A few examples of appraisal values for
LUCIDA

• GROUP OF VINTAGE SCIENCE FICTION
  GROUP OF VINTAGE SCIENCE FICTION PAPERBACKS FROM EDGAR RICE BURROUGHS AND OTHERS, WITH KURT VONNEGUT FIRST EDITION 1950s-1960s, to include: Kurt Vonnegut, Jr. THE SIRENS OF TITAN. New York: Dell Publishing Co., Inc, 1959. Stated first edition, "First printing-October, 1959." Paperback in illustrated wraps, all edges stained green. 319pp. (Dell First Edition B138) Currey. Isaac Asimov. I, ROBOT. New York: Signet Book published by The New American Library, 1956. First paperback edition. Stated "First Printing, March, 1956." Paperback in illustrated wraps, all edges stained red. 192pp. (S1282) Philip José Farmer. THE MAKER OF UNIVERSES. New York: Ace Books, 1965. First edition. Paperback in illustrated wraps. 191pp. (F-367) Currey. (28) titles from Edgar Rice Burroughs, 1960s, all Ace Science Fiction Classic mass market paperbacks, mostly first paperback and first thus editions, no duplicates, to include: At the Earth's Core (F-156), Thuvia Maid of Mars (F-168), Tarzan and the Lost Empire (F-169), The Chessmen of Mars (F-170), Tanar of Pellucidar (F-171), Pirates of Venus (F-179), Tarzan at the Earth's Core (F-180), The Mastermind of Mars (F-181), The Monster Men (F-182), Tarzan the Invincible (F-189), A Fighting Man of Mars (F-190), The Son of Tarzan (F-193), Tarzan Triumphant (F-194), The Beasts of Tarzan (F-203), Tarzan and the Jewels of Opar (F-204), Tarzan and the City of Gold (F-205), Jungle Tales of Tarzan (F-206), The Land that Time Forgot (F-213), The People that Time Forgot (F-220), Lost on Venus (F-221), The Land of Hidden Men (F-232), Out of Time's Abyss (F-233), The Eternal Savage (F-234), The Lost Continent (F-235), Carson of Venus (F-247), Land of Terror (F-256), The Cave Girl (F-258), Beyond the Farthest Star (F-282). (19) volumes from Philip K. Dick, some duplicates, including (12) single titles and the following Ace Double Novels: Solar Lottery (1955) (paired with Leigh Brackett's The Big Jump) (D-103), The World Jones Made (1956) (paired with Margaret St. Clair's Agent of the Unknown) (D-150), The Man who Japed (1956) (paired with E. C. Tubb's The Space-Born) (D-193), The Cosmic Puppets (1957) (paired with Andrew North's Sargasso of Space) (D-249), Dr. Futurity (1960) (paired with John Brunner's Slavers of Space) (D-421), Vulcan's Hammer (1960) (paired with John Brunner's The Skynappers) (D-457), The Unteleported Man (1964) (paired with Howard L. Cory's The Mind Monsters) (G-602).
• A GROUP OF EIGHTEEN KARAT GOLD
  A GROUP OF EIGHTEEN KARAT GOLD AND PLATINUM RINGS, LUCIDA, TIFFANY & CO. A group of eighteen karat gold and platinum rings, Lucida, Tiffany & Co. including three band rings, designed as platinum bands trimmed by yellow gold. 7.1 dwt; sizes: 8 1/2 - 9 Time: November 2022 Place: CLARS AUCTION GALLERY, Oakland, CA, USA Sold for: $700.00 Imported successfully Replaced successfully Error: unknown error
• A DIAMOND AND PLATINUM RING,
  A DIAMOND AND PLATINUM RING, 'LUCIDA', TIFFANY & CO. A diamond and platinum ring, 'Lucida', Tiffany & Co. designed as a polished band, centered by a radiant-cut diamond. 5.6 dwt; size: 9 Time: November 2022 Place: CLARS AUCTION GALLERY, Oakland, CA, USA Sold for: $450.00 Imported successfully Replaced successfully Error: unknown error
• HOOPER, WILLIAM. RATIONAL
  HOOPER, WILLIAM. RATIONAL RECREATIONS, IN WHICH THE PRI...Hooper, William. Rational Recreations, in Which the Principles of Numbers and Natural Philosophy are Clearly and Copiously Elucidated. London: L. Davis; J. Robinson; B. Law; and G. Robinson, 1774. First edition. Four volumes, in contemporary mottled brown calf, spines ornamented in gilt, morocco title compartments. Fine set complete with 65 engraved folding plates, all half-titles, full margins. 8vo. Bookplates of Milbourne Christopher. Ownership signatures in each volume of James Rose Innes (1855 Ð 1942), prominent Chief Justice of South Africa. Toole Stott 389.
• RATIONAL RECREATIONS, IN WHICH
  RATIONAL RECREATIONS, IN WHICH THE PRINCIPLES OF NUMBER...Hooper, William. Rational Recreations, in Which the Principles of Numbers and Natural Philosophy are clearly and copiously elucidated… London: L. Davis; J. Robson; B. Law; and G. Robinson, 1787. Third Edition. Four volumes, rebacked contemporary brown calf. 8vo. Sixty-five uncolored engraved plates. Bookplates cleanly removed from endpapers; scattered browning and foxing, some plates foxed. Toole Stott 391.
• NICK HAIS ACRYLIC ON CANVAS
  NICK HAIS ACRYLIC ON CANVAS "FISHING BOAT 17 BLUE PROW"...Nick Hais Acrylic on Canvas "Fishing Boat 17 Blue Prow" , initialed and dated lower right "NH 2004", in white wood frame Nick Hais's artistic career began when he graduated from Newcastle Polytechnic with a First Class Dip.A.D in 1971. For the next four years he taught part-time on the Fine Art Degree Course at Newcastle. Since 1976 Nick has been a full time painter. Hais' works are in various corporate and private collections, including those of Accenture, Lucida plc, P&O, Prudential, and Craig Venter. 39 in. x 47 in. Condition: Items may have wear and tear, imperfections or the effects of aging. Please contact the gallery for further details prior to bidding. Any condition statement given as a courtesy should not be treated as fact.
• JAMES MCBEY LONDON STUDIO
  JAMES MCBEY LONDON STUDIO COLLECTION(Scottish, 1883-1959) comprising: oak adjustable artist's easel; glass inkwell; ink bottle; Chambre Claire Universelle camera lucida in fitted case; a set of German drafting tools in case; Lab Lagny pottery jar with two paintbrushes, three pencils, seven calligraphy dip pens, five fountain pens, three Chinese calligraphy brushes, 9 karat gold penknife by JC Vickery, London, monogrammed "J.C."; nine photographs of McBey's studios in London and Morocco by John Dickson, May 1999 (10 x 8 in.); attributed pencil sketch of faces, dated "1.3.1930", (16 x 17-1/2 in.); pen and ink sketch of man on tractor, pencil rendering to verso, dated "Oct 1954", (12 x 18 in.); 18 pen and ink sketches of Florence, Capri, and Naples, September 1953 (8-1/2 x 6 in.); five pen and ink drawings, attributed to McBey (sheet 15 x 10-1/4 in.); exhibition posters; photos of artist, including negative; (three etchings) "The Thames Barge Race: The Sarah Winning", (H. 273) XVI, XIX, and XXIX, signed lower right "James McBey", etching, (6-3/8 x 12-3/8 in.); six-page transcript of an interview with James McBey and Edward F. Balloch discussing his life as a young man and artist; two 19th century lithographs by Honore Daumier for Charivari; facsimile of engraving after Jan Van Der Straet; hand colored engraving after Marcellus Laroon II; Wharton Esherick (American, 1887-1970) prospectus for book of woodblock prints; Julius Bloch (German, 1888-1966) Midsummer's Night, 10/30, signed "Julius Bloch", lithograph (9-1/8 x 13-1/2 in.); lithograph of a figure, signed indistinctly; two floral paintings, one on unstretched canvas by James McBey; wood portfolio 5 x 30-1/2 x 25-1/2 in. Provenance: Estate of the Artists James McBey and Marguerite McBey, London, England; by descent in family Note: Accompanied by a scan of the real estate listing brochure for the McBey residence at 1 Holland Park Avenue, London, showing the easel, artist's box and brushes in the artist's studio. Condition: collection with wear consistent with age and use; paper with wear to edges, scattered small tears and stains throughout, some folded, expected handling wear; easel with paint splatter, surface dirt, edge wear and bumps; wood portfolio box with wear, bumps, chips, scratches and separations throughout, drafting set lacking one tool
• TIFFANY & CO PLATINUM LUCIDA
  TIFFANY & CO PLATINUM LUCIDA WEDDING BAND RINGTiffany & Co Platinum Lucida Wedding Band Ring 4mm Wide Ring Size 4¾ Design:- Refined and elegant, Tiffany & Co Lucida Platinum Wedding Band Ring. Accessories:- This ring comes with Tiffany & Co signature blue suede travel pouch. Ring Size:- American ring size 4¾. (This ring can be sized). Signatures & Marks:- The ring is signed "©1999" "Tiffany & Co" "PT950". Approx. Measurements:- 4mm width of ring band. Approx. weight 7.5grams.
• COLLECTION OF 25 THE TALMUD; THE
  COLLECTION OF 25 THE TALMUD; THE STEINSALTZ ED.COLLECTION OF 25 THE TALMUD; THE STEINSALTZ ED. The Steinsaltz Edition Talmud originally began as a Hebrew edition of the Babylonian Talmud by Rabbi Adin Steinsaltz, with his literal Hebrew translation of the Talmud along with his elucidation and commentary. DIFFERENT VOLUMES & PARTS; PLEASE SEE PHOTOS EF
• CHAMBRE CLAIRE UNIVERSELLE BY P.
  CHAMBRE CLAIRE UNIVERSELLE BY P. BERVILLE, PARIS Cased Camera Lucida, by French optical instrument maker P. Berville, Paris for the purpose of copying, reducing, enlarging or reverse drawing of items in proper perspective, with (11) glass lenses, in a fitted velvet lined case marked "Chambre Claire, Berville", 11" x 2 1/2" x 1". Missing one glass lens.
• WILLIAM IRVINE, REV. WAR ALS,
  WILLIAM IRVINE, REV. WAR ALS, 1779 Col. William Irvine (1741-1804, Revolutionary War Officer in the 6th PA Regt., Continental and US Congressman) ALS to General Anthony Wayne, dated at the Furnace of Dean, July 8, 1779, concerning desertions and a plan to capture some of the "scoundrels;" 1 p., folio, 13 1/4 x 8 1/4 in. Docketed by Wayne, verso and later marked "To be preserved for the sake of Elucidation."
• SIX BOTANICAL PRINTScomprising:
  SIX BOTANICAL PRINTScomprising: 'Mapania Lucida', 'Kentia Luciani', Leea Amabilis Var. Splendens', 'Schismatoglottis Lavalleei Var. Lansbergeana', 'Alocasia Putzeysi', and 'Thrinax Graminifolia' 15 x 11 inches; 22 1/4 x 18 1/2 inches framed Condition:
• TWO JOHN PERRY 'PELLUCIDA'
  TWO JOHN PERRY 'PELLUCIDA' SCULPTURES OF DOLPHINS, LARGER: 6 X 12-1/2 INTwo John Perry 'Pellucida' Sculptures of Dolphins, Larger: 6 x 12-1/2 in
• 1 vol. Windus, Thomas. A New
  1 vol. Windus, Thomas. A New Elucidation of The Subjects on The Celebrated Portland Vase. Cornhill: J.B. & J.G. Nichols, 1845. Oblong folio, orig. gilt-lettered & pictorial blue cloth; spine & edges often chipped, other chipping & dampstaining. With 10 plates (1 hand-colored, several tinted). Some dampstaining to endpapers, back & front matter, scattered light foxing to plates & text.
• Thomas Jefferson Miniature Portrait
  Thomas Jefferson Miniature Portrait by William Russell Birch William Russell Birch (English 1755-1834) enamel on copper portrait of Thomas Jefferson unsigned with?Jefferson?written on verso; 1.5 x 1 in. Frame and case added later. Lot also includes binder with accompanying research and provenance.?William Russell Birch born in Warwick England on April 9 1755 was an accomplished artist known for his engravings and enamel portraits. Today his work is in the collections of major museums. Birch's training and career coincided with the so-called golden era of miniature painting of the eighteenth century. In England miniature enamel portraits and other objects of pictorial art stylistically resembling easel painting became the leading form of enamelwork. Birch spent the first half of his life in England where he developed his artistic talents through study and made important connections with acclaimed artists and craftsmen who helped guide his career.?Birch emigrated to America and quickly became a sought after portrait miniaturist among the young Republic's politically and socially prominent citizens. Birch left behind an unpublished autobiography that elucidates a fascinating and prosperous life filled with important social and business relationships and documents his artistic contributions both in England and America. The youngest child of a successful doctor Birch was exposed to the arts through his father's interests and art collection. He showed artistic inclinations at a young age and by sixteen was apprenticed to a jeweler Thomas Jefferys in London. Under Jefferys' tutelage Birch learned the demanding crafts of enameling and metalworking. Later an opportunity arose for him to study with Henry Spicer (1743-1804) a noted miniature painter.?In 1775 Birch exhibited his enamel miniatures at the Society of Artists in London. Additionally he attracted attention with his exhibits at the Royal Academy from 1781 to 1794. Eventually Birch struck out on his own professionally and began to establish a reputation among the wealthy and influential in London. In his autobiography he credits his friendship with Sir Joshua Reynolds (1723-92) as the catalyst for his early success. Birch viewed Reynolds as his greatest mentor and a true friend. The respect was reciprocated as Reynolds admiring of Birch's work enlisted the young artist to copy in enamel many of his own famous portraits. Birch's copies after Reynolds are some of his most notable efforts.?Despite his accomplishments in England Birch with wife and four children emigrated to America in 1794 where he stayed principally in Philadelphia until his death forty years later. He was among numerous miniaturists from England France and Italy who came to America in the late eighteenth century. Birch is given credit for transmitting the art of enamel portrait painting to America. He and other eighteenth-century British miniaturists practiced an enameling technique which stemmed from the Limoges school. This process of applying thin coats of enamel to a small plate of copper or gold required incredible patience a proficiency with the chemistry involved and most importantly the ability to capture minute details on a small format. At the time American artists were not practicing enamel portrait painting. Instead they preferred to work with watercolor on ivory or watercolor on vellum.?In this country Birch's luminous and richly colored enamels were highly sought after. In his memoirs Birch alludes to the high regard with which he views his craft. Enamel painting he wrote is the Unique art of hightening [sic] and preserving the beauty of tints to futurity as given in the Works of the most celabrated [sic] Masters of Painting without a possibility of there [sic] changing.?Birch arrived in America with a letter of introduction from Benjamin West (1738-1820) president of the Royal Academy. Commissions for his enamel painting were soon forthcoming and he set about to fulfill these while growing his reputation. While most of these commissions were copies in enamel of large portraits by other painters it is important to note that Birch also produced original studies created from life ranging from portraits and landscapes to literary and allegorical subjects. He also continued his interest in engraving and published?The City of Philadelphia in the State of Pennsylvania North America?(1800) and?The Country Seats of the United States?(1808).?The City of Philadelphia?was the first series of views of any American city. The prints are a visual record of Philadelphia and its sophisticated inhabitants. This series and?The Country Seats?are of great historical importance and are among Birch's most significant contributions to American art.?In his autobiography Birch claims that George Washington offered to sit for him but that he declined the honor and instead preferred to make enamel miniatures after Gilbert Stuart's (1755-1828) portraits of the president. Birch made sixty Washington enamels after Stuart's "Lansdowne" portrait (Stuart's portrait of 1796 is in the Smithsonian Institution). To date fewer than twenty of these have been located.?In October of 1805 Birch visited Thomas Jefferson in Washington and spent a pleasant afternoon with the president talking about the arts. In his memoirs Birch recounts the circumstances that led to his producing an exquisite portrait enamel of Jefferson. The president gave Birch an engraved portrait of himself as a memento. Birch told Jefferson that the portrait was more of a caricature than a true likeness and asked the president if he might borrow Gilbert Stuart's profile of him (this is Stuart's "Medallion Portrait of 1805 watercolor on paper in the Fogg Museum) which Jefferson had just shown him. Amused Jefferson conceded and armed with Stuart's image Birch attempted the engraving once home. Birch made a drawing of the original and enlisted the help of the engraver David Edwin who made a plate from it. This was damaged and eventually Birch used his own drawing after the Stuart original to make his exquisite enamel. (The enamel is in a private collection). Jefferson was already familiar with Birch as he had subscribed to the first edition of?The City of Philadelphia?and had displayed it in the White House during his presidency. In an 1812 letter from Jefferson to Birch the president thanks the artist for sending him prints and indicates his admiration and respect for Birch's work. Additionally Birch completed an engraving of Charles Willson Peale's (1741-1827) portrait of Jefferson from 1791 (the original Peale portrait is in the Independence National Historical Park). Birch entered a proof print of the engraving in the 1795 exhibition of the Columbianum. No copy is known to survive.?The present Jefferson portrait miniature on offer is attributed to Birch based on style craftsmanship and as importantly on technique (Birch was the only artist of this caliber working in enamel on copper in America at the time). It bears a striking resemblance to Thomas Sully's (1783-1872) portrait of Jefferson (begun in 1821 in the collection of the American Philosophical Society). The present enamel is executed with wonderful precision and detail in the manner associated with Birch. Only an artist with Birch's talent and skill could work on such a small scale with such exactitude. The warm skin tones and rosy cheeks of the president and the rich fur of his coat collar have been masterfully accentuated. The work is a finely rendered likeness of Jefferson and showcases the artist's ability to create brilliantly hued and luminous portraits. See Emily T. Cooperman and Lea Carson Sherk ?William Birch Picturing the American Scene?(Philadelphia and Oxford 2011) and Jean Lambert Brockway "William Birch: His American Enamel Portraits "?Antiques(September 1933) pp. 94-96.? Condition: Minor scratches to surface and a crack down center of Jefferson's face.