 in the town of East Harwich, Massachusetts, the son of a Cape Cod mariner and cranberry grower. According to Crowell in his memoires, Anthony S. Crowell, Elmer’s father, though not a hunter, gave his son his first shotgun at the age of twelve. Of the relevance of receiving the new shotgun Crowell wrote, “Then, I was some boy!” The legend of A.E. Crowell and his famous carvings has many of the common threads of the typical artist’s tale. It is the story of a boy of modest means, born at the right time, and befriended by encouraging patrons. Crowell started out in his teens as a market hunter and a pioneering keeper of live waterfowl. These passions helped Crowell to develop an intrinsic knowledge of both waterfowl and other birds. His familiarity with bird anatomy enabled Crowell to create carved wood sculptures that bear exceptional likeness to their species.Young Elmer wasted no time immersing himself into the life of a market hunter. His father owned a small piece of property on nearby Pleasant Lake in East Harwich. By 1876, at the age of fourteen, Elmer had set up his own gunning stand along the lake’s southern shore. Crowell describes the site as having, “a fine sand beach which was ideal for my ducks. I had only six live decoys the first season. I made nine block decoys and put them off about thirty yards in the lake.” Crowell’s description reveals two important aspects regarding his career. The first being his preferred use of live birds as decoys, and the second is the documentation that he began to carve decoys by the age of fourteen.It is often the confidence and enthusiasm of youth that brings forth great experimental breakthroughs. Crowell’s immersion into waterfowl hunting was no different. At a time when market hunters could earn a respectable living if they were able to secure enough game, necessity became the mother of invention. Crowell’s flair for handling live decoys was most certainly born of this mindset. Crowell recounted in his memoir that by 1878, less than two years after starting to hunt, he had increased his flock to, “forty live decoys and tried a new way of handling my ducks. I sank a pole with a ring in the top and ran a line through it back to the blind, which made an endless line. I tied four live ducks to it and pulled them off the pond about thirty five yards. It was about two weeks before they were broken in so I could pull them out without their making a flutter. After that they were all right.”In the third quarter of the 19th century, Cape Cod was a major stop-over for migratory birds and sparsely populated by people. However, with increased access by train and the advent of the automobile, Cape Cod was quickly becoming a destination for sportsmen in pursuit of outdoor recreation. The concept of the American shooting sportsman was beginning to take root. The gunning stands and camps that had once been primarily operated by local market gunners were becoming increasingly sought after by sportsmen from Boston.These newer club owners would often invite their influential and wealthy friends down as guests and they needed managers to run the camps. It was Charles Ashley Hardy of Chatham and Wayland, Massachusetts, along with his partners, G. Herbert Windeler and Loring Underwood, who first approached the enthusiastic young bird handler. It is no small coincidence that they established their camp “The Three Bears Club” on Pleasant Lake, one half mile from Crowell’s gunning stand.The tremendous advantages that Crowell’s inventions and practices provided to the “Three Bears” cannot be overstated. Crowell’s trapdoor invention most closely resembled an automatic garage door. A domesticated flock of honking Canada geese would fly out, circle the pond, and draw the wild geese straight back to the beach like magnets. Crowell stated, “It was a success and we had good shooting for a number of years. At that time we began to bait the small ponds with corn, and two years later we baited in front of our blinds at the lake. It stopped the black ducks from going south, so the ponds were full of ducks; the shooting was great.” Crowell’s own words speak volumes and provide insight into the looming decimation of the migratory bird populations which began to occur at the turn of the century. The refined use of live decoys coupled with baiting waterfowl halted the wild birds from their natural migration patterns. Hunters were quickly becoming so adept at attracting their quarry that wild ducks and geese stood virtually no chance.Federal regulations shortly thereafter banned the use of live decoys and forced Crowell into the world famous carver so revered today. Unable to use live domesticated birds to lure in the flocks, Crowell did the next best thing, creating exceptional sculptures of likeness in wood.The quality of the carvings that Crowell created for his earliest patrons, including this whimbrel for the Hardy family, was often exceptional. Through experimentation he developed and mastered his “wet-on-wet” dry brush feathering technique. While the darker brown feather paint was still wet Crowell applied the lighter feather delineations. Once the two different colored paints became tacky, he took a clean dry brush and gently feathered the two colors together, producing a nicely blended affect. One has the sense that Crowell was either looking right at a real curlew as he painted this carving or he had handled so many that their shapes and feather patterns were etched in his memory.The special relationships forged through hunting, beginning with Charles Hardy, Dr. Phillips, Harry V. Long and others, opened the world to Crowell’s workshop, and the customers came knocking. Crowell specifically credits Mrs. Alexis Felix DuPont for introducing his work to many of the affluent summer residents of Chatham and other important patrons including Joseph B. Chace, Stuart Crocker, Dr. Mac Cunningham, Henry Ford, Arthur Gould, John D. Rockefeller Jr., and Abby Aldrich Rockefeller.Provenance: Alison Hardy Dempsey CollectionJane Ashley Dempsey CollectionCarolyn Rowland CollectionPrivate CollectionLiterature: Copley Fine Art Auctions, LLC, "The Harry V. Long Collection of A. Elmer Crowell Decoys", The Sporting Sale, Boston, MA, 2009.Brian Cullity, "The Songless Aviary," Sandwich, MA, 1992, p. 26, similar example illustrated.
African Ewe Kente Textile Wrap - ca. 1960: Western Africa, Ghana, Ewe, ca. 1960. An outstanding Ewe Kente cloth, finely handwoven from cotton fibers of indigo blue, salmon pink, vermilion red, golden yellow, seafoam green, creamy beige, dove grey, black, and white - displaying a mesmerizing pattern comprised of countless striated, checkerboard, and fretted panels oriented in juxtaposed vertical and horizontal directions - some with additional whimsical motifs inspired by nature - perhaps fishtails, butterflies, and bird wings - that are stitched together to form this large, special Kente cloth. An exemplar of these highly prized textiles which are widely admired for the immense skill required to create them as well as their mesmerizing colors and stylings. Given the high demand for Ewe Kente cloths, it has become very challenging to find older cloths like this example. Kente cloth has a fascinating history (see below); it was originally reserved for elite Asante royalty and limited to ritualistic and special social occasions. Today, it is still associated with sophistication and those of elite social status. Size: 105" L x 60. 5" W (266. 7 cm x 153. 7 cm). . Kente cloth was worn by those of the Asante Kingdom as well as the Ewe people under the reign of the Asante kingdom in the late 18th century. The Ewe adopted the kente style, only with a few differences. Although the cloths were still linked to those of an elite social class and for special occasions, they were not limited to royalty. In addition, there are a wide variety of patterns and purposes for Ewe kente cloths, and the symbolism of the motifs is associated with daily life rather than wealth and high social status. . For the Asante (Ashanti) people of Ghana, a beloved legend describes how two male friends —Ota Karaban and Kwaku Ameyaw—learned the art of weaving by observing a spider weaving a web. One particular night, when the pair was checking their animal traps in the forest, they were struck by this web's marvelous patterns sparkling in the moonlight. Ananse, as the spider was called, offered to teach the men how to weave these designs in exchange for several favors. The men in turn learned how to weave the designs with a single thread and returned home to Bonwire. Soon Asantehene Osei Tutu, first ruler of the Asante kingdom, learned of their discovery. Named kente, this creation was coveted as a royal cloth reserved for special occasions, and Bonwire became the leading kente weaving center for the asantehene and his court. . . Provenance: private Poos collection, Overland Park, Kansas, USA - One of the largest privately held quilt and textile collections in the world, the Poos Collection has evolved over 50 years and through extensive travels to allow for original or point of source acquisition. The collection includes international textiles and garments with an emphasis on West African textiles such as adire, aso oke, kente, and ewe woven prestige cloths. . 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. . #145213 Condition Some areas of separation to seams, a few small holes and stains commensurate with age an use. Otherwise in excellent condition.
Bob Gruen (American, b. 1945) "Debbie Harry, Maxe;s," 1976, printed 1984, gelatin silver print, signed, titled and dated, 16" x 20", unframed. Bob Gruen: One of the worlde;s most respected music photographers, Gruen has spent the last forty years taking iconic images of Rock and Roll legends. Possibly best-known for his photographs taken of John Lennon and Yoko Ono, he was the couplee;s personal photographer and friend, capturing images of both their personal and professional lives. In the 1970e;s, Gruen was the chief photographer for Rock Scene Magazine, where he specialized in candid, behind the scenes photographs of his subjects. His body of work reflects his commitment to and personal relationships with the artists.
Karl Franz Josef Cast Iron Medal by E. Greier: Half-length uniformed bust of heir to throne in plumed shako _ r. Reverse with standing armored figure as medieval knight in eagle-crowned helmet, bearing the legend "Strong in War, Generous in Peace". By E. Greier, cast iron, 107mm. Made for Robert Ball Nachf. , Berlin coin dealership headed by Hugo GrÙnthal, whose son Henry was later curator at the American Numismatic Society. Karl died in exile in 1922 and his efforts to stop World War I caused Pope John Paul II to beatify him early in this century. Silvery surfaces, traces of oxidation on highest reverse points. Provenance: From an important Greenwich, CT estate. In uncirculated condition. Condition In uncirculated condition. Available payment options on Bidsquare Hello, A copy of your invoice is attached to this email. You are able to make payment via PayPal (info@rolandantiques. com), credit card by calling our gallery, wire transfer, or check. If you have already submitted your payment, a paid invoice receipt will be sent to later today. Will you be sending someone to pick these items up, or do you need them shipped? Our UPS coordinator will be here Friday following the sale date to collect all the sold items. They will be taken to a storage facility, and $25 per day (charged to the Buyer) storage fees will be charged beginning on the following Monday for items not shipped before that date. Please email back or call us as soon as possible if you plan on arranging your own trucking. We are open for pick up Monday - Friday, from 10am - 3:45pm. Below is a list of recommended shippers and movers. Please contact them directly to make shipping arrangements. The UPS Store 516-921-4560 Dom or Kelly theupsstoresauctions@gmail. com Specializing in Artwork, Fragile Items, Freight Services Shipping with UPS, DHL, USPS, etc. DAKS Global 484-879-6678 sales@daksglobal. com Local and long distance Arrow Express Domestic and International Shipping Freeport, NY 11520 (212) 226-3770 / (516) 867-4366 arrowexpress@gmail. com Steven Freifeld - Fine Art and White Glove Pick-up Services Plycon Chris Pliaconis NY: 631-269-7000 1-888-655-2664 Plycongroup. com For large and/or long-distance/Intl Jose Soto Services Cell: 646-337-7883 NYC Metro area local van-type moves Mover Man Mike 347-777-9504 movermanmike@gmail. com www. nymanwithvan. com NY tri-state area van-type moves New Century Express James Qui 718-637-9988 james@newcenturyexpress. com Specialize in China and Asia Craters & Freighters 646-862-0423 Toll Free 877-744-7535 Sullivan Transport 770-508-5841 Jason or Dierdre info@sullivandesignservicesllc. com Deland Moving and Storage 212-662-0666 Fax: 718-620-6676 deland@delandrelocation. com Local and long distance Primary Art Services, Inc. 718-383-4949 www. primaryartservices. com mail@primaryartservices. com High end art shippers IFL Art Services, Ltd. 97 Horton Ave, Lynbrook, NY 11563 516-593-1010 Fax: 516-593-2244 www. iflny. com High end art shippers Chris Badigian 206-698-0908 ebuy206@gmail. com Local-style moving nationwide Steven Perez Steve's East Coast Delivery Services 954-829-8779 stevemoving1@yahoo. com Florida home-based, East Coast Ace Exchange Lindsay Gordon 646-546-1075 Ace1exchange@gmail. com NY area and long distance Rams Trucking 516-410-7062, or 321-331-347 ramstrucking@live. com Local and long distance Thank you very much. Sincerely, Roland Auctions NY
WEMYSS
RARE GARDEN PLAQUE, CIRCA 1894
of heart shape, inscribed by Karel Nekola in blue enamel and reserved on a white ground with the legend; "My Friends have come to me/ unsought/ The great God gave them to me./ Emerson"
15cm wide, 15cm high
Provenance;
Mr Randolph and Lady Lillian Erskine-Wemyss, for the Friendship Garden at Chapel Gardens, West Wemyss, circa 1894
Lady Victoria Erskine-Wemyss
Thence as a gift to the present owner
Literature; Andrew S. Cunningham ''Randolph Gordon Erskine Wemyss: An Appreciation'', published Leven 1909
Peter Davis and Robert Rankine ''Wemyss Ware'', presented by Victoria de Rin and David MacMillan, pub. Edinburgh 1986
Note:The patronage of the Wemyss family at nearby Wemyss Castle was an enormous contribution to the success that Robert Heron & Son enjoyed with Wemyss Ware. Indeed as a tribute to the family two vases in the range were named for Randolph Erskine-Wemyss'' sister Lady Henry Grosvenor (Grosvenor vase) and for his second wife Lady Eva Wellesley (Lady Eva vase). From the beginning of the project and throughout its heyday at the turn of the 20th century their continuing support ensured the success of the range. The following lots bear testament to their support as they were specially commissioned from Robert Heron & Son by the Erskine-Wemyss family to decorate the Friendship Garden which had been created within The Chapel Garden in 1894 by Mr Erskine Wemyss and his then wife Lady Lillian Wemyss. Each is painted by Karel Nekola, chief decorator at Robert Heron & Son, with a motto pertaining to friendship and can be seen in contemporary photographs attached to a tree in the middle of the garden (see illustration left and overleaf). Accompanying documents with these plaques show photographs of the completed garden as well as a list of donors to the garden and the plants donated dated 1894. The photographs show borders of donated plants surrounding the central tree and each donors plot is marked with a heart-shaped plaque - one of which survives in this group (lot ) and is inscribed ''Dowager Countess of Airlie''.
The Chapel Garden had been created in 1894 by Randolph Gordon Erskine-Wemyss adjacent to the burial ground he had created for his family by the ruined chapel nearby in the same year.
Andrew S. Cunningham in his 1909 publication ''Randolph Gordon Erskine Wemyss: An Appreciation'' writes about the garden; "The garden is situated in a semi-circular creek in Red Rocks Bay, to the west of the village of West Wemyss….To get to the place of burial one has to pass through a pergola of ivy and hops and pretty creeping hops, and at every turn he meets rustic gateways and pretty creeping plants. In a pond constructed in the red rock there are some rare specimens of plants and roses grow in profusion. The old dovecote which takes the name of the East Tower, has been converted into a summer house, and above the entrance are carved the words: "I wish the sun would shine on all men''s fruits and flowers as well as mine""
WOMEN'S EPHEMERAAn interesting collection of various books, pamphlets and ephemera relating to women's history. [With:] FULLER, S[arah] Margaret. Papers on Literature and Art. New York Wiley and Putnam, 1846. 12mo (185 x 126 mm). 2 volumes in one. Original stamped cloth in original clamshell case. first edition. [With:] Speech of Mr. G. Shaw Lefevre, M.P. in the House of Commons, April 21st 1868. Manchester: A. Ireland & Co., 1868. 12pp., 8vo, in original printed wrappers, tied as issued. [With:] The International Review April 1880. New York: A.S. Barnes & Co. Original printed wrappers. Containing the article 'William Morris Hunt' by Sarah W. Whitman. [With:] An autograph letter signed by Dr. H.K. Jones to Mrs. Julia Smith Parker. Jacksonville, Ill.: 11 October 1882. On Drs. H. K. & C. G. Jones stationery, with original addressed envelope. [With:] Six Photographs from the New York Times Photo Archives. Suffrage Photographs. New York 1888-1920. [With:] Three celluloid pinbacks, Votes for Women (c. 1915); Votes for Women [Four Stars] (c.1895-1909); Votes for Women (c.1915). [With:] Bank Notes for Women. Rochester, NY: Alliance Bank, 1905. 24pp., original printed wrappers. [With:] A photograph of Gertrude Stein and Alice B. Toklas in a Paris Salon. Copy of a negative of original Man Ray photo. [With:] A sepia photograph of Rosa Bonheur. New Bedford, Mass.: c.1900. Carte-de-visite photograph of the famous painting of Bonheur.[With:] WOOLF, Virginia. A Cockney's Farming Experiences. San Diego: 1972. Original cloth. [With:] Two celluloid pinbacks, Equal Rights Arent Special Rights (c.1978-1983) and Liberated Women are Better (c.1970's). [With:] BRAKHAGE, Jane. From the Book of Legends. New York: Granary Books, 1989. Original paper boards, signed by the author. [With:] FISHER, M.F.K. Answer in the Affirmative & The Oldest Man. [California:] Engdahl Typography, 1989. Original cloth in the orginal printed dust jacket. [With:] Spirits of the Valley. [N.p.:] Targ Editions, 1985. Half cloth over paper covered boards. signed. Condition: some light intermittent soiling, minor chip; extremities lightly worn. Sold as a group not subject to return. (23)
Four vintage children’s books, including: 1908 Dorothy and the Wizard of Oz, 1904 Babes in Toyland, 1916 Peter Pan, and 1896 The Legend of Sleepy Hollow. Condition: all with some issues of discoloration and compromised binding CT Transfer Fee $10 USPS Flat-Rate Shipping Available See "Special Instructions" for rates Verification by Photo ID that matches the information on the form of payment, is required prior to shipping, for all new Smith customers.
c1815 War of 1812 Historic Staffordshire Pitcher Pike + Macedonian Captain Jones: War of 1812. War of 1812 Historic Naval Theme Staffordshire Pitcher "Pike Be always ready to die . , " and "Captain Jones of the Macedonian" with Important American Patriotic Transfers. c. 1815 War of 1812 Period, Historic Staffordshire Pitcher, "Pike Be always ready to die. , " and "Captain Jones of the Macedonian, " American Navy Theme with Patriotic Transfers, Choice Extremely Fine. This Patriotic American Naval War of 1812 theme Staffordshire Pitcher measures 6. 5" tall and 4" at the base. It was produced in England for export to America at the close of the War of 1812. It has decorative black banding and trim at the rim and base. One side has a transfer listed as "P. 29" on page 151 of David Arman's reference book titled: "Anglo-American Ceramics Part I. " It shows the transfer with legend: "PIKE. Be always ready to die for your country. ". . The other side is listed in Arman as "J. 31b" its legend reading: "Captain Jones of the Macedonian" on page 119. Captain Jones was widely admired and when he returned to the United States after an exchange of prisoners, he received a special Gold Medal from the United States Congress for his service. An additional third transfer is of a large American Heraldic Eagle with banner in his beak "E PLURIBUS - UNUM" with "AMERICA" below and 16-Stars above, located just under the spout. This historic transfer is listed as Arman "S. 18" as the Great Seal of The United States, found on page 164. A quality example that shows virtually no wear, apparently having only been used for display since originally produced circa 1815.
Encased Postage Stamp 10 Cents ELLIS McALPIN + CO. Cincinnati EP-112 Rarity-5: Encased Postage Stamps. Ten Cents "Ellis, McAlpin & Co. " Cincinnati, Ohio Rarity-5. EP-112, HB-113, S-81, Reed-EM10. Ten Cents Stamp. ELLIS, McALPIN & CO. Cincinnati. Extremely Fine. c. 1862 Civil War. Rated as Rarity-5 (21 to 30 known) according to Fred Reed. Reed may have been too generous, as our records are more conservative. The Hodder-Bowers reference states that "Six specimens of the Ten Cent denomination have been traced, two of which are in institutional collections. " This cataloger believes that more realistically about 10 to 20 are known. This is certainly an important and rare Merchant encasement. Its legend reads: "Ellis, McAlpin & Co. - Wholesale Dry Goods. - FOR CASH - 108 Pearl St AND 119 Third St - PAT. AUG 2, 1862 - J. GAULT - Cincinnati. ". . This example displays a deep green 10 George Washington 1861 Issue U. S. Postage Stamp which is centered slightly to the upper left. It is viewed through clean, clear unbroken mica having one faint natural internal craze at the top rim edge. The case is a perfectly natural chestnut-brown, very clean and pleasing in appearance. The John J. Ford, Jr. Collection Sale of June 2004 offered only a single example that was noted to have problems. Previous examples sold in our EAHA Auction of August 26, 2000 Lot 650 graded Choice VF+ for $2, 070; also April 23, 2000 Lot 288 graded Choice VF sold for $2, 185, and in our December 7, 2002 Auction Lot 638 graded Choice EF sold for $3, 450. And our June 2011 Specialized Sale Lot 8 graded Extremely Fine, which sold for $3, 405. This current specimen is a very lovely example of this scarce Merchant.
1969 Dodge Charger CoupeChassis no. XP29H9G171353
1969 was the heyday of the American Muscle Car and the Dodge Charger was in the core of the furnace. The Charger’s fastback two-door hardtop body style with its "Coke bottle" fenders, full width grille and simulated fender side extractor vents was distinctly purposeful and subtly refined. Its appeal didn’t depend on fins, flairs or embellishment, just good design attractively presented.
Under the skin the Charger had the stuff to back up its visual appeal: magnificent engines, strong transmissions and solid suspension. It wasn’t, however, a "Good Guys" car, having a potent but portentous presence that communicated more menace than promise.
That was the temper of the times, which may have been why the producers of Bullitt chose a Dodge Charger R/T for the bad guys to drive. In retrospect, where everything about the great Bullitt chase scene is bonded in the epoxy of legend, questions are irrelevant. Bad guys drove Chargers.
The original Bullitt Chargers and Lt. Bullitt’s Mustang GTs (there were only two of each) were prepared for the film by Max Balchowsky, one of California’s great road racing specials builders. His "Ol’ Yaller" road racers embarrassed scores of Italian stallions in the Fifties and Sixties. Steve McQueen, who knew the difference between appearance and function, engaged Balchowsky to build the chase cars for Bullitt, reinforcing them first and loading them up with performance second.
The Bullitt chase sequence began with 3 1/2 minutes of cat and mouse moves through San Francisco’s hills as McQueen and "the killers" jockey for position. It ends when the Charger’s driver, Bill Hickman, reaches over and with no expression at all secures his belts. It is an eloquent gesture, saying nothing but saying everything with a simple, commonplace move: it was time to get serious. Hickman immediately nails the Charger’s throttle, setting off a nonstop chase through the streets of San Francisco and its outskirts that lasted 7 1/2 minutes on the screen and has forever after defined "chase" in cinematic terms.
During the eleven minute Bullitt minuet not a single word is spoken, not even an expletive [deleted]. It may be the longest wordless movie sequence since The Jazz Singer.
It’s no surprise that Bruce Willis was taken with it. Many of us have been.
After watching Bullitt while filming Breakfast of Champions in Idaho he happened to be offered this 1969 Charger, a cherry 383/335hp in Green with a Green vinyl roof. It had never been smoked in. He bought it and commissioned the creation of the ultimate Bullitt Charger R/T, the Charger Max Balchowsky could only have wished to have built.
Its Mopar 440 engine is bored and stroked to 502 cubic inches, built by the specialists at The Balance Shop. Aries pistons, a 1/4" stroker crank and an aggressive but not radical roller cam with roller rockers, Edelbrock heads and intake manifold, Holley 750 cfm double pumper carburetor, headers and Flowmaster exhaust measuring 2 1/2" throughout produces an instantly responsive 700 horsepower and nearly 700 lb-ft torque. It is put down through a Mopar 727 Torqueflite automatic with B&M shifter, a 2500-3000 rpm stall torque converter and a 3.73:1 Dana 60 rear axle.
There’s a lot of other stuff, like Mopar 4-wheel disc brakes with instant Hydroboost assist with boost pressure off the power steering pump, power steering, Perfect Fit air conditioning, an aluminum radiator and an elaborate Alpine stereo system. The gauges have been rebuilt including installing an authentic Mopar Tic-Toc-Tach.
It is finished in sinister Black all over with paint by Performance Paint in Torrance, California. The interior is Black leather. Bruce Willis’s favorite Cragar S/S alloy wheels and low profile blackwall tires complete the package, a "killer" muscle car with brilliant cosmetics and performance that makes the paint, chrome and interior secondary considerations.
Its history reflects the care and attention which Bruce Willis has lavished upon it, a progressive process of development and improvement that began in 2001 and has gone through a series of upgrades and enhancements to keep the chassis, body, suspension and drivetrain in balance throughout its development.
Steve McQueen and Bill Hickman would have delighted in this Charger, and enjoyed the challenge of its performance. McQueen might even have sought a better Mustang than the 390 GTs that he and Bud Ekins drove in Bullitt.
That’s a sequel.
Bruce Willis produced it, too.
WEMYSS
RARE GARDEN PLAQUE, CIRCA 1894
of heart shape, inscribed by Karel Nekola in blue enamel and reserved on a white ground with the legend; "It has seemed to me more pos-/ sible than I knew to carry a friend-/ ship greatly on one side. Why should/ I cumber myself with regrets - It / never troubles the sun that some/ of his rays fall wide and/ vain into ungrateful/ space./ Emerson."
15cm wide, 15cm high
Provenance;
Mr Randolph and Lady Lillian Erskine-Wemyss, for the Friendship Garden at Chapel Gardens, West Wemyss, circa 1894
Lady Victoria Erskine-Wemyss
Thence as a gift to the present owner
Literature; Andrew S. Cunningham ''Randolph Gordon Erskine Wemyss: An Appreciation'', published Leven 1909
Peter Davis and Robert Rankine ''Wemyss Ware'', presented by Victoria de Rin and David MacMillan, pub. Edinburgh 1986
Note:The patronage of the Wemyss family at nearby Wemyss Castle was an enormous contribution to the success that Robert Heron & Son enjoyed with Wemyss Ware. Indeed as a tribute to the family two vases in the range were named for Randolph Erskine-Wemyss'' sister Lady Henry Grosvenor (Grosvenor vase) and for his second wife Lady Eva Wellesley (Lady Eva vase). From the beginning of the project and throughout its heyday at the turn of the 20th century their continuing support ensured the success of the range. The following lots bear testament to their support as they were specially commissioned from Robert Heron & Son by the Erskine-Wemyss family to decorate the Friendship Garden which had been created within The Chapel Garden in 1894 by Mr Erskine Wemyss and his then wife Lady Lillian Wemyss. Each is painted by Karel Nekola, chief decorator at Robert Heron & Son, with a motto pertaining to friendship and can be seen in contemporary photographs attached to a tree in the middle of the garden (see illustration left and overleaf). Accompanying documents with these plaques show photographs of the completed garden as well as a list of donors to the garden and the plants donated dated 1894. The photographs show borders of donated plants surrounding the central tree and each donors plot is marked with a heart-shaped plaque - one of which survives in this group (lot ) and is inscribed ''Dowager Countess of Airlie''.
The Chapel Garden had been created in 1894 by Randolph Gordon Erskine-Wemyss adjacent to the burial ground he had created for his family by the ruined chapel nearby in the same year.
Andrew S. Cunningham in his 1909 publication ''Randolph Gordon Erskine Wemyss: An Appreciation'' writes about the garden; "The garden is situated in a semi-circular creek in Red Rocks Bay, to the west of the village of West Wemyss….To get to the place of burial one has to pass through a pergola of ivy and hops and pretty creeping hops, and at every turn he meets rustic gateways and pretty creeping plants. In a pond constructed in the red rock there are some rare specimens of plants and roses grow in profusion. The old dovecote which takes the name of the East Tower, has been converted into a summer house, and above the entrance are carved the words: "I wish the sun would shine on all men''s fruits and flowers as well as mine""
[Australian Watercolour Painting]. Campbell. Jean. Australian Watercolour Painters 1780 to the Present Day. quarto. preliminary foxing. col & b/w ills. opb marked. illus d/w. Craftsman House. 1989. with Australian Watercolour Institute 75th Anniversary 1923-1998. quarto. col plates. opb. illus d/w. Beagle Press. 1998. with Clemente. C. Australian Watercolours 1802-1926 in the Collection of the National Gallery of Victoria. quarto. col & b/w ills. softcover. NGV. 1991. with Fink. E. The Art of Blamire Young. square quarto. preliminary foxing. col plates. opb. illus d/w. Golden Press. 1983. with The Art of Blamire Young. quarto. Special Number of Art in Australia. 35 tipped in col plates including one at frontis. one b/w plate of a photograph depicting the artist. dpb. cloth spine. Ure Smith. 1921. well used. with Ure Smith. S. and Stevens. B. ed. The Art of J. J. Hilder. quarto. 29 tipped in col plates including frontis. six small tipped in colour plates illustrating Dorothea Mackellar's My Country plus one as title image. dpb. cloth spine. Angus & Robertson. 1918. well used. with Mackellar. D. My Country. quarto. col plates by J. J. Hilder. opb. foxed. illus d/w. Greenhouse Publications. 1985. with Hilder. B. The Heritage of J. J. Hilder. quarto. ex Sydney Technical College Library. liberal use of cancellation stamp in interior. foreword by Lloyd Rees. 30 tipped in col plates including frontis. ocb. Ure Smith. 1966. well used. with J. J. Hilder and Contemporaries: Watercolours from the Permanent Collection of the Art Gallery of New South Wales. quarto. b/w ills. softcover. AGNSW. 1981. with Jesse Jewhurst Hilder Anniversary Exhibition. quarto. col plates. softcover. QAG. 1966. well used. with Perry. P. Sinclair. B. R. W. Sturgess: Watercolourist 1892-1932. oblong quarto. no. 866 of 1 500 numbered copies. col plates. ocb. illus d/w in modern protective cover. Castlemaine Art Gallery & Historical Museum. 1986. with Bate. W. Here's to Grandpa: The Watercolours 1900-1940 of C. A. Wilson. quarto. col & b/w ills. softcover. Royal Historical Society of Victoria. 1995. with Bloomfield. L. ed. Vincent Brown: Life and Work. quarto. col & b/w plates. ocb. illus d/w worn. Odana Editions. 1980. with Vincent Brown: An Early Brisbane Modernist. quarto. col & b/w ills. softcover. QAG. 1990. with Macqueen. K. Adventure in Watercolour. quarto. no. 451 of 1100 numbered copies. signed by the artist .17 tipped in colour plates. tipped in photographic portrait of the artist. preliminaries foxed. dpb. illus d/w and mylar d/w torn at edges. some internal foxing and discolouration. The Legend Press. n.d. (15) Provenance: The Art Library of the Late Peter Wood AO Toowoomba
28 Colt Firearm Reference Books, Pamphlets: The Colt Model 1905 Automatic Pistol by John Potocki; Enlarged & Revised Edition Colt Automatic pistols by Donald B. Bady; The Peacemaker and its Rivals an account of the Single Action Colt by John E. Parsons; Colt Tips by E. Dixon Larson; The Colt Armory A History of Colt's Manufacturing Company, Inc. by Ellsworth S. Grant; The Colt U. S. General Officers Pistol by Horace Greeley IV with special photography by G. Allan Brown; The 36 Calibers Of The Colt Single Action Army by David M. Brown; The Story Of Colt's Revolver by William B. Edwards; Samuel Colt Presents A Loan Exhibition Of Presentation Percussion Colt Firearms preface by C. C. Cunningham forward by John S. duMont catalogue by R. L. Wilson (signature in front); Colt Firearms 1836-1958 by James E. Serven; The William M. Locke Collection published by: The Antique Armory Inc. ; The Colt Commemoratives 1961-1986 by Ken Condry and Larry Jones; Colts From the William M. Locke Collection published by Andrew Mowbray Publishers; The Colt Heritage Custom Deluxe Edition by R. L. Wilson (signed by author); Colt An American Legend by R. L. Wilson; Colt Peacemaker Collector Pocket Compendium by Keith Cochran; Colt Peacemaker Revolver Caliber . 476 Eley by Keith Cochran (2); The Evolution Of The Colt Firearms From The Robert Q. Sutherland Collection by R. L. Wilson; Colt Peacemaker Yearly Variations by Keith Cochran; Colt Guns by Martin Rywell; Colt Commemorative Firearms by R. L. Wilson; Samuel Colt's Submarine Battery The Secret and The Enigma by Philip K. Lundeberg; Colt Cartridge Pistols by James E. Serven; Samuel Colt: A Man and an Epoch by Martin Rywell large tear and loss to dust jacket; Colt . 45 Government Models by Charles Clawson; A History of the Colt Revolver by Charles Haven; A Study of the Colt Single Action Army Revolver by John Kopec; Provenance: From the Collection of M. C. "Red" Wiest, Oak Ridge, Tennessee Condition generally good condition; some with shelf wear, bumped corners, scratches and small tears to dust jackets, scattered foxing
Continental Currency Jan. 14, 1779 $30 Blue Paper Detector PCGS Ch Abt New-55PPQ: Continental Currency. January 14, 1779 Continental $30 Blue Paper Detector Note. Continental Congress. January 14, 1779. Thirty Dollars. "The United States of North America" legend, Philadelphia Issue. Blue Paper Detector Note. Red & Black Printed. PCGS graded Choice About New-55PPQ. Fr. CC-93. A scarce popular Revolutionary War issued Blue Paper Detector, printed in both red and black just as are the regular issued notes but on special Blue paper. The print quality is vivid deep red and black having the eye appeal of Choice Crisp New with the added PCGS "PPQ" designation.
1972 Ducati Silver ShotgunFrame no. DM250G1*1032933
Ducati made their first complete motorcycle in 1949, a crude 60cc pushrod single based on an engine that was originally designed as bolt-on propulsion for bicycles. From that time, they continually improved their product and single-cylinder Ducatis were preeminent in the multi-day long distance races that dominated the Italian clubman’s racing landscape in the immediate post-World War II era. It was in these romantic public road events that the Ducati legend was born.
With the coming of a University of Bologna engineer, Fabio Taglioni in 1954, Ducati began a march up the ladder of motorcycle sport. Taglioni was obsessed with desmodromic valves, which were open and closed by cams, rather than valve springs. Taglioni’s designs allowed higher revving engines and more power. The desmodromic designs were first used in racing, but found their way into Ducati road bikes in 1968, when the production of the desirable wide-case, desmodromic singles began.
In 1971, Ducati introduced one of their most memorable series of sporting singles, the 250/350/450 desmos. These would come to be known as Silver Shotguns, a reference to the attention-getting, heavily metal-flaked finish they carried. They were nothing short of over-the-counter production café racers. Equipment included a lightweight fiberglass tank, seat, side covers and front fender. When the buyer took his new machine down to the local, he knew few, if any, other bikes there would have the features of his. The Silver Shotguns featured Italy’s best, including competition 35mm Marzocchi front forks, Borrani 18-inch alloy rims, a Grimeca 180mm four leading- shoe front brake, rear-set pegs, clip-on handlebars and a white-faced Veglia mechanical competition tachometer.
The example offered is from the preferred early production of silver, made in 1971-72. In 1973-74, the desmo singles were restyled by Italjet’s Leopoldo Tartarini and had a more stylized, less classic look. These later desmo singles were painted yellow with black accents like the larger 750 Sport in the line. Because the Silver Shotguns were made at a time when both the British and American distributors were at odds with the Ducati factory, they are extremely rare in these countries.
This Silver Shotgun has all the factory supplied special equipment and a fine patina acquired since an earlier correct restoration. This lot presents an opportunity to own a milestone Ducati desmodromic single that can be used as a canyon carver, prepared for vintage racing or shown at the most prestigious venues. The Silver Shotgun was the zenith of the final years of Ducati single production, which ended in 1974.
Without reserve
19th C. Russian Icon w/ Gold Leaf - The Holy Face: **First Time At Auction**. . Eastern Europe, Russia, ca. late 19th century CE. Finely delineated in gold leaf, egg tempera, gesso, and varnish on wood, a beautiful icon depicting the Holy Face. Christ's visage is mesmerizing, and peers out with his large eyes and rich complexion from a surround that is lavishly embellished with layers of gold leaf. What's more, the decorative details also present with impressive artistry. Notice the meticulously rendered dotted floral border that adorns the icon just before it resolves in a raised, fluted integral frame. A very special Acheiropoieta (also called Icons Made Without Hands) devotional piece, an icon believed to have come about via a miracle rather than being created by a human. Size: 14. 75" L x 10. 25" W (37. 5 cm x 26 cm). . In the Eastern Christian world, the Holy Face is referred to as that of the Mandylion, the portrait of Christ sent to Edessa to cure King Abgar. This image was discovered inside a wall in the year 545 and transferred to Constantinople in 944. It was then exhibited in the Church of Hagia Sophia in Constantinople until the year 1204 when it disappeared during the Fourth Crusade. Some believe that it may correspond to the famous folded Shroud of Turin. The keramion (tile) that walled in the Mandylion during historic persecutions purportedly preserved a reverse image of this Holy Face. Three known Holy Face icons derive from the Mandylion of Constantinople: those of Novgorod, Laon (France), and Yaroslav. . By contrast, according to Western belief, the portrait of Christ is a visage miraculously left by Jesus on a veil that Veronica used to wipe his face on Calvary, and the Golden Legend tells of Emperor Tiberius' cure by this veil which Veronica brought to him in Rome. The relic which is actually referred to as "Veronica" (stemming from vera icon meaning "true image") was purportedly copied many times before it was lost. . . Provenance: private Los Angeles County, California, USA collection, acquired by descent from the owner's father, collection amassed between 1950 to 1990. . 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. . #160109 Condition Expected surface wear commensurate with age, with scuffs, abrasions, and losses as shown. Age cracks and inactive insect holes visible on the verso. There is a very faint incised figural drawing and inscription on verso. Losses to old labels on verso. Wired for suspension and ready to display.
Bob Gruen (American, b. 1945) "Alice Cooper and Dali - Brain of a Pop Star, NYC," 1973, printed 2000, gelatin silver print, signed, titled and dated, 16" x 20" unframed. Bob Gruen: One of the worlde;s most respected music photographers, Gruen has spent the last forty years taking iconic images of Rock and Roll legends. Possibly best-known for his photographs taken of John Lennon and Yoko Ono, he was the couplee;s personal photographer and friend, capturing images of both their personal and professional lives. In the 1970e;s, Gruen was the chief photographer for Rock Scene Magazine, where he specialized in candid, behind the scenes photographs of his subjects. His body of work reflects his commitment to and personal relationships with the artists.
AN ANTIQUE MAP, "AUSTIN AND SURROUNDING PROPERTIES," AU...AN ANTIQUE MAP, "Austin and Surrounding Properties," AUSTIN, CIRCA 1899, lithograph on paper with hand color and manuscript, "Austin, Texas March 1891. An original compilation from public records, actual surveys, and engineer's records collected by us during the past 16 years. Showing position and advantages of many additions existing and projected near the City, the Dam and Lake; the seat of present activity and the mountain heights[sic] soon to be crowned with residences and hotels for the traveler intent on health or pleasure. Thanks are proffered for aid derived from...John F. Pope & Reuben Ford...," published by "Bergen Daniel & Gracy, Abstract of Title Office 105 E. 6th Street," a hand written manuscript legend at center left in red, "Wm. Walsh Tract," and an alternating color, "R.R. as water exists in time proposed," the tract for William Walsh's 100 acres subdivided into 66 and 33 1/3 acres to accomodate a proposed extension of the Austin Dam and Suburban Railway; again in red the rail path from the damn into downtown ends with hand drawn dash marks running north from 4th street up Congress Ave., taking a right on 11th street and then north up San Jacinto; the marks proposed extending a rail service to run conveniently north and south past the Capitol Building; in the upper left an inset view of, "The Austin Dam for Water, Light and Power. 1200 feet long, 60 feet high, 14,000 horsepower," other pencil inscriptions outline land belonging to "R.M. Hall et al.," and "Stalks," in plot 27, and north of the Capitol, "Texas University" appears with a footprint of the historic "Main Building," which officially established the University of Texas. 35 1/2" x 30 1/2" Note: "The Austin Dam and Suburban Railroad was chartered on July 16, 1895, and purchased the line from the city of Austin for $43,500. The railroad was electrified and operated as a streetcar line through Austin to a pleasure park near the dam. In the spring of 1899 an additional 1.5 miles of track was constructed. After the destruction of Austin Dam by a flood in April 1900, the railroad ceased operations until May 1904...William C. Walsh(1836-1924), Civil War Officer and Texas Land Commissioner...Walsh directed the first survey of one million acres of land granted to the University of Texas under the 1876 constitution...Walsh also served on the board of public works for the construction of the Austin dam." Special thanks to the Texas State Historical Association. Nicole Elber writes in a blog published by The University of Texas at Austin, "The School of Biology lived in the basement of the Old Main Building, also known as The Parthenon of the University’s Acropolis from its very beginnings in 1891 until 1899. The West Wing was completed in 1884 and the East Wing in 1899, at a cost of around $250,000. Before the completion of the building, classes were held in the State Capitol." Provenance: Property from a Corporate Collection, Houston, Texas. Property from a Corporate Collection, Houston, Texas
Condition:
Creases as issued, pencil marks, handling creases, fading of hand color, overall in good to 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.” NO REFUNDS will be issued based on condition.
1932 Ford Roadster 'Boydster II'Chassis no. 182494442
Custom car builder and hot rodding legend Boyd Coddington has created some of the most famous custom cars in recent times. He essentially invented the celebrity hot ride, dazzling the automotive world with breathtaking vehicles that included the Billy Gibbons/ZZ Top "CadZZilla," the ’57 Chevy-inspired "Che’Zoom" custom and the trend-setting "Led Zephyr" streamline coupe.
The first Boydster, obviously named after its creator, was a’32-34 Ford-inspired fenderless roadster that won the Oakland Roadster Show’s top award in 1996. The Boydster II, a more street-compatible, full-fendered version, followed. Chip Foose penned its flowing lines while he was president of the Hot Rods by Boyd division of Coddington’s enterprises. Foose became an independent designer in 1998 and currently stars in the popular TLC show, OverHaulin. A Boydster II, designed by Foose and finished by Bobby Alloway, won the top-pick America’s Most Beautiful Roadster award at Oakland in 2003.
Coddington offered the Boydster II body and chassis as a rolling project for those who wished to create an extensively modified hot rod without having to start from scratch. The purchaser could spec out the powertrain, interior and other details and then complete the car himself, or have it finished by Coddington’s team or another pro hot rod builder.
The sleek Boydster II body, with its front-opening ‘suicide’ doors and curving windshield, was produced in both steel and fiberglass. It was mounted to a heavily tapered state-of-the-art hot rod chassis. Boyd Coddington Pro-Ride chassis components combined hand-machined billet with exceptional craftsmanship and design engineering.
The Boydster II offered here has a fiberglass body and was one of the first to be sold. It exemplifies the degree to which a vehicle such as this can be personalized. For example, the fenders and running boards were stepped and widened to accommodate the 20"x10" rear wheels. A hand-stitched interior, trimmed in black ‘ultra leather,’ was installed, along with a Boyd’s steering wheel and gauge set, and an Ididit tilt steering column.
A Chevy small block V8 engine with aluminum heads powers this Boydster II. It has a single 4-bbl. Holley carburetor atop a single-plane intake manifold and produces an estimated 600 horsepower.
The custom chassis includes a 4-wheel independent suspension with plated and polished components and disc brakes all around. A Corvette center section and half shafts are incorporated at the rear. The car rides on Boyd Coddington ‘Fury’ wheels. Headlights are by Headwinds and the taillight is a custom LED unit.
A Boydster II (not this car) has been replicated in 1/8 scale as a RC hot rod, an indication of the design’s widespread appeal. The provenance of the Boydster II design, involving as it does some of the greatest personalities of the hot rod revival period, ensures that owning a Boydster II will always be a special and memorable experience.
Offered without reserve
2 JAMES KIVETORUK MOSES MIXED MEDIA - "HOME ALASKA"James Kivetoruk (Kivitauraq) Moses (Inupiat/Inupiak, ca. 1899-1982). Two mixed media works on paper, ca. 1960s. Both signed and inscribed "Home Alaska" on lower left. A pair of sophisticated mixed media (pen and ink with watercolor) compositions by Alaskan self-taught artist James Kivetoruk Moses. The work on the left depicts an Inuit fisherman navigating the ice floes of Alaska, and the work on the right depicts an Inuit seal hunter (with his catch) heading back home. Both are delineated with Moses' signature rigid postures, pleasing color palette which set him apart from his contemporaries who generally worked in an achromatic manner, and observant eye for detail. A special pair of works by James Kivetoruk Moses, mounted in a custom frame. Prior to becoming an artist, Kivetoruk Moses was a hunter and a trapper in Alaska; however, an airplane crash resulted in serious injuries to his legs that ended this chapter of his life. While recuperating, Kivetoruk Moses took up drawing, an activity he had enjoyed as a child. His art honored the life he knew - people, places, and events that he either experienced directly or observed; hence, he has been praised for his work as both an artist and a documentarian. Size (sight view of art on right): 7.6" L x 11.4" W (19.3 cm x 29 cm) Size (sight view of art on left): 7.6" L x 10.875" W (19.3 cm x 27.6 cm) Size (frame): 14.125" L x 30.255" W (35.9 cm x 76.8 cm)
About the artist: Alaskan native James Kivetoruk Moses was an Outsider Artist whose art career began late in life following injuries due to a plane crash. During his youth and middle years, Moses was a hunter, trapper, and reindeer herder in Siberia and his native Cape Espenberg on the Seward Peninsula. However, in 1954, due to his injuries from a plane crash, Moses' hunting days came to an end, and he decided to teach himself to paint. Dubbed an Arctic Henri Rousseau, Moses is known for honoring his ethnic heritage with his art, depicting hunts, polar bears, walrus, maritime voyages, shamans, the arrival of white men in northern Alaska, Inuit legends, and the ceremonial Wolf Dance.
According to Michael Engelhard, "Moses' hunter-naturalist eye for detail matched a knack for narrative angles. His colored-pencil, watercolor, and India ink landscapes and seascapes deftly rendered clothing, subsistence and social activities, ice, weather, even light and shadows typical of the seasons or hour of day. Species-specific fur, wood grain in boards, tan lines, chin tattoos, lip plugs, tonsure hairdos, and ashen cloud-bellies brushing horizons segueing from powder-blue to peach reflect skills he kept honing. Seal blood spatters onto snow, shorthand for the brusque northern existence." (Michael Engelhard - "The Life and Paintings of Alaska Native Artist James Kivetoruk Moses" ? Alaska Magazine - October 1, 2021)
James Kivetoruk Moses' art has been collected by esteemed museums such as the California Academy of Sciences, the Anchorage Museum of History and Art, the University of Alaska Museum in Fairbanks, the Alaska State Museum in Juneau, and the National Cowboy and Western Heritage Museum in Oklahoma City."
On the verso is an obituary for James Kivetoruk Moses that reads, "Honored Eskimo Artist Passes Away / NOME (AP)-Artist James "Kivetoruk" Moses has died after a long illness. He was 82. / Raised in Cape Estenberg, at the northern tip of Seward Peninsula Moses was a subsistence hunter and trader. Injuries sustained in a 1954 plane crash ended his hunting career, and Moses taught himself to paint. / His works, done primarily in pen and ink and watercolors, depicted Eskimo legends and Native life in the early part of this century. / Those works were featured in American Heritage Magazine and other national publication. / He is survived by wife, Bessie; and a brother." (source unknown - handwritten date "10-15-82" above)
Provenance: private Hood River, Oregon, USA collection
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.
#178599
Condition:
Both artworks are signed and inscribed "Home Alaska" on lower left. Both are mounted in a custom frame and have not been examined outside the frame but appear to be in very nice condition as is the framing. There is an obituary clipped from a newspaper and hand dated "10-15-82" on the verso. Suspension hardware on verso.
Marvel Legends HULK Toy Biz 2006 NIB
ICONS unopened collectible
12" Collector's Edition with over 30 points of articulation.
Includes SPECIAL book Evolution of an Icon
Era or Time Period: 2006
Color: Green & Purple
Size Dimensions: 12" tall action figure
Manufacturer: Toy Biz a Div of Marvel Entertainment
Encased Postage Stamps 3 AYERS SARSAPARILLA Small AYERS Type Original Silver!: Encased Postage Stamps. AYER'S SARSAPARILLA 3 SILVERED Small "AYER'S". EP-34, HB-29, S-15, Reed-AS03SM. Encased Postage Stamp. Three Cents. AYER'S SARSAPARILLA, Small "AYER'S" Type. Original Silvering. Choice Extremely Fine. Rated as Rarity-4 (31 to 40 known) according to Fred Reed. This highly desirable Silvered Small "AYER'S" variety is difficult to locate, specially in this high quality with significant original Silvering retained. There were three examples sold in the John J. Ford, Jr. Collection sale and of those, none were graded higher than Choice Very Fine. This current example has a fresh, rich bold deep red George Washington stamp that has sharp eye appeal. It is well centered being a bit towards the top, seen through mica that is very clear and unbroken. The natural golden-chestnut case with its distinct Small "AYER'S" legends shows virtually no signs of circulation, with light wear yet having about 80% of its original Silvering shimmering on its reverse. An example certainly worthy of a premium. This example is nicer than the Lilly piece sold in the Ford IV sale. An indication that these are tough to come.
Peter Ellenshaw (1913 Peter Ellenshaw (California / England, Ireland, 1913 - 2007) coastal scene. Oil on canvas. Signed and dated '64 lower right. Sight size: 15 x 29 in. Overall Size: 20.5 x 34.25 in. A graduate of the Royal Academy of Arts in England, Peter Ellenshaw was brought to California by Walter Disney in 1947 to work on Disney Productions. In 1960, Ellenshaw did a matte painting of Rome for Stanley Kubrick's movie, Spartacus, while continuing to work full time for Disney studios. Peter contributed to the popular television show 'Disneyland' with work on Davy Crockett and Zorro, as well as classic Disney features including Darby O'Gill and The Little People, Mary Poppins and The Love Bug. For Mary Poppins Peter won an Oscar for Best Special Visual Effects. He has also been nominated for an Academy Award an additional three times; for his production design work on Bedknobs and Broomsticks and The Island at the Top of the World as well as for his effects work on The Black Hole. In 1970, Peter and his wife, Bobbie, moved to the Ring of Kerry in Ireland, and it was there that Ellenshaw created paintings of the rugged Irish coast and the beautiful landscapes of the Emerald Isle. His works were shown at a special exhibition at the American Embassy in Dublin. Today a number of his paintings can be seen in collections throughout Ireland including Adare Manor, Dromoland Castle, Waterville House and Ashford Castle. Continued travels took Ellenshaw to many spectacular locales where he expanded his subjects to include the Himalayas, Monet's garden at Giverny, the Mojave desert, San Francisco and New York cityscapes, America's Cup yachting, and famous golf courses throughout the world. In 1993, Peter Ellenshaw was officially designated a 'Disney Legend' at the Walt Disney Studios in a ceremony presided over by CEO Michael Eisner and Roy E. Disney.
Bob Gruen (American, b. 1945) "Keith Richards and Tina Turner, NYC," 1983, printed 1988, gelatin silver print, signed, titled and dated, 16" x 20", unframed. Bob Gruen: One of the worlde;s most respected music photographers, Gruen has spent the last forty years taking iconic images of Rock and Roll legends. Possibly best-known for his photographs taken of John Lennon and Yoko Ono, he was the couplee;s personal photographer and friend, capturing images of both their personal and professional lives. In the 1970e;s, Gruen was the chief photographer for Rock Scene Magazine, where he specialized in candid, behind the scenes photographs of his subjects. His body of work reflects his commitment to and personal relationships with the artists.
Chivas Brothers - Two boxed Scotch whiskies - 'Oldest & Finest' and 'Legend Special Reserve' (2)
15 Titles on the Maori Culture of New Zealand: including The Art Workmanship of the Maori Race in New Zealand: A Series of Illustrations from Specially Taken Photographs, with Descriptive Notes and Essays on the Canoes, Habitations, Weapons, Ornaments, and Dress of the Maoris . , by Augustus Hamilton, Dunedin (N. Z. ): Fergusson and Mitchell, 1896; Te Tohunga: The Ancient Legends and Traditions of the Maoris, by Dittmer, Wilhelm. ; London: G. Routledge & Sons, Limited, 1907; Fishing methods and devices of the Maori, by Elsdon Best, Wellington, N. Z. : Government Printer, 1929; and others - Provenance: Private Collection, Tryon, North Carolina Condition all in good to near fine condition
WEMYSS
RARE GARDEN PLAQUE, CIRCA 1894
of heart shape, inscribed by Karel Nekola in blue enamel and reserved on a white ground with the legend; "Flowers are lovely;/ Love is flower-like;/ Friendship is a sheltering / tree./ Coleridge"
15cm wide, 15cm high
Provenance;
Mr Randolph and Lady Lillian Erskine-Wemyss, for the Friendship Garden at Chapel Gardens, West Wemyss, circa 1894
Lady Victoria Erskine-Wemyss
Thence as a gift to the present owner
Literature; Andrew S. Cunningham ''Randolph Gordon Erskine Wemyss: An Appreciation'', published Leven 1909
Peter Davis and Robert Rankine ''Wemyss Ware'', presented by Victoria de Rin and David MacMillan, pub. Edinburgh 1986
Note:The patronage of the Wemyss family at nearby Wemyss Castle was an enormous contribution to the success that Robert Heron & Son enjoyed with Wemyss Ware. Indeed as a tribute to the family two vases in the range were named for Randolph Erskine-Wemyss'' sister Lady Henry Grosvenor (Grosvenor vase) and for his second wife Lady Eva Wellesley (Lady Eva vase). From the beginning of the project and throughout its heyday at the turn of the 20th century their continuing support ensured the success of the range. The following lots bear testament to their support as they were specially commissioned from Robert Heron & Son by the Erskine-Wemyss family to decorate the Friendship Garden which had been created within The Chapel Garden in 1894 by Mr Erskine Wemyss and his then wife Lady Lillian Wemyss. Each is painted by Karel Nekola, chief decorator at Robert Heron & Son, with a motto pertaining to friendship and can be seen in contemporary photographs attached to a tree in the middle of the garden (see illustration left and overleaf). Accompanying documents with these plaques show photographs of the completed garden as well as a list of donors to the garden and the plants donated dated 1894. The photographs show borders of donated plants surrounding the central tree and each donors plot is marked with a heart-shaped plaque - one of which survives in this group (lot ) and is inscribed ''Dowager Countess of Airlie''.
The Chapel Garden had been created in 1894 by Randolph Gordon Erskine-Wemyss adjacent to the burial ground he had created for his family by the ruined chapel nearby in the same year.
Andrew S. Cunningham in his 1909 publication ''Randolph Gordon Erskine Wemyss: An Appreciation'' writes about the garden; "The garden is situated in a semi-circular creek in Red Rocks Bay, to the west of the village of West Wemyss….To get to the place of burial one has to pass through a pergola of ivy and hops and pretty creeping hops, and at every turn he meets rustic gateways and pretty creeping plants. In a pond constructed in the red rock there are some rare specimens of plants and roses grow in profusion. The old dovecote which takes the name of the East Tower, has been converted into a summer house, and above the entrance are carved the words: "I wish the sun would shine on all men''s fruits and flowers as well as mine""
Susanne M. Low A GUIDE TO AUDUBON'S BIRDS OF AMERICA 2002 Art History & Ornithology Illustrations Color Plates Illustrated Dust Jacket Title: A Guide to Audubon's Birds of America: A Concordance Containing Current Names of the Birds, Plate Names With Descriptions of Plate Variants, a Description of the Bien Edition, and Corresponding IndexesAuthor: Susanne M. LowPublisher: William Reese Company & Donald A. HealdCity: New York/New HavenYear: 2002Binding Style: HardcoverPagination: 384 pagesWidth: 8.75" Height: 11.5"Book Details: Condition / Notes: This volume is bound in blue cloth with stamped gilt lettering on the front cover and spine and features a well-preserved, illustrated dust jacket. Bright yellow endpapers are well-preserved. Pages are clean with attractive full-color and black-and-white illustrations.This book provides easily accessible information about each one of the 435 plates in the double elephant folio, including variant plate names, names of the birds in the octavo and Bien editions, and the current names of the birds according to the American Ornithologists Union's most recent Checklist, as well as pertinent historical details about the creation of each plate and discussion of taxonomic changes. A special feature of the book is the section devoted to the description of each of the plates in the comparatively little-known Bien edition. The introduction details the history of the creation of the double elephant folio. This includes a description of the collaboration between Audubon and the men who transformed his originals into prints, W. H. Lizars, Robert Havell Sr., and, most importantly, Robert Havell Jr., with discussion of the artistic techniques involved in the process. Ornithological taxonomy is also succinctly explained, and will help the reader to understand some of Audubon's difficulties as well as the evolution of bird names. The descriptions of the double elephant folio plates are followed by three indexes: one of current names of the birds depicted, one of double elephant folio plate names, and one of the names on the original paintings, thus offering the reader several ways to locate a particular bird or plate. Similarly, the Bien section is also followed by indexes of current names and plate names. In addition, there are three appendices. The first identifies the persons whose names appear in the nomenclature of The Birds of America. The second appendix describes the unusual composite plates that appear in some editions, and the third contains charts of the most complicated situations that arose from the transfer of Audubon's originals to the finished plates. Finally, a color insert illustrates a few of the more interesting situations that are described in the book, such as colour differences between prints of the same bird, comparison of an Audubon original and corresponding print, and comparison of variant plate legends, among others.For lots which include only books, our shipping charge applies to any address within the fifty United States. For lots which are not books, the stated shipping cost in this listing will apply only to addresses within the continental 48 states. Within those parameters, the shipping cost for this lot will be: $7.50
Five Vintage Soviet Vostok Souvenir Globes: Duplicate molded plastic terrestrial globes with gold-finish surface. Four of the globes bear a red rocket rising from the Soviet Union on a wire armature circling the globe, while another features a silver rocket of a slightly different design. All are mounted on creme color plastic bases with raised legend "12 ?????? 1961r. " (April 12, 1961) the launch date of Vostok 1 with Yuri Gagarin aboard. Dimensions: Each piece - 2. 25" ? x 3. 25" H. Provenance: Dr. Alan York Estate. All in very good condition with slight variation in colors from piece to piece. Condition All in very good condition with slight variation in colors from piece to piece. Available payment options on Bidsquare Hello, A copy of your invoice is attached to this email. You are able to make payment via PayPal (info@rolandantiques. com), credit card by calling our gallery, wire transfer, or check. If you have already submitted your payment, a paid invoice receipt will be sent to later today. Will you be sending someone to pick these items up, or do you need them shipped? Our UPS coordinator will be here Friday following the sale date to collect all the sold items. They will be taken to a storage facility, and $25 per day (charged to the Buyer) storage fees will be charged beginning on the following Monday for items not shipped before that date. Please email back or call us as soon as possible if you plan on arranging your own trucking. We are open for pick up Monday - Friday, from 10am - 3:45pm. Below is a list of recommended shippers and movers. Please contact them directly to make shipping arrangements. The UPS Store 516-921-4560 Dom or Kelly theupsstoresauctions@gmail. com Specializing in Artwork, Fragile Items, Freight Services Shipping with UPS, DHL, USPS, etc. DAKS Global 484-879-6678 sales@daksglobal. com Local and long distance Arrow Express Domestic and International Shipping Freeport, NY 11520 (212) 226-3770 / (516) 867-4366 arrowexpress@gmail. com Steven Freifeld - Fine Art and White Glove Pick-up Services Plycon Chris Pliaconis NY: 631-269-7000 1-888-655-2664 Plycongroup. com For large and/or long-distance/Intl Jose Soto Services Cell: 646-337-7883 NYC Metro area local van-type moves Mover Man Mike 347-777-9504 movermanmike@gmail. com www. nymanwithvan. com NY tri-state area van-type moves New Century Express James Qui 718-637-9988 james@newcenturyexpress. com Specialize in China and Asia Craters & Freighters 646-862-0423 Toll Free 877-744-7535 Sullivan Transport 770-508-5841 Jason or Dierdre info@sullivandesignservicesllc. com Deland Moving and Storage 212-662-0666 Fax: 718-620-6676 deland@delandrelocation. com Local and long distance Primary Art Services, Inc. 718-383-4949 www. primaryartservices. com mail@primaryartservices. com High end art shippers IFL Art Services, Ltd. 97 Horton Ave, Lynbrook, NY 11563 516-593-1010 Fax: 516-593-2244 www. iflny. com High end art shippers Chris Badigian 206-698-0908 ebuy206@gmail. com Local-style moving nationwide Steven Perez Steve's East Coast Delivery Services 954-829-8779 stevemoving1@yahoo. com Florida home-based, East Coast Ace Exchange Lindsay Gordon 646-546-1075 Ace1exchange@gmail. com NY area and long distance Rams Trucking 516-410-7062, or 321-331-347 ramstrucking@live. com Local and long distance Thank you very much. Sincerely, Roland Auctions NY
19th C. Greek Wood Icon - Virgin Hodegetria & Saints: Eastern Europe, Greece, ca. 19th century CE. A very special Greek icon, finely painted in encaustic on wood, and depicting the Virgin Hodegetria in the upper section and two haloed saints set within a colonnade below - the saint on the left holding a Cross and a serpent in a bowl, and the saint on the right holding a Cross and a plant, perhaps a lily. Each figure is identified in red lettering. The overall form of the icon is that of an arched lunette window with finely delineated lintel, borders, and base. Size: 8. 75" W x 12" H (22. 2 cm x 30. 5 cm). . Mother of God (Theotokos) is presented as the Virgin Hodegetria. According to legend, this icon restored the eyesight of two blind men - hence, the name Hodegetria, a Greek term meaning, "She who gives sight" or "shows the way". The Virgin holds the Child in her left hand and points toward him with her right, directing the attention of worshippers. The baby Jesus, dressed in a regal himation, gives the benediction while facing his mother (a gesture of honor). In addition to its meaningful religious iconography, the artistry and technique displayed are quite impressive. . . Provenance: private San Francisco, California, USA collection. . 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. . #150650 Condition The wood has split down the center but appears to have been stabilized with an adhesive in the past. Old nicks/chips to peripheries of border. Expected age wear with some nicks and abrasions as well as expected darkening to the paint. Inactive insect holes on the verso and one below Mary's left hand.
Rare book collection: Joel Chandler Harris Harris, Joel Chandler. THE BISHOP AND THE BOOGERMAN. New York: Doubleday, Page & Co., 1909. With dust jacket.
PLANTATION PAGEANTS. Boston: Houghton, Mifflin and Co., 1899. With pictorial cloth cover.
NIGHTS WITH UNCLE REMUS: MYTHS AND LEGENDS OF THE OLD PLANTATION. Boston: Houghton Mifflin Co., 1883.
UNCLE REMUS: HIS SONGS AND HIS SAYINGS. New York: Grosset & Dunlap, 1921. With dust jacket.
ON THE WING OF OCCASIONS. Crowned Masterpieces of Modern Fiction Special Subscription Edition. New York: Doubleday, Page & Co., 1904.
DADDY JAKE THE RUNAWAY: AND SHORT STORIES TOLD AFTER DARK. New York: The Century Co., 1896.
WALLY WANDEROON AND HIS STORY TELLING MACHINE. London: Grant Richards, 1904. With pictorial cover.
BALAAM AND HIS MASTER. Boston: Houghton Mifflin Co., 1891.
FREE JOE. Savannah, GA: The Beehive Press, 1975. With dust jacket.
MINGO: AND OTHER SKETCHES IN BLACK AND WHITE. Edinburgh: David Douglas, 1899.
Brookes, Stella Brewer. JOEL CHANDLER HARRIS-FOLKLORIST. Athens, GA: The University of Georgia Press, 1950. With dust jacket.
Grant-Schaefer, G.A., UNCLE REMUS STORIES FOR PIANOFORTE. Boston: The Arthur P. Schmidt Co., 1926. Including the songs: UNCLE REMUS, BR'ER FOX, PLANTATION DANCE, A JOLLY PARTY, A GHOST STORY, BUNNY AND THE TAR BABY, DREAM OF UNCLE REMUS.
Pritchard, F.H. FIFTY STORIES FROM UNCLE REMUS. London: George G. Harrap & Co., 1942. (13pcs)
Rare model 5 custom fixed blade hunting or survival fighting knife by Walter Brend. 8 5/8" double edge trailing point blade. Full tang, Micarta handle. Overall length 14 1/2". Comes with custom tactical nylon sheath. Excellent condition, has the appearance of never being used. Some oil spots on blade. Walter Brend is a living legend in the knife industry. He's been grinding knives for nearly forty years and has gained a reputation for having some of the most intricate and most beautiful custom grind lines around. He specializes in tactical folders and fixed blades that are just the right combination of size, style, and of course functionality. See photos for more details on condition. shipping info This lot can be shipped in-house.
WEMYSS
RARE GARDEN PLAQUE, CIRCA 1894
of heart shape, inscribed by Karel Nekola in blue enamel and reserved on a white ground with the legend; "'A friend a companion/ never meet amiss.'/ Ec. - xi. 23."
15cm wide, 15cm high
Provenance;
Mr Randolph and Lady Lillian Erskine-Wemyss, for the Friendship Garden at Chapel Gardens, West Wemyss, circa 1894
Lady Victoria Erskine-Wemyss
Thence as a gift to the present owner
Literature; Andrew S. Cunningham ''Randolph Gordon Erskine Wemyss: An Appreciation'', published Leven 1909
Peter Davis and Robert Rankine ''Wemyss Ware'', presented by Victoria de Rin and David MacMillan, pub. Edinburgh 1986
Note:The patronage of the Wemyss family at nearby Wemyss Castle was an enormous contribution to the success that Robert Heron & Son enjoyed with Wemyss Ware. Indeed as a tribute to the family two vases in the range were named for Randolph Erskine-Wemyss'' sister Lady Henry Grosvenor (Grosvenor vase) and for his second wife Lady Eva Wellesley (Lady Eva vase). From the beginning of the project and throughout its heyday at the turn of the 20th century their continuing support ensured the success of the range. The following lots bear testament to their support as they were specially commissioned from Robert Heron & Son by the Erskine-Wemyss family to decorate the Friendship Garden which had been created within The Chapel Garden in 1894 by Mr Erskine Wemyss and his then wife Lady Lillian Wemyss. Each is painted by Karel Nekola, chief decorator at Robert Heron & Son, with a motto pertaining to friendship and can be seen in contemporary photographs attached to a tree in the middle of the garden (see illustration left and overleaf). Accompanying documents with these plaques show photographs of the completed garden as well as a list of donors to the garden and the plants donated dated 1894. The photographs show borders of donated plants surrounding the central tree and each donors plot is marked with a heart-shaped plaque - one of which survives in this group (lot ) and is inscribed ''Dowager Countess of Airlie''.
The Chapel Garden had been created in 1894 by Randolph Gordon Erskine-Wemyss adjacent to the burial ground he had created for his family by the ruined chapel nearby in the same year.
Andrew S. Cunningham in his 1909 publication ''Randolph Gordon Erskine Wemyss: An Appreciation'' writes about the garden; "The garden is situated in a semi-circular creek in Red Rocks Bay, to the west of the village of West Wemyss….To get to the place of burial one has to pass through a pergola of ivy and hops and pretty creeping hops, and at every turn he meets rustic gateways and pretty creeping plants. In a pond constructed in the red rock there are some rare specimens of plants and roses grow in profusion. The old dovecote which takes the name of the East Tower, has been converted into a summer house, and above the entrance are carved the words: "I wish the sun would shine on all men''s fruits and flowers as well as mine""
1994 Barbie as Dorothy from Wizard of Oz, Hollywood Legends Collection, Special Edition, mint in original box, box is in good condition Estimate $50-75
Bob Gruen (American, b. 1945) "Keith Moon, NYC," 1974, printed 1984, gelatin silver print, signed and titled, 16" x 20", unframed. Bob Gruen: One of the worlde;s most respected music photographers, Gruen has spent the last forty years taking iconic images of Rock and Roll legends. Possibly best-known for his photographs taken of John Lennon and Yoko Ono, he was the couplee;s personal photographer and friend, capturing images of both their personal and professional lives. In the 1970e;s, Gruen was the chief photographer for Rock Scene Magazine, where he specialized in candid, behind the scenes photographs of his subjects. His body of work reflects his commitment to and personal relationships with the artists.
EXHIBITED 20TH C. WILLOUGHBY PHOTO OF ELISABETH FRINK**Originally Listed At $2500**
Bob Willoughby (American, 1927-2009). "Elisabeth Frink, Sculptress in her Chelsea, London Studio - 1956" - silver gelatin print, printed January 12, 1978, signed, numbered & annotated. An important photograph of British sculptor Elisabeth Frink in her Chelsea, London studio by American photographer Bob Willoughby. In the photo, Frink stands in profile, turned to her right. On the wall behind her are several sketches (presumably studies for sculptures), a wonderful painted handprint, a rendering of a mesmerizing visage staring out at the viewer as well as a postcard depicting a trio of Renaissance busts directly behind Frink's head, a collection of hanging frames at the center, and a large-scale painting of Christ. Size: 12" L x 16" W (30.5 cm x 40.6 cm)
Elisabeth Frink and Bob Willoughby were good friends in the 1950s and admired one another's work. Not only did Bob take this special photograph of Elisabeth, he also asked her to create a bronze bust of his likeness finding Frink's work to be "powerful and important." Frink's bronze bust of Willoughby is also available for sale.
Bob Willoughby has been described as "…the man who virtually invented the photojournalistic motion picture still" by Popular Photography. A pioneer of 20th century photography, he is best known for being a "link between the filmmakers and major magazines of the time, such as Life and Look" (source: The Bob Willoughby Photo Archive website). Willoughby studied film at the University of Southern California (USC) Cinema Department and design at the Kahn Institute of Art. He also apprenticed with famous Hollywood photographers such as Paul Hesse, Glenn Embree, and Wallace Seawell. Willoughby documented a golden era of cinema, shooting on the sets of A Star is Born, The Graduate, Rosemary's Baby, My Fair Lady, and Who's Afraid of Virginia Woolf? to name a few. In addition to capturing such Hollywood legends like Judy Garland, Elizabeth Taylor, and Audrey Hepburn, Willoughby had an immense appreciation for jazz and created a wonderful series portraying jazz musicians. Furthermore, his honors were numerous and his work has been collected internationally by esteemed museums and institutions. According to the Bob Willoughby Photo Archive, "The Academy of Motion Picture Arts and Sciences in Hollywood honored Willoughby with a major retrospective exhibition of his work. He was awarded the Lucie Award for Outstanding Achievement in Still Photography in New York in 2004. His photographs are in the permanent collections of The National Portrait Gallery, Washington, D.C.; The National Portrait Gallery, London; The National Museum of Photography, Bradford, UK; Bibliotheque Nationale de France, Paris; The Museum of Modern Art, Film Department, New York; The Academy of Motion Picture Arts and Sciences, Beverly Hills; The Metropolitan Museum of Art, New York; The Tate Gallery Collection, London; Theatre de la Photographie et de l'Image, Nice; and Musee de la Photographie, Charleroi, Belgium."
Dame Elisabeth Frink discovered her love for Renaissance sculpture as a teenager when, being the daughter of an army officer, she lived in Trieste, Italy and traveled to Venice. She attended the Guildford School of Art and the Chelsea School of Art, studying under John Berger (1926-2017), Ceri Richards (1903-1971), and Julian Trevelyan (1910-1988). Frink's work came to be associated with artists Lynn Chadwick (1914-2003) and Kenneth Armitage (1916-2002) who were known as The Geometry of Fear sculptors (a term coined by critic Herbert Read). "These supposedly angst-ridden artists bridged the gap between 1930s geometric idealism and post-war existentialism." Frink associated with contemporary artists Francis Bacon, Lucian Freud, John Minton, and Michael Andrews in London pubs during the evenings and "held wild parties in her shared flat in Chelsea" (source: Christie's "Artist guide: Elisabeth Frink" - 14 September 2020). Frink's sculptures are on view throughout the world. These include her famous "Warhorse" at Chatsworth House in Derbyshire as well as "Eagle" which was commissioned as a lectern for Coventry Cathedral.
Please note: According to the Bob Willoughby Photo Archive, only three of these photographs have ever been printed. The other two are in the permanent collections of The Tate Gallery in London and the National Portrait Gallery in London. In addition, this photograph has been shown in numerous gallery exhibitions over the years.
Bob Willoughby's photograph of Marilyn Monroe (1960) hammered for $8,893 at Binoche Renaud Giquello SARL (April 30, 2011 - lot #136) and his photo of Audrey Hepburn and Assam on the set of My Fair Lady (1963) hammered for $7,373 at Christie's London (September 27, 2017 - lot #152).
Provenance: private Washington, USA collection
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.
#167801
Condition:
Signed, numbered, and annotated in pencil by Bob Willoughby on the verso. Although numbered 2/200, according to the Bob Willoughby Photo Archive, only 3 of these photographs have ever been printed. The photograph has been exhibited before and shows some wear, however the image is still vivid and strong. There is also a Bob Willoughby copyright stamp on the verso.